MECCSA 2019, University of Stirling
Kathryn A. Burnett, University of the West of Scotland and Ray Burnett, Scottish Centre for Island Studies
“Whichever way I look I see a clouded horizon” wrote Mackenzie once of his uneasy relationship with the island of Herm, in the English Channel. D.H. Lawrence’s tale (pub.1928) of the “the man who loved islands” is reputed to be greatly informed by the complex affections and affectations of – amongst many descriptors – writer, broadcaster, activist, and resolute islophile Compton Mackenzie. The “topos of the island explores and creates bridges between the real and the imaginary” state Stephanides and Bassett (2008) but crucially also between “genres and disciplines ”. This paper deploys a retrospective lens through the post-war iconography of Whisky Galore (1949 Dir., Mackendrick), offering a pivoting multi-disciplinary perspective of Mackenzie ’s time in the Hebrides, as well as his “island time” spent elsewhere. With reference to Mackenzie’s own memoirs – not least of his time among the “aristocrats of democracy” – and his considerable published works, as well as media accounts and broadcast archive, off-shore socio-political questions will be asked of onshore cultural policy, and of continuing dialogues of ‘remoteness’, ‘islandness’, independence and nationhood today.
SCIRI 2010 ART AND ISLANDS ISLOMANIA CONFERENCE
A co-authored paper (Ray Burnett and Kathryn A Burnett) was delivered by Ray Burnett on behalf of SCIS to the SICRI 2010 ART AND ISLANDS ISLOMANIA CONFERENCE conference in Guernsey. The paper – “Portaying the Hebrides: the irresistible lure and the irredeemable legacy” – offers a critical examination of the life and work of Compton Mackenzie in relation to the wider representation of islands. The abstract for the paper is available below. A version of this paper was delivered to the June 18th 2010 SCIS Research Meeting and Seminar, UWS. Thanks to colleagues for their comments.
From the 18th century to the present, the islands that lie off the western seaboard of Scotland, collectively known as the Hebrides, have been one of the foremost island groups in Europe to attract the attention of artists and to acquire a substantial volume of cultural representations of their landscape, environment, people and communities, in literature, music, song, the visual arts, photography and film. Restricting itself to artistic representations in literature and film this paper examines the formulation and the legacy of two recurring and influential tropes of cultural representation of these islands ─ the ‘Hebridean Other’ and ‘Solitude and Desertion’.
The literary prism for this close focus study is provided by the life and work of Compton Mackenzie, the islomanic inspiration for D. H. Lawrence’s short story, ‘The Man Who Loved Islands’. MacKenzie’s lifelong attraction to islands involved successive periodic residency on acquired island properties from Capri in Italy, to Herm and Jethou in the Channel Islands and the Shiants and Barra in the Hebrides. The screen adaptations of MacKenzie’s Hebridean novels and the acclaimed Hebridean classics of the Michael Powell / Emeric Pressberger partnership provide the filmic prism.
The paper discusses the twin tropes of the ‘Hebridean Other’ and ‘Solitude and Desertion’ with specific reference to key iconic cultural representations, the novel/film adaptation Whisky Galore! (1947/1949 and the films The Edge of the World (1937) and I Know Where I’m Going (1945). It reflects on the enduring consequences of this cultural legacy for the island locations and communities with which they are associated, Barra, Eriskay, St Kilda, Mull and its adjacent isles in relation to the cultural referential framework they created. And it concludes by tracing the far-reaching and continuing reverberations in relation to ongoing issues relating to the cultural and symbolic capital of the islands.
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