[ecrea] CFP TV in Scotland: Past, Present and Future. A Special Issue of the International Journal of Scottish Theatre and Screen

CFP Call for Papers: TV in Scotland: Past, Present and Future.
A Special Issue of the International Journal of Scottish Theatre and Screen

The Scottish television industry, and BBC Scotland in particular, is at 
a historic juncture.
Recently the visibility of Scotland on television has increased 
nationally and globally thanks to successful series such as the comedies 
Gary: Tank Commander and Still Game, documentaries like the four-part 
Story of Scottish Art, dramas including Shetland and Stonemouth, the 
arrival of a Scottish Doctor Who, and the Sony/Left Bank/Starz fantasy 
time travel series Outlander. Yet in a survey included in the UK 
Government’s White Paper on the renewal of the BBC Charter (May 2016), 
less than half of Scots  (44%) said that they felt their nation was well 
represented by BBC output, while the Scottish Government’s own policy 
paper on charter renewal (February 2016) also stated that “audiences do 
not feel that the output of the BBC in Scotland fully represents their 
views and interests”.
The Government White Paper also mentions complaints about so-called 
‘lift and shift’ programmes, originated in London and merely moved to 
Scotland for production, and only a fraction of the BBC’s budget, 9.2%, 
was actually spent in Scotland.  Yet in September 2015 Culture Secretary 
Fiona Hyslop announced the New Production Growth Fund in association 
with Creative Scotland, and in addition North Lanarkshire Council has 
approved an application for the expansion of Wardpark Studios in 
Cumbernauld, home of Outlander, potentially creating Scotland’s first 
substantial Film Studio. The BBC has also undertaken to increase 
spending across the regions, appoint a Scotland-based commissioning 
editor for both drama and comedy, make Scotland a ‘Centre for 
Excellence’ in factual television production, establish a ‘Writer’s 
Room’ training programme and create ‘portrayal’ objectives for national 
identities.
These initiatives are therefore responding to on-going issues about 
Scottish representation on Scottish, UK national and international 
television screens, and of Scotland’s ability to produce its own content 
dealing with Scottish issues. How has this situation arisen? How 
problematic is the provision of Scottish programming for Scotland, and 
what then is the future for Scottish TV? How can it draw upon its rich 
heritage to become part of the essential cultural and financial 
framework of the post-SNP Scottish national identity?
To consider such questions, The International Journal of Scottish 
Theatre and Screen is publishing a special issue exploring the past, 
present and future state of Scottish television. For this the editors 
are seeking proposals of 300-500 words for articles of up to 6000 words. 
The deadline for submission of proposals is 30 September 2016. Decisions 
will be made by 17 October. The deadline for submission of the articles 
will be 1 May 2017. Revisions to the pieces will be expected by the end 
of August 2017 in readiness for peer review, with final submissions due 
in February 2018 for a 2018 publication.

Proposals are welcomed on any aspect of Scottish Television including 
but not limited to:

•       Industry and Policy

•       Programming of Scottish Content in Scotland

•       Scottish TV Audiences

•       Scottish TV Drama

•       Scottish TV Comedy

•       Children’s TV

•       News and Current Affairs in Scotland

•       Scottish TV Factual and Documentary

•       Genre and Scottish TV

•       Representation of Scotland and the Scots in Scottish and 
Non-Scottish TV

Proposals and a short biography of 50-70 words should be sent via email by
the deadline to (simon.brown /at/ kingston.ac.uk)


Simon Brown is Assistant Professor of Film, TV and Media at Kingston 
University and
Screen Editor for the International Journal of Scottish Theatre and Screen.





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