Titlebook: Charting Scottish Tourism and the Early Scenic Film; Access, Identity and Samantha Wilson Book 2020 The Editor(s) (if applicable) and The A

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Charting Scottish Tourism and the Early Scenic FilmAccess, Identity and

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Introduction,on to be embedded within the tourism industry in Scotland between the late eighteenth and early twentieth centuries. Several representational technologies played a role in this process including photography and film. The latter, in the guise of the scenic film, renegotiated one of the central debate

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Home and Away: The Rise of the Walking Tour and Guidebook, that travel was dominated by members of the English upper classes who produced numerous pieces of travel writing extolling the aesthetic and epistemological virtues found up north. The chapter interrogates the emergence of these walking tours through two case studies: Elizabeth Diggle’s . (1788), a

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,Mapping, Ordering and Recording the Tourist’s Landscape,ions of Scotland. The chapter is especially interested in the manner in which these early, often sponsored, films replicated the patterns established by the guidebook genre and emphasised the importance of collection and juxtaposition, whether of landscapes or communities. By the turn of the twentie

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Reclaiming Space and Fortifying Identity: Working Class Travel During the Glasgow Fair,of the century. While working class histories of leisure travel have traditionally existed at the periphery of Scottish travel narratives, those patterns of movement and their accompanying tourist markers had a direct impact on the construction of local spatial identities. This chapter begins with a