What is your favourite fantasy Scotland? Perhaps you enjoyed Whisky Galore! or Brigadoon, or maybe The Wicker Man is to your taste, Local Hero or Highlander? Yet have you also considered Kuch Kuch Hota Hai, Rob Roy, Dog Soldiers, Danny the Dog, Festival, The Water Horse, Carla's Song, Trainspotting and Red Road? Scotland: Global Cinema is the first book to focus exclusively on the unprecedented explosion of filmmaking in Scotland in the 1990s and 2000s. It explores the various cinematic fantasies of Scotland created by contemporary filmmakers from all over the world - including Scotland, England, France, the United States and India - who braved the weather to shoot in Scotland. Significantly broadening the scope of previous debates, Scotland: Global Cinema provides analysis of ten different genres and modes prevalent in the 1990s/2000s: the comedy, road movie, Bollywood extravaganza, (Loch Ness) monster movie, horror film, costume drama, gangster flick, social realist melodrama, female friendship/US indie movie, and art cinema. These various chapters suggest a wealth of different histories of cinema in Scotland, and uncover the numerous identities - national, transnational, diasporic, global/local, gendered, sexual, religious - created by these approaches. Cinema in Scotland is situated in a global context through analysis of the intersection of transversal flows of filmmaking, tourism, trade and transnational fantasy typical of globalization, as they meet and mingle against the world famous cinematic landscapes of Scotland. ; Scotland: Global Cinema focuses on the explosion of filmmaking in Scotland in the 1990s and 2000s. It explores the various cinematic fantasies of Scotland created by contemporary filmmakers from all over the world who braved the weather to shoot in Scotland. ; Introduction: Fantasy Scotlands. 1. Comedy: Global/Local Identities. 2. Road Movie: Scotland in the World. 3. Bollywood: NRI-Scotland. 4. (Loch Ness) Monster Movie: A Return to Primal Scotland. 5. Horror Film: History Hydes in the Highlands. 6. Costume Drama: From Men in Kilts to Developing Diasporas. 7. Gangster Film: Glasgow's Transnational Identities. 8. Social-Realist-Melodrama: Middle-class Minorities and Floundering Fathers. 9. Female Friendship/US Indie: Women Talking. 10. Art Cinema: The Global Limits of Cinematic Scotland. Conclusion.