Maritime policy in Scotland.

This paper begins by defining the meaning of the term `maritime policy'. Since devolution in the UK, the opening of the new Scottish parliament in 1998 and the creation of the Scottish Executive, little effort has been made to establish a distinct maritime policy for Scotland. As was evident prior to devolution, the primary emphasis from any maritime policy perspective has continued to be a focus on lifeline island ferry services. This ignores significant developments in several other key maritime transport sectors, and this paper provides examples of areas that require some form of policy response, including intra-European short sea shipping, UK coastal shipping, urban/river transport and global container shipping. Long-standing institutional bias against maritime transport coupled with subsidy devoted almost entirely to land transport systems has resulted in a quite distorted marketplace. This suggests that a maritime policy is now imperative if maritime transport is to play a more significant role in the overall transport system. Further discussion centres on the need to consider, from a Scottish policy perspective, the role of various state-sponsored maritime service providers and how these bodies might fit better within evolving policy. The conclusion is that formulation of a maritime policy by the Scottish Executive is overdue and that a degree of restructuring of transport responsibilities within the Executive, combined with adequate resource allocation towards the maritime industry, will be necessary in order that market distortions can be overcome, so enabling Scotland to fully exploit the competitive and environmental advantages that maritime transport can provide.

I film therefore I am: process and participation, networks and knowledge – examples from Scottish community media projects.

This chapter examines community media projects in Scotland as social processes that nurture knowledge through participation in production. A visual and media anthropology framework (Ginsburg, 2005) with an emphasis on the social context of media production informs the analysis of community media. Drawing on community media projects in the Govan area of Glasgow and the Isle of Bute, the techniques of production foreground “the relational aspects of filmmaking” (Grimshaw and Ravetz, 2005: 7) and act as a catalyst for knowledge and networks of relations embedded in time and place. Community media is defined here as a creative social process, characterised by an approach to production that is multi-authored, collaborative and informed by the lives of participants, and which recognises the relevance of networks of relations to that practice (Caines, 2007: 2). As a networked process, community media production is recognised as existing in collaboration between a director or producer, such as myself, and organisations, institutions and participants, who are connected through a range of identities, practices and place. These relations born of the production process reflect a complex area of practice and participation that brings together “parallel and overlapping public spheres” (Meadows et al., 2002: 3). This relates to broader concerns with networks (Carpentier, Servaes and Lie, 2003; Rodríguez, 2001), both revealed during the process of production and enhanced by it, and how they can be described with reference to the knowledge practice of community media.