In pre-war days, cinema was a popular Scottish pastime. Admission charges were very low, making it a relatively affordable leisure option. It was especially popular with the working classes and with youths, demonstrated by a 1937 survey that found 36% of West Lothian children attended the cinema at least once a week. During the war, cinema continued as one of Scotland’s most popular forms of entertainment. In response to a 1943 questionnaire on cinema habits, Scottish respondents mentioned the pleasure of being able to lose oneself in a film featuring a favourite actor, going to the cinema ‘for a good laugh’, and using film as a way of avoiding ‘the usual fit of depression of a Saturday afternoon’.
When I first began my research on the royal seals of Scotland, I had to repeatedly convince friends and family that I wasn’t studying semi-aquatic marine mammals. Instead, my work focused on wax impressions that might have been attached to documents such as charters. Less cute but, to my mind, incredibly interesting. So, why did I want to study seals? What fascinated me was the way in which a seal was both a practical object, used almost as an alternative to a written signature, and a symbolic object, which could embody the presence of the sealer and assert something about how they wished to be perceived.