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Scott’s work was not only immensely popular but also extremely procreative: that is, it generated many new versions of itself in both print and other media. Using the concept of remediation, Chapter 2 focuses on Scott’s procreativity in other media, especially the theatre, in order to explain the apparent paradox that novelistic adaptation was linked both to the desire for new forms of immediacy and to the pleasure of reiteration. After a brief survey of the adaptations of his work to the visual arts and material culture, the chapter turns to dramatizations of the Waverley novels, focusing in particular on the repeated productions of Rob Roy (1817) whose popularity on stage is explained as a way of performing Scottishness ‘live’. The later adaptations of the novel to the screen show how Scott’s novel helped relay popular culture into the twentieth century.

This chapter examines Scott's techniques of secrecy and suggestion in The Pirate, Rob Roy, and Peveril of the Peak, arguing that Scott draws on his readers' familiarity with a literature of terror while allowing them, if they choose, to categorize it as literary and therefore secondary to the main purposes (moral and political) of his art. It also argues for a strategic and self-aware use of Gothic conventions, which are not to be equated either technically or psychologically with anything ‘repressed’ by the ‘dominant’ aesthetic of these novels.

What was the potential for the development of a Scottish film industry? Current histories largely ignore the contribution of Scotland to British film production, focusing on a few amateur attempts at narrative film-making. In this chapter, Caroline Merz offers a richer and more complex view of Scotland’s incursion into film production,. Using a case-study approach, it details a production history of Rob Roy, produced by a Scottish company, United Films, in 1911, indicating the experience on which it drew, placing it in the context of other successful British feature films such as Beerbohm’s Henry VIII, and noting both its success in Australia and New Zealand and its relative failure on the home market faced with competition from other English-language production companies.

This chapter, like the two that precede it, quashes the myth that the recreational travel and tourism industry began with Thomas Cook and the railway system, pointing instead to the roots developed by the steamboat. It explores the growth of British overseas travel through the origins of commercial steamboat services on the Clyde to the first Dover-Calais route. It pays particular attention to the formation of the General Steam Navigation Company in 1824. It also offers a thorough analysis of overseas excursion advertisements in The Times between 1825 and 1850. It concludes that by the end of the 1840s specialist agencies for overseas travellers had come into existence, alongside other frameworks for tourism that developed out of steamboat technology - pre-dating the mid-century rail-led tourism boom by several years.