The Dunfermline-born rocker-turned-film-maker has scripted and directed harrowing tale The Somnambulists, which is based on the testimony of soldiers returning from the war in Iraq.
The film has achieved widespread acclaim ahead of screenings at film festivals in Helsinki and Vancouver.
But Jobson, 51, says UK funding bodies, including Creative Scotland and the UK Film Council, refused to help him take the film abroad because the subject matter was a “hot potato”.
He added: “The Somnambulists came about because I spent a long time asking myself why we had gone to Iraq, why did we allow it to happen and why are we not more shell-shocked by the chaos we brought on those people?
“All that nonsense about positive intervention. Try telling that to the 100,000 people who lost their lives through the violence as a result of that intervention.
“My film is about respect and giving these people a space, a voice and a bit of dignity and an opportunity to reveal how they felt.
“But I couldn’t get any money from the funding bodies. The film is travelling the world but they wouldn’t give us any help because it’s a hot potato. Creative Scotland didn’t want to be seen to support it and neither did the UK Film Council.
“I was asking for £5000.”
He added: “I just get on and do it anyway. A film like The Somnambulists is like being in a punk band, because you’ve got a song that needs to be heard and you find a way to make that happen.
“The film is heading to Helsinki and Vancouver before arriving here as part of the Glasgow Film Festival. That will be the beginning of several screenings in the UK before the DVD comes out.”
Jobson, whose previous films include New Town Killers, starring Dougray Scott, and 16 Years Of Alcohol, self-financed The Somnambulists.
It was filmed partly in his garage, which he converted into a studio, as well as on location throughout the UK.
Ex-River City actor Michael Nardone stars as one of several British soldiers who appear to have returned from Iraq changed by their experiences, either as a result of the wounds they sustained or psychological trauma.
Jobson said: “I have been wanting to work with Michael since I saw him in Gagarin Way, the first play by Gregory Burke who wrote The Black Watch.
“Michael lives near where I live in Bedfordshire. He was up for it when he read the script. He is an amazing actor and one of the most powerful things about the film. He set the tone.
“I had to pick people who were willing to embrace the power of the project and the politics of it and weren’t doing it for the money.
“None of these things are easy because you have to deal with agents. No matter how kind agents are, they still have to pay their bills.
“But I managed to get a really nice bunch of people. Good Scottish actors and northern English actors, a real mix, people who are intelligent, smart, hugely talented and up for it.”
But there is a twist in the tale. All the characters have died as a result of the conflict or shortly after their return.
Jobson said: “My film deals with hopes and ambitions, as well as what it is like to pick up body parts with RPGs and EIDs going off all around you. Most of these young guys were absolutely terrified. Nobody trains you to deal with that terror.
“Initially, I was writing a story about Afghanistan called Into The Valley.
“But this one became easier to make and there was more anger in this. There is more anger about Iraq than Afghanistan.
“All those songs when I was a kid were anti-war, like Into The Valley.
“This is anti-war. It’s not anti-soldier and I want to be clear about that.
“It’s my take on it. People who see the film often think I’ve just transcribed the interviews but they are all dead. They are talking from the grave.
“It is my take on the people I have met and it is written in my style. I’m not a documentary maker and it’s not a documentary. It’s fictitious but based on a reality.”
To make sure the stories told in the film reflected reality, Jobson spoke to dozens of soldiers who had spent time in Iraqi conflict zones and was shocked by their experiences on the frontline.
Jobson said: “I did speak to people coming back from Iraq. I felt so conflicted. I’ve been a Labour supporter all my life and the idea that a Labour government would take people into this hellhole for no real reason means I have never felt the same way about the Labour Party since then.
“It’s a shame because it’s in my blood. My father was a coal miner and a trade unionist. For the first time ever, I’m not sure I would vote Labour at the next election.
“My cousin was in the forces and he was involved in Iraq and Afghanistan. He introduced me to a lot of people and from that it took off.
“I didn’t go through the MoD because I think the British are aware of the way the media works, whereas the Americans are pretty good and will allow people to film everything, the good and the bad. They are more cautious here, so I did it through a family member. He introduced me to snipers and that is how I learned how snipers worked.
“I heard what it is like to pick up different body parts and to try to assemble a body from different people and the sheer horror of things we have not been not allowed to hear about.
“It was pretty shocking and a lot of these young guys are the same as the young guys I wrote about with Into The Valley, The Saints Are Coming or Working For The Yankee Dollar.”
The Skids scored a Top 10 hit with Into The Valley, in 1979.
Jobson penned the lyrics about the recruitment of Scottish youths into the Army and, more specifically, about a friend who had been killed on a tour of duty in Northern Ireland.
“It’s the same subject full circle,” he said. “I thought it was weird the same things were happening to the sons of my generation, going off to fight in places they shouldn’t have been.”
The Somnambulists will be shown at 9pm on Tuesday, February 21, at the GFT as part of Glasgow Film Festival.