Hardback : $260.00
Real Sex Films explores one of the most controversial movements in international cinema through an innovative interdisciplinary combination of theories of globalization and embodiment. Risk sociology, feminist film theory and critical feminist mapping theory are brought together with concepts of production, narrative, genre, authorship, stardom, spectatorship and social audience as several lenses of both 'mutual understanding' and 'galvanizing extension' in ways of seeing this object of 'real-sex cinema'. Notions of personal subjectivity and critical distance, disciplinary co-operation and critique, and cinematic perceptions of the utopia and dystopia of love within risk modernity are the tensions exposed reflexively and in parallel, as each chapter focuses different lenses communicating intimacy, desire, risk and transgression. This is a book which substantively, methodologically and theoretically is embracing and engaging in its consideration of the images, ethics, 'double standards' and embodiments of brutal cinema. Written in a style free of jargon, and crossing the boundaries of film studies, media and cultural studies, the ethnographic turn, risk sociology, feminist psychoanalytical and geopolitical studies, this is a book for students, academics as well as general and professional audiences.
Real Sex Films explores one of the most controversial movements in international cinema through an innovative interdisciplinary combination of theories of globalization and embodiment. Risk sociology, feminist film theory and critical feminist mapping theory are brought together with concepts of production, narrative, genre, authorship, stardom, spectatorship and social audience as several lenses of both 'mutual understanding' and 'galvanizing extension' in ways of seeing this object of 'real-sex cinema'. Notions of personal subjectivity and critical distance, disciplinary co-operation and critique, and cinematic perceptions of the utopia and dystopia of love within risk modernity are the tensions exposed reflexively and in parallel, as each chapter focuses different lenses communicating intimacy, desire, risk and transgression. This is a book which substantively, methodologically and theoretically is embracing and engaging in its consideration of the images, ethics, 'double standards' and embodiments of brutal cinema. Written in a style free of jargon, and crossing the boundaries of film studies, media and cultural studies, the ethnographic turn, risk sociology, feminist psychoanalytical and geopolitical studies, this is a book for students, academics as well as general and professional audiences.
List of Illustrations
Introduction
1. Intimacy: the Film
2. The Transformation of Intimacy: Sexuality and Risk in
Modernity
3. Intimacy and Romance in Film Theory
4a. 'Intimacy is what hurts when it's gone': approaching social
audience analysis (Part 1)
4b. 'A man didn't make this film alone': Intertextual dialogue
(Part 2
5. Brutal Intimacy: French Corporeal Cinema
6. 'Desperate for Intimacy': Loneliness and Fun in 9 Songs and
Shortbus
7. Intimate Pleasures and the Madness of Love: Narrative in Ken
Park and Irréversible
8. Actors and Sexual Intimacies: Trust, Mistrust and the Double
Standards of Love
9. Secret Intimacies and Addictions in Le Secret
10. Beyond High Theories of Intimacy: authorship, performance and
'obscenity' in The Piano Teacher
11. Desire, Intimacy and the Gaze in the work of Andrea Arnold and
Lynne Ramsay
Conclusion
Bibliography
Filmography
Index
John Tulloch is Professor Emeritus in Communication at Charles Sturt University and Adjunct Professor in Communication, University of Newcastle, New South Wales, Australia.Belinda Middleweek is Senior Lecturer in Journalism at the University of Technology, Sydney.
"Provides both academics and film buffs with an interesting look at
the films that toe the line on what [is] acceptable in cinema." --
Dakota Ratley, Communication Booknotes Quarterly
"Media studies desperately needs more 'rainbow scholarship' like
the impeccable work Tulloch and Middleweek have done here,
especially on experiences that are so central to the human
condition: intimacy, desire, and sex." --Mark Deuze, University of
Amsterdam, author of Media Life
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