Heritage film audiences: period films and contemporary audiences in the UK
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Edinburgh
Edinburgh Univ. Press
2011
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Physical Description: | VIII, 240 S. cm |
| ISBN: | 9780748668786 9780748638246 |
Staff View
MARC
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Record in the Search Index
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| adam_text | Contents
List of Appendices
vi
Acknowledgements
vii
Introduction
ι
ι
The Heritage Film Debate: From Textual Critique to Audience
io
2
The Heritage Audience Survey: Methodology and Issues
29
3
Demographics and Identities: A Portrait of the Survey Respondents
47
4
Respondents Film Viewing Habit(u)s
78
5
Patterns of Film Taste: Period and Non-Period Films
92
6
Audience Pleasures, Attitudes and Perspectives
1 :
Visual Pleasure and Authenticity , Engagement and Escape
116
7
Audience Pleasures, Attitudes and Perspectives
2:
C^iality , Literary Pleasures, Adaptation and Cultural Value
141
8
Conclusions: Period Film Audiences, the Heritage
Film Debate and Audience Studies
165
Appendices
183
Selective Filmography
216
Bibliography
224
Index
232
The concept of heritage cinema is now firmly established as an influential
-
as
well as much-debated and contested
-
critical framework for the discussion of
period or historical representation in film, most prominently with reference to
British heritage and post-heritage film successes since the
1980s,
but also to
comparable examples from Europe, North America and beyond. These successes
have ranged from Merchant Ivory s A Room with a View, Maurice, Howards End and
The Remains of the Day, via Jane Austen adaptations such as
Ang
Lee s Sense and
Sensibility to post-heritage adaptations such as Sally Potter s Orlando.Yet the very
idea of the heritage film has rested on untested assumptions about its audiences.
This book breaks significant new ground in the scholarship on contemporary
period films, and makes a distinctive new contribution to the growing field of
film-audience studies, by presenting the first empirically based study of the
audiences for quality period films. Monk engages directly with two highly
contrasting sections of these audiences, surveyed in the UK in the late
1990s,
to explore their identities, their wider patterns of film taste, and above all their
attitudes and pleasures
-
in relation to the period films they enjoy, and on issues
central to debates around the heritage film, literary adaptation and cultural value
-
with illuminating and unpredicted results.
Claire
Monk is Senior Lecturer in Film Studies at
De
Montfort University, She has
published widely on the heritage film, post-1970 British cinema and the cultural
politics of both, and is co-editor of British Historical Cinema
(2002).
|
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| dewey-ones | 791 - Public performances |
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| title | Heritage film audiences period films and contemporary audiences in the UK |
| title_auth | Heritage film audiences period films and contemporary audiences in the UK |
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