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Real Sex FilmsThe New Intimacy and Risk in Cinema$
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John Tulloch and Belinda Middleweek

Print publication date: 2017

Print ISBN-13: 9780190244606

Published to Oxford Scholarship Online: October 2017

DOI: 10.1093/oso/9780190244606.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 26 January 2021

Intimacy and Romance in Film Theory

Intimacy and Romance in Film Theory

(p.53) 3 Intimacy and Romance in Film Theory
Real Sex Films

John Tulloch

Belinda Middleweek

Oxford University Press

Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.

Keywords:   Romance, Catherine Breillat, plastic sexuality, confluent love, ars erotica, emotional realism, pornography, the Other, race, class

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