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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: 20 January 2021

“Intimacy is what hurts when it’s gone”

“Intimacy is what hurts when it’s gone”

Approaching Social Audience Analysis

(p.73) 4 (Part 1) “Intimacy is what hurts when it’s gone”
Real Sex Films

John Tulloch

Belinda Middleweek

Oxford University Press

This chapter considers the contestation within film studies between the “spectator” and the “social audience,” focusing on the real sex film Blue Is the Warmest Colour. It explores Horeck and Kendall’s edited book The New Extremism in Cinema, which puts in apposition chapters predominantly employing a textual analysis with Martin Barker’s stand-alone social audience study. Barker rejects spectator analysis as purely speculative and “particularly disappointing and disturbing” aspects of film studies and culture generally. Instead of this mutual apposition, the chapter explores, in a pilot social audience study of Blue Is the Warmest Colour, Jennifer Hyndman’s feminist call for a blending of interdisciplinary dialogical “understanding” with “galvanizing extension.” The study deploys qualitative methodology seldom used in cinema studies and generates new findings, both at the substantive experiential level and in terms of methodological differences in interviewing style.

Keywords:   social audience, spectatorship, Blue Is the Warmest Colour, Martin Barker, Jennifer Hyndman

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