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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, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 05 December 2020

“A man didn’t make this film alone”

“A man didn’t make this film alone”

Intertextual Dialogue

Chapter:
(p.111) 4 (Part 2) “A man didn’t make this film alone”
Source:
Real Sex Films
Author(s):

John Tulloch

Belinda Middleweek

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190244606.003.0006

Part 2 of chapter 4 contributes to the dialogue of part 1 by combining an industry-based textual analysis with the findings of the authors’ social audience study of Blue Is the Warmest Colour. This part puts into interdisciplinary dialogue the mutually constructed meanings of “risk,” “desire,” and “intimacy” presented by this real sex film, as read by the macro discourses of film reviewing, risk sociology, and feminist-psychoanalytical film studies outlined in the first three chapters. In doing this it also introduces analytical themes that are explored extensively in later chapters of the book: real sex versus simulated sex, multiple and performed authorship, and the pleasures of the gazes of scopophilia and ego-identity in one disciplinary paradigm, and of voluntary risk-taking and addiction in another.

Keywords:   textual analysis, Blue Is the Warmest Colour, risk, desire, intimacy, addiction, the gaze, authorship, real sex, simulated sex

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