TY  - BOOK
AU  - Monk,Claire
TI  - Heritage Film Audiences: Period Films and Contemporary Audiences in the UK 
SN  - 9780748638246
U1  - 791.43658 23
PY  - 2022///]
CY  - Edinburgh : 
PB  - Edinburgh University Press, 
KW  - Historical films
KW  - History and criticism
KW  - Public opinion
KW  - Great Britain
KW  - Motion picture audiences
KW  - Film, Media & Cultural Studies
KW  - PERFORMING ARTS / Film & Video / General
KW  - bisacsh
N1  - Frontmatter --; Contents --; List of Appendices --; Acknowledgements --; Introduction --; 1 The Heritage Film Debate: From Textual Critique to Audience --; 2 The Heritage Audience Survey: Methodology and Issues --; 3 Demographics and Identities: A Portrait of the Survey Respondents --; 4 Respondents’ Film Viewing Habit(u)s --; 5 Patterns of Film Taste: Period and Non- Period Films --; 6 Audience Pleasures, Attitudes and Perspectives 1: Visual Pleasure and ‘Authenticity’, Engagement and Escape --; 7 Audience Pleasures, Attitudes and Perspectives 2: ‘Quality’, Literary Pleasures, Adaptation and Cultural Value --; 8 Conclusions: Period Film Audiences, the Heritage Film Debate and Audience Studies --; Appendices --; Selective Filmography --; Bibliography --; Index; restricted access
N2  - 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
UR  - https://doi.org/10.1515/9780748647040
UR  - https://www.degruyter.com/isbn/9780748647040
UR  - https://www.degruyter.com/document/cover/isbn/9780748647040/original
ER  -