By Barry Forshaw

Intercourse and movie: The Erotic in British, American and global Cinema is a frank, entire and insightful research of the cinema's lengthy love affair with the erotic – and the way society is mirrored throughout the many and sour censorship battles that experience observed all makes an attempt by way of filmmakers to expand the boundaries of what's applicable. Barry Forshaw's vigorous and scholarly learn strikes from the sexual abandon of the silent period and the Nineteen Thirties during the enforced innocence caused by the restrictive Hays Code (and the inventive makes an attempt by way of filmmakers to avoid censorship) and the demolition of taboos through arthouse administrators reminiscent of Ingmar Bergman within the Nineteen Fifties and Sixties. The ebook highlights all of the key moments during this incendiary zone, together with the stunning exploitation and pornographic video clips of the Nineteen Seventies, whereas a dialogue of the photo and specific imagery of today's mainstream cinema takes the e-book as much as the current – and past.

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Extra info for Sex and Film: The Erotic in British, American and World Cinema

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There is a certain counter-intuitiveness at work in this scene: while audiences had been conditioned to look at Kim Novak’s impressive figure throughout her career, with the actress customarily dressed to show it off to best advantage, the sexual object in this film is in fact the male. It is the tanned and athletic-looking – but none too bright – drifter played by William Holden who inspires frustrated female lust, notably in a character played by Rosalind Russell, who is unwisely encouraged by Joshua Logan to overplay.

Monroe’s comic timing in such films as Jean Negulesco’s How to Marry a Millionaire (1953) was cannily set against the world-weary eroticism of Jane Russell, almost equally famous for the breasts so lovingly showcased by Howard Hughes in the aforementioned The Outlaw (1943), and performances in films such as Henry Hathaway’s drama Niagara (1953) demonstrated that her forte extended beyond the comedic. Inevitably, though, it is her character Sugar in Some Like it Hot, wearing a dress into which she appears to have been poured, that remains her careerdefining film performance.

As Garfield is moved towards the removal of Turner’s ageing, avuncular husband (played by the chubby Cecil Kellaway), the audience is in no doubt that the only sexual consolations in her life will be with the desperate young man working at the roadside café rather than with her unthreatening asexual husband. There is a sly humour in the film, as evidenced in such details as the Turner character almost always being dressed in white – singularly inappropriate in light of her desires – and the film was able to suggest a certain American malaise that stretches beyond this roadside diner to wider horizons; Thoreau’s lives of quiet desperation indeed.

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