Titlebook: Sex and Film; The Erotic in Britis Barry Forshaw Book 2015 Palgrave Macmillan, a division of Macmillan Publishers Limited 2015 sex.cinema.f

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Stretching the Parameters: Bergman and Oshima, Sj?man’s ., with its incendiary melange of left-wing politics and graphic lovemaking cenes. Bergman, however, rejected modish notions of agitprop and facile political solutions to society’s problems.

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and recording BBC TV and radio programmes, along with broadcSex and Film is a frank, comprehensive analysis of the cinema‘s love affair with the erotic. Forshaw‘s lively study moves from the sexual abandon of the 1930s to filmmakers‘ circumvention of censorship, the demolition of taboos by arthouse

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Introduction,ps be best to steer clear of what follows. Sexuality and the treatment of sex on film has long been a minefield for a variety of reasons, but it has perhaps become even more so now that it is essential for any writer to parade his or her ideological credentials or attitudes; even the sentence you ha

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The 1930s: From Mae West to the Legion of Decency, originally delighted audiences. Crackling with untrammelled sexual energy, their freedom to treat such subjects as prostitution was later prohibited, abruptly ended by the introduction of the Hays Code under its folksy but steely progenitor, Will Hays, the voice of the church. The Code’s draconian

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The Kinsey Era: The 1950s, innocence of 1940s cinema and a new, more liberated decade. Films laboured under the limitations of the outmoded Hays Code before the dynamiting of censorship shibboleths in the 1960s. It was an era in which even musicals were rendered inoffensive by rewriting already innocuous material: a line in

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Pushing the Boundaries: Preminger the Rebel,re bloody, but they led to the sudden, swift crumbling of the influence of such organisations as the Catholic Legion of Decency as serious filmmakers’ fights with the censors chimed with a new liberalism on the part of audiences. And this short-tempered German expat was the toughest street fighter o