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 Period '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; List of Appendices; Selective Filmography; Bibliography; Index
Claire Monk is Reader in Film and Film Culture at De Montfort University. She has published widely on the heritage film, post-1970 British cinema and the cultural politics of both, and is co-editor of 'British Historical Cinema' (Routledge, 2002).
This book is clearly a major resource and provides solid empirical
evidence about the social function of films and in particular about
how real people felt about films in a specific time and space. As
such, Monk’s book plays an important role in the ongoing debates
about the determinants of the reception of images of the past.
*Journal of British Cinema and Television*
Claire Monk’s excellent new book, based on research conducted in
the late 1990s, offers new evidence as to how people from different
socioeconomic backgrounds in the United Kingdom react to the
so-called "heritage film" and/or period drama. Monk’s research
tells us a lot about the ways in which individuals consume period
films.
*Literature/Film Quarterly*
Claire Monk’s excellent new book, based on research conducted in
the late 1990s, offers new evidence as to how people from different
socioeconomic backgrounds in the United Kingdom react to the
so-called 'heritage film' and/or period drama. Monk’s research
tells us a lot about the ways in which individuals consume period
films.
*Literature/Film Quarterly*
In what is usually called 'the heritage debate' - and which has
involved many of us within film and cultural studies over a long
period of time - we have all made endless suppositions about the
audiences who watch the films about which we wrangle. A book which
actually conducts a proper analysis of these audiences is long
overdue. It is doubly pleasing that when this book appears, it
should be written by one of the leading proponents within that
debate, and written with all Claire Monk's rigourous scholarship,
in her inimitable and elegant style.
*Pamela Church Gibson, Reader in Cultural and Historical Studies,
London College of Fashion, University of the Arts, London*
In what is usually called 'the heritage debate' - and which has
involved many of us within film and cultural studies over a long
period of time - we have all made endless suppositions about the
audiences who watch the films about which we wrangle. A book which
actually conducts a proper analysis of these audiences is long
overdue. It is doubly pleasing that when this book appears, it
should be written by one of the leading proponents within that
debate, and written with all Claire Monk's rigourous scholarship,
in her inimitable and elegant style.
*Pamela Church Gibson, Reader in Cultural and Historical Studies,
London College of Fashion, University of the Arts, London*
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