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Heritage Film AudiencesPeriod Films and Contemporary Audiences in the UK$
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Claire Monk

Print publication date: 2011

Print ISBN-13: 9780748638246

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748638246.001.0001

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Conclusions: Period Film Audiences, the Heritage Film Debate and Audience Studies

Conclusions: Period Film Audiences, the Heritage Film Debate and Audience Studies

Chapter:
(p.165) Chapter 8 Conclusions: Period Film Audiences, the Heritage Film Debate and Audience Studies
Source:
Heritage Film Audiences
Author(s):

Claire Monk

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748638246.003.0008

This chapter draws together the most significant points to emerge from an analysis of the ‘heritage film audiences’ — as represented by the two groups who participated in the Heritage Audience Survey — and considers their implications for the debate around heritage cinema. These implications are centred around questions of the coherence and distinct(ive)ness of the ‘heritage film audience’ (or audiences); the related question of how far respondents exhibited a self-identity as period-film viewers; the question of respondents' levels of consciousness or self-consciousness in relation to the heritage-film debate itself; and the question of audience autonomy (that is, how far respondents were able to produce their own distinct audience discourses around period films). This book turns from a sociological focus on the composition and identities of period film audiences, via questions of cultural (pre-)disposition, film consumption practices, and film tastes, to a more interpretative reading of the ‘texts’ presented by ‘respondents’ views and attitudes and, ultimately, their cultural-political positioning in relation to period films.

Keywords:   heritage cinema, film audiences, self-identity, audience autonomy, period films, film tastes, attitudes, Heritage Audience Survey, self-consciousness

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