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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

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

Claire Monk

Edinburgh University Press

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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