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Books on the topic 'Love and sex in films'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Hirsch, Foster. Love, sex, death & the meaning of life: The films of Woody Allen. New York: Limelight Editions, 1990.

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2

Love, sex, death & the meaning of life: The films of Woody Allen. Cambridge, MA: Da Capo Press, 2001.

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3

Hirsch, Foster. Love, sex, death & the meaning of life: The films of Woody Allen. New York: Limelight Editions, 1990.

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4

Davis, Rowan. The sex files: Your zodiac guide to love & lust. Woodbury, Minn: Llewellyn Publications, 2009.

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5

Woods, Vanessa. It's every monkey for themselves: A true story of sex, love and lies in the jungle. Crows Nest, N.S.W: Allen & Unwin, 2007.

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6

Amour fou: Die Erzählung der Amour fou in Literatur, Oper, Film : zum Verhältnis von Liebe, Diskurs und Gesellschaft im Zeichen ihrer sexuellen Infragestellung. Tübingen: Francke, 2004.

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7

Sex & sensibility: The adventures of a Jane Austen addict : a novel. New York: Saint Books, 2005.

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8

Wolke 9: Über Liebe und Sex im Alter ; [Buch zum Film von Andreas Dresen]. Stuttgart: Gatzanis, 2008.

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9

Bound to bond: Gender, genre, and the Hollywood romantic comedy. Westport, Conn: Praeger, 2001.

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10

The Why files: when can I start dating?: Questions about love, sex and a cure for zits. St. Louis: Concordia Publishing House, 2000.

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11

Lewicki, Arkadiusz. Seks i dziesiąta muza: Erotyzm, relacje intymne i wzorce genderowe w kinie przedkodeksowym (1894-1934). Wrocław: Wydawn. Uniwersytetu Wrocławskiego, 2011.

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12

Visoi, Marie-Anne. A thematic approach to French cultural studies: Love, sex and desire in French literature and cinema. Boca Raton, FL: Universal-Publishers, 2012.

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13

Tyler, Parker. Sex in films. Secaucus, N.J: Carol Pub. Group, 1993.

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14

William, Evans Peter, ed. Affairs to remember: The Hollywood comedy of the sexes. Manchester: Manchester University Press, 1989.

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15

Genre, gender and the effects of neoliberalism: The new millennium Hollywood rom com. Abingdon, Oxon: Routledge, 2013.

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16

Fraser, Jane. Sex: Making love, having sex. Birmingham: Brook Advisory Centres, 1991.

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17

Hooks, Bell. Reel to real: Race, sex, and class at the movies. New York, NY: Routledge, 1996.

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18

Hooks, Bell. Reel to real: Race, class and sex at the movies. New York, NY: Routledge, 2008.

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19

Shakespeare, sex, & love. Oxford: Oxford University Press, 2010.

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20

Love, sex & money. New York: New American Library, 1989.

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21

Love, sex & money. New York: E.P. Dutton, 1988.

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22

Love, sex & nutrition. Garden City Park, NY: Avery Pub. Group, 1988.

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23

Lacroix, Nitya. Love, sex & intimacy. London: Lorenz Books, 1995.

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24

Koteskey, Ronald L. The love triangle: Sex, dating & love. [Wheaton, Ill.]: Victor Books, 1989.

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25

Cameron, Sue. Love,sex,and murder. New York: Warner Books, 1996.

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26

Love, sex, and astrology. New York: HarperPaperbacks, 1994.

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27

Adjabeng, Joshua. Teenage sex and love. [Accra, Ghana]: Olive Publications, 1996.

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28

Women who love sex. London: Arrow, 1994.

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29

Women Who Love Sex. New York, USA: Pocket, 1995.

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30

Love, Sex, Death, and the Meaning of Life: The Films of Woody Allen. Limelight Editions, 1990.

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31

Hirsch, Foster. Love, Sex, Death, and the Meaning of Life: The Films of Woody Allen. 2nd ed. Da Capo, 2001.

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32

Russell, Ken. Women in love. 2018.

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33

Russell, Ken. Women in love. 2018.

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34

My Undoing: Love in the Thick of Sex, Drugs, Pornography, and Prostitution. Carroll & Graf, 2006.

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35

Tulloch, John, and Belinda Middleweek. Intimate Pleasures and the Madness of Love. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0009.

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Chapter 7 analyzes the real sex films Ken Park and Irréversible in the context of different sexual/social aesthetics in sexually explicit films by drawing on “old” and “new” forms of narrative theory as a “bridging synthesis” of disciplinary approaches. The different generations of narrative theory alluded to in this chapter concern Will Wright’s old critical realist analysis of the Western genre and Tanya Krzywinska’s new, postmodernist “narrative formula” approach. This chapter opens with narrative comparison of one European and one US real sex film to point to their similar narrative reversals and contradictions in the context of the “normal chaos of love,” with a major focus on Ken Park’s narrative. Wright’s and Krzywinska’s theoretically and generationally different versions of narrative theory are thus drawn together in terms of current risk sociological history and distinguished from each other epistemologically for further consideration in later chapters.

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36

Insatiable: Porn A Love Story. Grove Press, 2015.

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37

Insatiable: Porn- a love story. Grove Press, 2014.

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38

Watkins, James N. When Can I Start Dating?: Questions about Love, Sex, and a Cure for Zits (Why Files). Tandem Library, 2000.

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39

William, Evans Peter, and Deleyto Celestino, eds. Terms of endearment: Hollywood romantic comedy of the 1980s and 1990s. Edinburgh: Edinburgh University Press, 1998.

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40

Watkins, James. The Why Files: When Can I Start Dating? : Questions About Love, Sex, and a Cure for Zits (Why Files). Concordia Publishing House, 2000.

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41

Visoi, Marie-Anne. A Thematic Approach to French Cultural Studies: Love, Sex and Desire in French Literature and Cinema. Universal Publishers, 2011.

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42

Tulloch, John, and Belinda Middleweek. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0001.

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This introduction traces the book’s origins across three significant dialogical moments. First is the mediated moment of television producer Middleweek interviewing the 7/7 survivor Tulloch, followed by their intertextual engagement with two texts of intimacy, Chéreau’s film and Giddens’s book. Second is an interdisciplinary dialogue employing feminist mapping theory to forge a “bridging” and “rainbow” scholarship between disciplinary fields that provide ways of seeing real sex films, including risk sociology, feminist psychoanalytical theory, and critical geopolitical theory, in combination with concepts of genre, authorship, production, stardom, social audience, and spectatorship. Third is a dialogue within theories of risk modernity exploring the tension between the “demand for constant emotional closeness” and the quest for “confluent love” in real sex film as the utopia and dystopia of love are played out through cinema.

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43

Sex in Films. Virgin Publishing, 1993.

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44

Tulloch, John, and Belinda Middleweek. Real Sex Films. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.001.0001.

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Within the domain of film studies, the recent surge in films depicting graphic and high-impact sex and sexualized violence has been variously classified under the terms transgressive, brutal, provocative, real sex, and extreme cinema. These classifications, however, tend to underplay the films’ sociohistorical contexts and reflexive struggle for meaning. We argue that the similarities and differences between these real or simulated sex films are determined and mediated within geographical space and historical time. But every film book has its own personal historical starting point: in our case, this is the coming together as intertexts of the real sex film Intimacy with a major academic text, The Transformation of Intimacy, and as authorial agents of a television and documentary film producer and a media academic. This book argues that the meanings we attach to “real sex” cinema are discursively constructed not only by academic experts but by filmmakers, performers, audiences, and film reviewers. Debates about the meaning of real sex cinema are best understood in dialogue, and for the first time in interdisciplinary studies, we foster “mutual understanding” and “critical extension” among new risk sociology, feminist mapping theory, feminist film studies, and film reviewers, while also embracing film/media studies concepts of production, social audiences and spectators, genre, narrative, authorship, and stars. Above all, this is an interdisciplinary book, which engages with, supports, critiques, and extends each of these professional fields of discourse, each with its own schema of filmic understanding.

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45

Marsh, Leslie L. Contesting the Boundaries of Belonging in the Films of Ana Carolina Teixeira Soares. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0003.

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This chapter focuses on Ana Carolina's Mar de Rosas (Sea of Roses, 1977), Das Tripas Coração (Heart and Guts, 1982), and Sonho de Valsa (Dream Waltz, 1987). At a time when it was untenable to express her feminist views by way of a realist register, all three films develop a surrealist mode of expression. Indeed, Carolina's films adapt a surrealist mode of representation to critique repressive ideological constructions of femininity and seek the emancipation of the female psyche. Ultimately, her trilogy critiques those institutions and established beliefs through which presumably good, moral citizens are manufactured—the family, education, religion, romantic love, honoring the father, and the like—and reflects a desire for a new sociability and a new political system in which women are full, equal members. The gesture toward freedom in these films resonates with the second-wave women's movements and the larger struggle to escape a repressive authoritarian regime in the 1970s and 1980s.

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46

Cart, Michael. Love & Sex. Simon Pulse, 2003.

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47

Tulloch, John, and Belinda Middleweek. Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0002.

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Chapter 1 discusses the film Intimacy as constructed discursively from two entirely different perspectives: a film reviewer’s intertextual references and professional organization of knowledge in constructing for his readers a negative view of the film and the authors’ no less intertextual, no less constructed, interdisciplinary “overlapping” of frames, interpreting Intimacy by way of a “mutual understanding” between and a “galvanizing extension” of disciplinary assumptions. In this analysis the narrative is explored via the relationship of three milieus: the sex scenes of Jay and Claire; the social world of south London beyond Jay’s flat, where this sex takes place; and Jay’s own personal memory space. The tension and balance between language and silence explored between and within these scenes reveal the film’s exploration of modern intimacy at a time when sex for reproduction, marriage, and romantic love are under constant renegotiation.

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48

Tyler, Parker. Sex In Films (Film Books). Citadel, 2000.

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49

Hooks, Bell. Reel to Real: Race, Sex and Class at the Movies. Routledge, 2008.

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50

Kaklamanidou, Betty. Genre, Gender and the Effects of Neoliberalism: The New Millennium Hollywood Rom Com. Taylor & Francis Group, 2015.

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