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Film classification and censorship in the UK has been extensively researched by scholars. What requires further analysis is audiences' experiences of watching films that had been subject to BBFC interventions. The classification system attempted to ensure that only viewers of or above specific ages (15 or 18) would be able to watch certain films. However, significant numbers of child viewers saw films deemed inappropriate for their age group, whether at the cinema or more commonly by watching videos. This book investigates how these audiences managed to see age-inappropriate films, exploring the memories of over 300 questionnaire and 30 interview respondents. The responses detail what the children of the 1980s remember watching, viewer memories of the how, when and where they were watched, how genre affected the experience and what the post-viewing experience was like for these viewers, including the effects of these viewings on social dynamics, identity formation and later cinephilia.
Peter Turner is a Senior Lecturer in Digital Media Production at Oxford Brookes University. He is the author of Found Footage Horror Films: A Cognitive Approach (2019) and Devil’s Advocates: The Blair Witch Project (2014).
List of figuresAcknowledgements1. IntroductionPart I. Spaces, Practices and Emotions of Forbidden Viewing2. Video Shops, Playgrounds and Situated Memories3. “It’s Analogous to Christmas Eve”: Remembering How Video Watching FeltPart II. Genre Matters: Horror, Comedy and Taboo Content4. “I Knew They Could Mess Me Up”: Children Watching Horror and Sexual Violence5. Silently Squirming: Sex, Swearing and ComedyPart III. Gender, Identity and Video Watching6. "You Are Allowed to Watch the Blood and Guts, but Not the Boobs": Gendered Parenting and Restricted Access7. Underage Viewings and Masculine Identity, Bonding and Pressures8. “The Artier Films I Watched Alone”: Social vs Solo Viewing9. ConclusionAppendix 1 QuestionnaireAppendix 2 Interview ScheduleBibliographyIndex
In Unsuitable Film and Video Audiences, Peter Turner’s extensive audience research opens a doorway to rich and evocative memories of illicit childhood film viewing. Rigorously researched and contextualised, Turner’s examination of these memories explores, challenges and reframes our understanding of the pleasures and problems of childhood consumption of forbidden cinema.