The BBFC are currently in the process of consulting with the public about film classification guidelines in order to review those previously published in 2014 and issue new guidelines in early 2019. In his keynote address at the annual 'How safe are our children?' NSPCC conference last week, BBFC director David Austin shared some initial results of the current consultation and suggested that the revised guidelines would likely become stricter in order to reflect the increased increased public concern about scenes of rape and sexual violence. We are seeking short (1000-2000 word) articles, interviews, discussions, video essays or other content that address the politics of sexual violence as it relates to the screen and screen cultures in the current climate.
By Alan McKee, University of Technology Sydney and Roger Ingham, University of Southampton, UK. In 2016, Professors Alan McKee (a humanities researcher) and Roger Ingham (a psychology researcher) submitted to the Australian Research Council a successful grant application for a project entitled ‘Pornography’s effects on audiences: explaining contradictory research data’ (DP170100808). We were approached by Feona Attwood, who knew of the grant and asked if we could provide a piece for this special issue that explored ‘writing about porn across disciplines’. The process of writing the grant application had already provided us with plenty of rich data about differences in disciplinary vocabularies and the ways in which various words implied different objects of study and different relationships to objects of study. Rather than trying to hide these differences we decided to make them the focus of the article. This piece presents three voices – Alan (AM), Roger (RI) and the original grant application (GA) – in trialogue, as a tentative beginning to the exploration of some potential differences between academic disciplines in conceptualising, researching and writing about pornography.
By David Church, Northern Arizona University, US. Prosecutions of theatre owners for obscenity increased after the US Supreme Court’s 1973 Miller v. California decision returned responsibility for obscenity definitions to the judgment of local community standards, meaning that ‘smaller hard-core theatres suffered through a lack of product and a suddenly more discerning hard-core audience.’  One of the major implications of this legal precedent was a deliberate toning down of ostensibly aberrant or ‘taboo’ content in many post-1973 hardcore films. […] In the theatrical pornographic feature, illicit acts seldom appeared to begin with, but even a handful of 35mm genre ‘classics’- such as The Story of Joanna (1975), Femmes de Sade (1976), Barbara Broadcast (1977), Pretty Peaches (1978), Candy Stripers (1978), and 800 Fantasy Lane (1979) - suffered trims of select scenes when later appearing on video.
Review of Disposable Passions: Vintage Pornography and the Material Legacies of Adult Cinema by David Church. Bloomsbury. 2016. (HB, PB, eBook). 296pp. Review by Desirae Embree, Texas A&M University, US.
Screening Sex published its first posts a year ago this month. We have been delighted with the response to our academic blog, which has attracted more than 30,000 visitors since we first launched, from more than 125 countries. Our network of writers and researchers in the area of sex on screen now stands at almost fifty in number and includes academics and creatives from across Europe, the US, Canada and Australia.
by Lauren Rosewarne, University of Melbourne, Australia. The typical Christmas word cloud is filled with holly jolly words like wishes and faith and festiveness. Bethlehem, yuletide and snowflakes are likely included; a word with no place there is sex. Easter we could, perhaps, draw a bow long enough to recognise that with it being a season associated with rebirth and renewal, fertility might play a role. However, the birth that – in a roundabout way – led to the celebration of Christmas didn’t involve intercourse. Distinctly so. To stir sex into the season therefore, feels inappropriate. Christmas is about family and gift-giving and fat men clad in red; all the debauchery, seemingly, gets postponed to New Year. At least in theory.
Review of Troubled Everyday: The Aesthetics of Violence and the Everyday in European Art Cinema by Alison Taylor. Edinburgh University Press, 2017. Review by Alice Haylett Bryan, King's College London, UK. So often European extreme cinema is spoken about in terms of shock, spectacle and provocation that we forget that the narratives of many of these films are grounded in the everyday, and even the banal. In her book Troubled Everyday, Alison Taylor addresses this oversight, carrying out a formal analysis of a range of films such as Michael (Markus Schleinzer and Kathrin Resetarits 2011), Twentynine Palms (Bruno Dumont 2003) and I Stand Alone/Seul contre tous (Gaspar Noé 1998) in order to reframe the extreme through its relationship with the quotidian. Taylor argues that it is the tension between extremity and the ordinary that gives these films their affective power, a tension that refuses clear-cut meaning and hermeneutic closure, and spills out beyond the screen as part of their intrusive viewing experience.