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Or indeed by the effect that it had on its audience?After all, it’s arguable that the appeal of 1940s Gainsborough melodramas was far more genuinely erotic than that of the inexplicably long-running Come Play with Me (1977) and its fusion of ancient music-hall routines with only very mildly titillating nudity.“I’m obviously interested in pornography”, Peter Greenaway admitted in 1985, and 10 years later he made his most overtly erotic film, loosely inspired by the famous ‘pillow book’ by 10th/11th-century Japanese lady-in-waiting Sei Shōnagon.Thanks to her unusual upbringing, Nagiko (Vivian Wu) fetishises not just the elegance of calligraphy in general but the process of writing directly on her own skin, ideally at the hands of a potential lover – a notion that allows Greenaway to explore verbal as well as visual eroticism.When Peter Strickland was asked about his influences on The Duke of Burgundy, he unsurprisingly trotted out a parade of what used to be called “continental” filmmakers: Walerian Borowczyk, Tinto Brass, Luis Buñuel, Claude Chabrol, Rainer Werner Fassbinder and Jesús Franco. Yes, the 1980s sitcom Terry and June, although decidedly not for its (nonexistent) erotic content.François Truffaut notoriously suggested to Alfred Hitchcock that there is a certain incompatibility between the terms ‘British’ and ‘cinema’.

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Most were neither sexy nor funny, and this one isn’t particularly erotic either, but it does cast a keenly satirical eye on how the sex-film business was run at the time, with wide-eyed ingénues on both sides of the camera and a plot that contrives multiple adaptations of the notoriously filthy poem to please different backers: hardcore porn, a gay western, a kung-fu musical and a family-friendly compromise.

There are certainly major British filmmakers with unashamedly sensual imaginations, but can we describe the likes of Black Narcissus (1947), If….

(1968) and “Don’t Look Now” (1973) as ‘erotic films’ in themselves?

There are no direct equivalents of Borowczyk, Brass, Franco or Radley Metzger in British cinema (the hardcore pornographer Ben Dover has different priorities), and serious British films about eroticism remain as rare as the more exotic butterflies on display in Strickland’s film, despite the considerable relaxation in censorship post-2000 – Michael Winterbottom’s 9 Songs (2004) being the British film most notorious for taking full advantage of this.

So the following 10 films are at least as much illustrations of social and historical trends as they are defining examples of cinematic eroticism in their own right.

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