A Level Genre hybrids ,The high concept film, Intertextuality, Genre and zeitgeist

1. Genre Research
Areas:
Genre hybrids ,The high concept
film, Intertextuality, Genre and
zeitgeist

2. Genre hybrids Genre is not considered static, it changes all the time – resulting in hybrid
(or sub-) genres and changing codes and conventions. Genre Hybrids is
the combination of 2 or more genres coming together in a film, for
example: Romantic-comedy.
(http://media-studies.tki.org.nz/Teaching-media-studies/Media-concepts/Genre)

3. Intertextualit
y
The practice of deliberately including
references to one text in the narrative of
another, either as homage to the text
referred to or as a device intended to
engage the interest of the audience by
appealing to their prior knowledge and
experience media texts.
 E.g. Kill Bill (Quentin Tarantino, 2003)
makes many references to Westerns,
Gangsters and Japanese Samurai
Films.
 The Simpson makes references from
scenes and other films e.g. Catch Me
If You Can.
(A2/A-Level Media Studies, David Probert, Page 82)

4. Genre and ‘Zeitgeist’
A Zeitgeist the defining spirit or mood of a particular period of history as shown by the
ideas and beliefs of the time, e.g. after JFK shootings and assassinations left paranoia in
the 1960’s. We can only really tell the public mood when looking back at it from the future.
1960-70’s American horror films mirrored the zeitgeist of paranoia and violence.
(American Horror Story – Documentary &
http://www.oxforddictionaries.com/definition/english/zeitgeist)

5. The High Concept Film
High Concept - a simple and often striking idea or premise, as for a story or film, that lends itself to easy promotion.
(http://www.thefreedictionary.com/High+concept+film)
As quoted by Justin Wyatt, who explains:
‘High concept films is typically a film that combines several elements: a narrative that could be summarized in a
single phrase; an image or song that the potential audience associated with the film; “total look” style of
cinematography characteristic of television and magazine advertisements and music videos; pre- sold stars or
subject matter; character typing rather than character exposition; and merchandising tie-ins’
(Justin Wyatt, 1994, “High Concept: Movies and Marketing in Hollywood.”, University of Texas Press.)