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E
                               NR
                             GE
                        OF
                   TS
              C EP
       C ON
K EY
RECOGNITION AND ATTRACTION
The story makers depend on recognition for
  instant communication with the audience.
  If it is familiar then the audience know
  the kind of person or scene that they are
  dealing with.
Alternatively the story makers can trade in
  recognition in order to tease the
  audience, by doing something, which they
  do not expect. This is often the case in
  sequels. So the attraction of genre
  material is the mixture of familiarity and
  the unexpected.
ANTICIPATION, EXPECTATION AND
PREDICTION
All media material gives some kind of
  pleasure to the reader of view. This is
  why the audience buys the product.
There is a kind of pleasure gained from
  being able to anticipate what will happen
  next, e.g. Mystery Thriller Genre (Murder
  She Wrote)
There is a kind of pleasure gained from
  expectation of what should happen next,
  e.g. Action films
REPETITION AND REINFORCEMENT
The building blocks of genre, its elements,
  as well as the messages that genres
  communicate, all depend on being
  repeated, so that they continue to be
  known and understood by the audience.
The more the stories use the same or
  similar elements, the more the audience
  accepts that this is what the genre is all
  about. They become ‘natural’.
FORMULA
When we recognise and make sense of
 genre material we take all elements
 together. This combination of elements
 special to a genre represents o kind of
 formula.
GENRE, INDUSTRY AND AUDIENCE
Genres are good for industries because
 they are generally good for profits.
 They are good for profits because, the
 audience pays for them consistently.
 The audience is attracted to genre
 material and pays for it because it
 takes pleasure amps satisfaction from
 the material.

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Concepts of Genre

  • 1. E NR GE OF TS C EP C ON K EY
  • 2. RECOGNITION AND ATTRACTION The story makers depend on recognition for instant communication with the audience. If it is familiar then the audience know the kind of person or scene that they are dealing with. Alternatively the story makers can trade in recognition in order to tease the audience, by doing something, which they do not expect. This is often the case in sequels. So the attraction of genre material is the mixture of familiarity and the unexpected.
  • 3. ANTICIPATION, EXPECTATION AND PREDICTION All media material gives some kind of pleasure to the reader of view. This is why the audience buys the product. There is a kind of pleasure gained from being able to anticipate what will happen next, e.g. Mystery Thriller Genre (Murder She Wrote) There is a kind of pleasure gained from expectation of what should happen next, e.g. Action films
  • 4. REPETITION AND REINFORCEMENT The building blocks of genre, its elements, as well as the messages that genres communicate, all depend on being repeated, so that they continue to be known and understood by the audience. The more the stories use the same or similar elements, the more the audience accepts that this is what the genre is all about. They become ‘natural’.
  • 5. FORMULA When we recognise and make sense of genre material we take all elements together. This combination of elements special to a genre represents o kind of formula.
  • 6. GENRE, INDUSTRY AND AUDIENCE Genres are good for industries because they are generally good for profits. They are good for profits because, the audience pays for them consistently. The audience is attracted to genre material and pays for it because it takes pleasure amps satisfaction from the material.