Genre
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This document discusses film genres and the concept of genre. It provides definitions of genre as a type or category of film linked by common elements. Genres have conventions and iconography that help define them. The document also discusses how genres can shift and change over time due to social and economic factors. Producers must meet audience expectations of genres while also innovating to stay competitive. Different theorists such as Ed Buscomb, Colin McArthur, Tom Ryall, and Stephan Neale are summarized as having varying views on whether iconography or narrative is most important in defining genres.
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Genre lesson slides 2012
Genre is useful for film producers, distributors, and audiences for several reasons: it allows producers to capitalize on popular genres, helps distributors market and target audiences, and provides audiences with expectations that give a sense of familiarity and anticipation. However, genre is not clearly defined - genres overlap, elements are not unique to particular genres, and difference is as important as repetition to attract audiences. Analyzing elements like setting, character, narrative, iconography, and style can provide insight into a work's genre or mixing of genres.
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Introducing documentary lesson
Documentary photography tells real stories through photographs. It aims to provide a factual record or report of events. Some key points:
- Documentary photography has various subgenres like photojournalism, social documentary, street photography, and documentary landscapes.
- Different types of images like establishing shots, detailed shots, main shots, and concluding shots can be used to create a narrative or tell a story.
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Key skills include photo composition and using different shot types to craft a narrative. Famous documentary photographers mentioned are Cartier-Bresson, Martin Parr
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This course covers the history and development of documentary film from its beginnings to present day. It examines major films, movements, filmmakers and types of documentaries from various national and cultural contexts. The course aims to both explore the skills of producing an audio-visual documentary and analyze such texts in relation to debates over epistemology, ethics, power relations, and ideology. Students will build documentary production skills, develop an understanding of documentary theory and history, and learn to relate theory and practice through a documentary video project and critique. Assessment includes attendance, a midterm, a documentary criticism exercise, and a final documentary video.
Documentary styles
This document discusses several styles of documentary filmmaking including direct cinema, cinema verite, institutional documentaries, docusoaps, public affairs documentaries, video diaries, drama documentaries, theatrical documentaries, and mockumentaries. Direct cinema aimed for objectivity with no narrator or staged events. Cinema verite was similar but expressed the filmmaker's opinions. Institutional documentaries provided a behind-the-scenes look at workplaces. Docusoaps focused on entertainment over instruction by following personalities. Public affairs documentaries investigated current issues. Video diaries used self-filming to seem reliable. Drama documentaries dramatized real events or issues. Theatrical documentaries were released in theaters on topics like celebrities or social issues
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This document provides information about documentary photography for a photography class. It defines documentary photography as using photographs to document particular situations. The document discusses important early documentary photographers like Lewis Hine and Jacob Riis. It lists contemporary documentary photographers and provides examples of their work. The document also discusses techniques for good documentary photography and different on-camera flash techniques students can use for their assignments.
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Introducing documentary lesson
Documentary photography tells real stories through photographs. It aims to provide a factual record or report of events. Some key points:
- Documentary photography has various subgenres like photojournalism, social documentary, street photography, and documentary landscapes.
- Different types of images like establishing shots, detailed shots, main shots, and concluding shots can be used to create a narrative or tell a story.
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Key skills include photo composition and using different shot types to craft a narrative. Famous documentary photographers mentioned are Cartier-Bresson, Martin Parr
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This course covers the history and development of documentary film from its beginnings to present day. It examines major films, movements, filmmakers and types of documentaries from various national and cultural contexts. The course aims to both explore the skills of producing an audio-visual documentary and analyze such texts in relation to debates over epistemology, ethics, power relations, and ideology. Students will build documentary production skills, develop an understanding of documentary theory and history, and learn to relate theory and practice through a documentary video project and critique. Assessment includes attendance, a midterm, a documentary criticism exercise, and a final documentary video.
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This document discusses several styles of documentary filmmaking including direct cinema, cinema verite, institutional documentaries, docusoaps, public affairs documentaries, video diaries, drama documentaries, theatrical documentaries, and mockumentaries. Direct cinema aimed for objectivity with no narrator or staged events. Cinema verite was similar but expressed the filmmaker's opinions. Institutional documentaries provided a behind-the-scenes look at workplaces. Docusoaps focused on entertainment over instruction by following personalities. Public affairs documentaries investigated current issues. Video diaries used self-filming to seem reliable. Drama documentaries dramatized real events or issues. Theatrical documentaries were released in theaters on topics like celebrities or social issues
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This document provides information about documentary photography for a photography class. It defines documentary photography as using photographs to document particular situations. The document discusses important early documentary photographers like Lewis Hine and Jacob Riis. It lists contemporary documentary photographers and provides examples of their work. The document also discusses techniques for good documentary photography and different on-camera flash techniques students can use for their assignments.
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The document provides information about Section A of a Media Studies exam, including:
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The document discusses film genre research and provides categories for exploring genres: setting, narrative, characters, iconography, and style. It explains that genres have recognizable elements that can be analyzed using these categories. Specifically, it defines each category, such as narrative referring to story structure and devices, characters usually developing the narrative as certain generic types, setting involving distinct locations that can change, iconography as instantly recognizable visual/audio images associated with a genre, and style describing how iconography is presented through camera work, editing, lighting, and color. Students are instructed to create a Popplet using these categories to show the conventions of a chosen genre or sub-genre, and include film examples.
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Genre revision 2012
Genre is an important concept for both media industries and audiences. For distributors and marketers, genre allows them to easily promote, target, and predict audiences for films. Audiences also engage with genre for its familiar conventions that provide expectation, anticipation, and a sense of predictability alongside occasional surprises. Academics study genre as a critical tool to analyze formal similarities and differences between films. While genres provide repetition, they are also dynamic and evolving as elements are challenged over time.
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The document discusses six types of documentaries:
1. Expository documentaries make use of narration and commentary to directly address the audience and advance an argument. Images serve to illustrate the narrator's points.
2. Poetic documentaries emphasize emotional and aesthetic qualities through techniques like juxtaposition and impressionistic fragments rather than narrative.
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Here are some key narrative features that are distinctive in many horror films:
- Non-linear/flashback storytelling that builds mystery and tension.
- Isolation of characters in remote/confined settings that heightens their vulnerability.
- A "final girl" protagonist who is often the last survivor.
- Jump scares and suspenseful build ups that startle the audience.
- Gore and graphic violence used to shock or disturb viewers.
- Twist endings or reveals that subvert expectations.
- Ambiguous or open-ended conclusions that leave threats still lingering.
- Moral or social commentary on issues like sexuality, drugs, or changing social values.
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The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
Week 1 documentary
The document discusses various techniques used in documentary films to present real events and their impact on spectators. It describes common documentary conventions like using natural lighting, interviews, voiceovers, and reconstructions to appear more authentic. However, it notes that these are just conventions and the selection and construction of footage can manipulate viewers just as fiction films do. Viewers must examine how 'real' events are presented and how that might influence their perspective.
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The document discusses film genre research and provides categories for exploring genres: setting, narrative, characters, iconography, and style. It explains that genres have recognizable elements that can be analyzed using these categories. Specifically, it defines each category, such as narrative referring to story structure and devices, characters usually developing the narrative as certain generic types, setting involving distinct locations that can change, iconography as instantly recognizable visual/audio images associated with a genre, and style describing how iconography is presented through camera work, editing, lighting, and color. Students are instructed to create a Popplet using these categories to show the conventions of a chosen genre or sub-genre, and include film examples.
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The document provides guidance for creating a narrative photographic project documenting a trip to Birmingham using one of four styles: portraits of people at work, street photography, street portraits, or documentary landscape. It discusses each style and provides examples of photographers known for that approach. Students are instructed to research one photographer in their chosen style and use establishing, detailed, main, and concluding shots to tell a story through images about Birmingham.
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The document outlines 8 critical approaches that can be used to analyze films: star/performer, genre, auteur, social/political contexts, gender issues, ethnicity, institution, and technology. For each approach, it provides examples of potential areas of investigation that focus on a specific film and related films. It also includes examples of past student's areas of investigation applying the different approaches. The critical approaches provide frameworks for analyzing films from various perspectives like the director, social contexts, representations, and industry influences.
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The document discusses several narrative theories proposed by scholars including Vladimir Propp, Bordwell and Thompson, Claude Levi-Strauss, Tzvetan Todorov, and Syd Field. Propp identified character roles and narrative functions that are common across folk tales. Bordwell and Thompson believed narratives shape events in time and space. Levi-Strauss analyzed binary oppositions in themes. Todorov's theory described an initial equilibrium disrupted by an event leading to resolution. Field proposed the three-act plot structure. The document provides examples and visuals to explain these theories of narrative structure.
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This document discusses theories about what constitutes the film medium and its unique properties. It explores ideas around how film organizes material through both space and time, using techniques like editing and camera angles. Theorists debate whether film should pursue only visual possibilities or if incorporating sound is also legitimate. Issues around genre, the audience experience, and ideology are also examined in relation to defining the film medium.
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This document discusses the concept of genre and its importance. It defines genre as a type or category, such as different genres of music, films, and fashion. Genre is important because it helps institutions effectively target and appeal to specific audiences. Various genre theorists, such as Daniel Chandler and John Fiske, view genre as providing conventions around themes, structures and meanings that help audiences engage with cultural works. All of the genre theories discussed are relevant to understanding the horror genre.
Genre revision 2012
Genre is an important concept for both media industries and audiences. For distributors and marketers, genre allows them to easily promote, target, and predict audiences for films. Audiences also engage with genre for its familiar conventions that provide expectation, anticipation, and a sense of predictability alongside occasional surprises. Academics study genre as a critical tool to analyze formal similarities and differences between films. While genres provide repetition, they are also dynamic and evolving as elements are challenged over time.
Documentary Photography artist research, meanings and sub genres
This document provides an overview of documentary photography, including its definition and various subgenres. Documentary photography aims to provide a factual record or report of real events through photographs and sometimes accompanying text. Some key subgenres discussed include portrait, social documentary, documentary landscape, photojournalism, street photography, sports photography, and identification photography. The document also profiles several influential documentary photographers such as Henri Cartier-Bresson, Robert Doisneau, Dorothea Lange, Don McCullin, and Richard Billingham.
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Bill Nichols identified six modes of documentary: poetic, expository, observational, participatory, reflexive, and performative. Each mode has distinct characteristics. The poetic mode uses abstract expression and emotion with no clear beginning, middle, or end. The expository mode directs the audience through narration and voiceovers. The observational mode observes events as they occur with no commentary. The participatory mode involves the filmmaker interacting directly with subjects. The reflexive mode acknowledges the filmmaking process. And the performative mode addresses the audience directly and acknowledges different perspectives.
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The document discusses the objectives and content of a lesson on moving image documentary production. It provides definitions of documentary films, describes various documentary types and styles including direct cinema, compilation films and portrait documentaries. Techniques used in documentaries like interviews and reconstructions are examined. The works of influential documentarians Jean Rouch, Errol Morris and their films are analyzed in detail. The document concludes by defining categorical and rhetorical forms in documentaries and discussing examples that mix these forms.
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This document provides an overview of genre theory and its academic approaches. It discusses how genre is a critical tool that helps scholars study films and audience responses. Genre theory allows for a scientific methodology in comparing similarities between films within and across genres. It examines how genres are dynamic and not fixed, and explores some of the common elements that can be used to construct generic descriptions, such as iconography, style, narrative, characters, themes, audience response, target audience, and industrial context.
1 intro
This document outlines the structure and goals for a documentary filmmaking course. It will introduce students to various documentary styles, the concepts of subjectivity and objectivity in documentary form and content, and encourage students to find their creative voice by reflecting on their own experiences and interests. Students will learn about documentary techniques like researching, planning, filming and editing as they complete a personal inventory, watch example films, and discuss the art of truth, intuition, fear and failure in documentary storytelling.
Yasuo kuniyoshi
Yasuo Kuniyoshi was a Japanese-American painter born in 1893 in Okayama, Japan who lived from 1906-1953 in the United States. He studied art in Los Angeles and New York and established himself as an internationally renowned painter and graphic artist by 1930. During World War II, he created war posters and radio scripts to support the U.S. war effort. His artwork explored his complex identity and experience of racism as a Japanese man in America. Key paintings include "I'm Tired" (1938) and "Somebody Tore My Poster" (1943).
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The document discusses six types of documentaries:
1. Expository documentaries make use of narration and commentary to directly address the audience and advance an argument. Images serve to illustrate the narrator's points.
2. Poetic documentaries emphasize emotional and aesthetic qualities through techniques like juxtaposition and impressionistic fragments rather than narrative.
3. Observational documentaries attempt to observe reality without interfering and typically have no narration or soundtrack.
4. Participatory documentaries involve interviews between the filmmaker and subjects, giving a sense of the filmmaker's experience.
5. Reflexive documentaries draw attention to the constructed nature of documentaries and force audiences to consider the filmmaking process
Introduction To Documentary.Ocr National
This document introduces the key techniques and modes of documentary filmmaking. It identifies six common modes of documentary: 1) Poetic, 2) Expository, 3) Observational, 4) Participatory, 5) Reflexive, and 6) Performative. It provides brief descriptions of each mode and asks the reader to analyze clips from documentaries and identify which mode or combination of modes they represent.
Documentary Overview
This document provides an overview of key concepts in documentary film studies. It defines documentary film as the study of film language and how it relates to capturing reality. It discusses documentary filmmaker techniques like selection and construction that influence representation of real events. It also presents common exam questions on topics like whether documentaries can truly capture reality and if they are objectively constructed. Additionally, it outlines various modes of documentary like poetic, expository, observational, and reflexive. Finally, it discusses how representation in documentaries is mediated and how that representation may differ from reality.
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Here are some key narrative features that are distinctive in many horror films:
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- Isolation of characters in remote/confined settings that heightens their vulnerability.
- A "final girl" protagonist who is often the last survivor.
- Jump scares and suspenseful build ups that startle the audience.
- Gore and graphic violence used to shock or disturb viewers.
- Twist endings or reveals that subvert expectations.
- Ambiguous or open-ended conclusions that leave threats still lingering.
- Moral or social commentary on issues like sexuality, drugs, or changing social values.
Focusing
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Genres provide predictable frameworks that help audiences understand and interpret films. They establish expectations that allow audiences to anticipate what will happen in a film and help producers mass produce films efficiently. Genres originated as an economic necessity for the film industry and became codified over time through repetition. They provide recognizable conventions and elements that allow audiences to easily identify the genre of a film. Captain America uses elements from the action, superhero, and war genres to appeal to audiences familiar with these genres.
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Genre is useful to film producers, distributors/marketers, and audiences for several reasons:
Producers like genre because it helps them minimize risk and predict costs and revenues. Genre films are also often easier to write, fund, and market. Distributors/marketers find that genre makes films easier to target and advertise to specific audiences. Audiences enjoy genre films because they provide familiar conventions and expectations while still offering surprises. Genre allows audiences to categorize films and experience themes and resolutions to fears or issues.
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Genre is a way of classifying texts into categories to help audiences understand and engage with them. There are three main types of genre: major genres, sub-genres, and hybrid genres which combine elements of multiple genres. Genres are defined by common narrative structures, character types, settings, visual elements, and themes. They help audiences understand what to expect and target specific viewer demographics. While genres provide predictability, they also evolve over time to reflect societal changes.
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This document provides an introduction to a film studies unit that aims to:
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2) Explore industry practices and apply film theory
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Here are some potential issues that could be discussed:
- Genres are not fixed or clearly defined which makes categorization difficult
- Works can combine or mix genres making them hard to classify
- As film styles evolve over time, genres change and blur together
- Audience interpretation of genres may differ from academic/critical views
- Focusing only on surface elements ignores deeper thematic/cultural aspects
- Categorizing by genre risks oversimplifying complex works or creative processes
The genre approach is a useful tool for analysis but has limitations. An open discussion could debate these issues and how genres remain an imperfect but still valuable concept. Different perspectives should be considered.
Genre lesson slides_ 2 2012[1]
Here are some potential issues that could be discussed:
- Genres are not fixed or clearly defined which makes categorization difficult
- Works can blend or mix genres making them hard to classify
- As film styles evolve over time, genres change and blur together
- Audience interpretation of genres may differ from academics or producers
- Focusing only on surface elements ignores deeper thematic or cultural aspects
- Genres risk oversimplifying complex works or promoting formulaic storytelling
The genre approach is useful as a starting point for analysis but has limitations. An open discussion could debate both its benefits and shortcomings for understanding media texts.
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There are many genres of films including action, adventure, comedy, crime, drama, and science fiction. Genres are identified by conventions such as locations, props, characters, costumes, sound, cinematography, narrative, and themes. Over time, genres evolve in response to changes in society and audience tastes. For example, epic films now contain more action and focus on subgenres that audiences prefer such as biopics.
Genre
Here are some potential issues that could be discussed:
- Genres are not fixed categories and there can be overlap between genres
- As genres evolve over time with new films, clear definitions can become blurred
- Some films intentionally mix or subvert genres, challenging typical classifications
- Personal tastes and interpretations of genres may differ between individuals
- Broader social and historical contexts also shape understanding of genres
- Academically analyzing genres risks oversimplifying the complex nature of films
- Commercial interests also influence genre labels applied to films for marketing
- While genres provide a framework, each film has its own unique identity that may not perfectly fit an established genre
So in summary, genres are useful as
Genre lesson slides 2012 updated
Here are some potential issues that could be discussed:
- Genres are not fixed categories and there can be overlap between genres
- As genres evolve over time with new films, it can be difficult to define where one genre ends and another begins
- Some films intentionally mix or challenge genres in new ways that don't neatly fit established definitions
- Personal tastes and cultural contexts can influence how different audiences define and experience genres
- Focusing only on genre risks overlooking other important aspects of how a film works, like themes, style, social commentary etc.
- Genre is just one tool for analysis among many and doesn't capture the full complexity of a film
So in summary, while genre can provide a
Genre presentation
There are many film genres including action, adventure, comedy, crime, drama, and science fiction. Genres are identified by conventions such as locations, props, characters, costumes, sound, cinematography, narrative, and themes. Over time, genres evolve in response to changes in society and audience tastes. For example, epic films now contain more action and focus on audience-favorite subgenres like biopics.
Intro to Film: Documentary
This document discusses various conventions and modes of documentary filmmaking. It begins by defining documentaries as films that exist within the same historical world as the viewer and depict real events, rather than being fully scripted recreations. It then outlines several common misconceptions about documentaries before reviewing the history of the genre. The bulk of the document categorizes six modes of documentary: poetic, expository, observational, participatory, reflexive, and performative. Each mode is defined by its relationship between filmmaker and subject as well as examples like Koyaanisqatsi and Salesman. The document stresses documentaries' ability to foster global and cultural awareness.
Genre
This document discusses genre in media texts. It provides clues and examples of elements typically found in gangster films like car chases, urban settings, guns, and violence. Genre refers to the classification of media into groups with similar narrative structures, styles, and conventions. Iconography involves visual signs and actors associated with particular genres that audiences recognize. Genres appeal to audiences who enjoy familiar conventions and codes across different media texts. While genre can organize analysis, texts that subvert genres or are hybrids pose challenges to strict genre definitions.
Understanding genre
Genre theory seeks to recognize film as both an artistic and commercial medium. It developed as an alternative to auteur theory, which viewed directors as the sole authors of films. Genres are both defined by critics and exist independently, as studios try to replicate successful film types. However, defining genres is complicated, as films can fit multiple categories and subgenres exist. The meaning and conventions of genres also depend on historical and cultural context. Overall, genre theory examines patterns of similarity and difference between films.
Lesson
This document discusses genre theory and how it relates to magazines. It defines genre as the classification of media texts into categories based on similar characteristics and features. Genres have identifiable codes and conventions that audiences expect. The document discusses how genres can be hybrids that borrow elements from other genres. It also examines different scholars' perspectives on genre and how genres provide expectations and pleasures for audiences while also mitigating economic risks for producers.
Genre theory
Genre theory provides a framework for categorizing different types of media texts based on common elements and conventions. Genres help producers develop recognizable texts, help audiences decide what to consume, and help scholars analyze texts. While genres provide stability, they are also dynamic and evolve over time reflecting social and cultural changes. Different theorists examine how genres provide audiences with pleasures through emotional, visceral, and intellectual engagement, and how genres are shaped by industries and audiences. Examples show how genres are communicated through visual cues and how genres have changed over time while still retaining core conventions.
Genre test
The document defines key terms related to genre, including that genre refers to a type of media text recognized through repeated codes and conventions. It discusses how hybrid genres use elements of multiple genres. Audiences understand genres based on familiar codes and conventions. These codes provide pleasures for audiences and allow genres to conform to their expectations. It attributes quotes about genre to their original authors and asks the student to analyze one of their own productions in relation to genre codes and conventions.
Genre Theory
Genre theory divides media texts into categories based on common elements to help study the texts and audience responses. Genres are dynamic cultural categories that transcend media and are used by industries to sell products to audiences using familiar conventions. While genres provide audiences with pleasures like emotion, visceral sensation, and puzzle-solving, they also evolve over time through stages like experimentation, classicization, parody, and deconstruction.
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Our story
The document outlines a story plot involving two children - a homeless abandoned girl living in a park with few possessions, and a well-off child who takes pity on her. The well-off child tries to befriend the homeless girl but she refuses. The document also includes character profiles, costumes and props needed (including cheap clothing, blankets, and fake blood), and a target audience of children aged 12 and adults in their 30s-40s. The total proposed budget for costumes and props is £30.
Creativity
The document discusses creativity and defines it as using imaginative and original ideas, especially in filmmaking. It provides the examples of the films Avatar and Life of Pi to illustrate creative films. It also includes anagrams of the word "create" and lists intertextual features found in parody films, such as showing woods and a girl falling for a werewolf. Finally, it proposes an idea for a film about a protagonist with cancer, inspired by the movie "My Sister's Keeper" which depicts a girl's struggle with the disease.
Conventions of Drama
This document discusses key elements of drama such as realistic settings, characters, and stories that portray journeys and struggles. It notes that dramas usually show how a character's persona changes over time in order to emotionally shift and move the audience. While drama can be the main genre of a film, it can also be combined with other genres like comedy, tragedy, and romance through elements like conflict, hardship, climaxes, and endings. The document concludes by listing some Hollywood studios known for drama films.
Job Roles Within The Film Industry
Helps the
Editor with
tasks like
logging,
transcribing
and
organizing
Post Production
Distribution
Executive:
Negotiates
distribution deals
with exhibitors
Marketing
Executive:
Responsible for
marketing and
promoting the film
Publicist:
Promotes the film
through press
releases,
interviews...etc.
Sales Executive:
Sells the film to
exhibitors
Distribution
Exhibition
Exhibitor:
Theatres, cinemas
that screen films
Projectionist:
Operates the
projector to screen
films
Usher: Assists
aud
Facebook feedback
The respondent found the following most interesting about the radio newscast: the segment on government cuts, the entertainment segment about the one pound fish man, and the clear voices of the news presenters. They enjoyed listening to the presenters and would consider listening to Trio FM if it was a real news cast, as there was nothing they disliked about the newscast.
Leveson Inquiry
The Leveson Inquiry was established to regulate the press and establish rules and standards for media ethics and practices in the UK. It was launched in response to the phone hacking scandal, where celebrities had voicemails hacked. A recent event provided further evidence for the need of the inquiry - Australian radio presenters prank called the hospital where Kate Middleton was staying and obtained private health information which was broadcast. Such scandals and breaches of ethics show the need for the Leveson Inquiry to improve regulation of media organizations.
History of radio
Guglielmo Marconi is considered the inventor of radio, building on earlier work with radio waves. In the late 1890s, Marconi transmitted the first radio signals and established the first radio factory in England. The radio allowed for wireless communication between soldiers and news/information to be transmitted, including the first radio link between Britain and France. While the Italian government rejected Marconi's initial proposal, his work established radio as an important communication technology.
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Genre
- 1. GENRE By Shima Begum 12A2
- 2. A2 Media Studies module 2735 OCR • Many genres dominant in Britain • Comedies such as Notting Hill and drams such as Elizabeth, Much Ado about Nothing • ‘Ethnic genre’ Bend it like Beckham
- 3. Concept of genre in film • Genre means a type or category and when linked to film, it represents a group of people that are linked together • Genres have conventions, set elements within film • There can be shifts in genres • During earlier times you can come across stereotypical characters within genres • Social groups may change… women are seen to be more dominant in society
- 4. Viewers on Genre • Viewers choose a film because they enjoy that particular genre. • They expect to see certain conventions in that genre, preferably in a new way. • Therefore, producers must meet these demands but also compete with other films. • Some producers follow a genre that does not incur much financial cost • Staying with the same genres may be quite repetitive and dull
- 5. Key concepts & skills for media studies • ‘Genre is the classification of any media text and category type’ • The idea that genre is continually changing, due to social change and economic needs. • There are uses of Hybrid combinations • Iconography is used to help outline the features of a genre and attempt to define it. • Different theorists have different views of genre • Ed Buncombe • Colin McArthur • Tom Ryall
- 6. ED Buscomb 1970 • He argued that film was a visual medium • He believes that reoccurring codes and conventions found in film such as, codes of dress, settings and props are factors that should be used to define Genre, Rather than a narrative structure • For example, in a western film you would have a dusty background/desert, horses, saddles, guns, Cowboys…etc.
- 7. Colin McArthur 1972/ Tom Ryall 1978 • He also believed and drew attention to the importance of cultural knowledge. • The idea of expectation the audience has in being able to recognise the conventions of a particular genre • Ryall argued that themes, characters and iconography to be considered, when studying genre.
- 8. Stephan Neale 1980 • He argued that too much emphasis on iconography should not be used, genre should be anchored by narrative • And playing a lot of importance to iconography means not enough detail is used on camera angles, editing and lighting.
- 9. A2 Media Studies for OCR (Second Edition)