Genre signifiers
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This document discusses genre theory and genre signifiers in film. It provides background on genre theory from Andrew Tudor and explores how to identify common formal elements and features that are recognizable in specific genres like romance, horror, science fiction, and others. Participants are asked to consider genre signifiers related to colors, costumes, character types, objects/props/symbols, settings, music/sounds, and plotlines. The document also discusses genre hybrids and how film parodies often rely on an understanding of generic traits for their humor. Finally, it notes Tudor's view that notions of genre may be ineffective due to cultural differences in understanding genres.
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Props contribute to genre in films and plays by emphasizing reality and symbolizing key elements of the genre. Common props become strongly associated with particular genres, such as bloody knives in horror films. Props can also represent specific characters and hold symbolic meanings that provide insight into characters and their motivations. They allow audiences to more fully immerse themselves in the world of the genre.
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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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This document defines key film theory terms and discusses their relevance to the student's A2 film work. It addresses genre, narrative, representation, audience and media language. For each term it provides a definition, explains the relevance to the student's short film "The Invisible Dog," and includes a quote from a theorist. The genres of the film include comedy and tragedy. The narrative follows Aristotle's beginning, middle, end structure and leaves the audience questioning. Representation considers how the work will be portrayed. Audience examines who will view the film and from what perspective. Media language discusses using appropriate terminology to discuss ideas.
Film Styles
The document discusses different styles and types of films including realism, classicism, and formalism. It provides characteristics of each style and describes how formalist films emphasize technique and expression, classical films have believable narratives, and realist films attempt to reproduce reality with minimal distortion. The document also discusses genres, film roles including directors, producers and screenwriters, and narrative structures such as classical, formalist, and documentary.
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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.
Rick altman
Rick Altman proposed a semantic/syntactic approach to genre theory that considers both the conventions (semantic) and narrative structures (syntactic) of genres. This allows for a more sophisticated understanding of genres. He later expanded this to a semantic/syntactic/pragmatic approach by also considering the roles of audiences and institutions. The pragmatic approach views genres as modes of production for film studios and as evolving based on changing audience preferences over time.
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This document discusses genre theory and how genre relates to film. It defines genre as having codes and conventions that are not fixed and change over time. It discusses how genre is important for producers, distributors, and audiences. The document outlines different theorists' perspectives on genre, including how genres are defined in terms of signs/objects and themes/narratives, and how genres both repeat conventions but also change over time to continue engaging audiences. Students are then assigned a task to analyze sample film clips from different eras in small groups and discuss how horror genres have both remained the same and changed over time.
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This document provides information about a film studies exam on British film topics. It outlines that the exam will focus on the horror genre, with 3 sections examining audience and producers, British film topics, and a US comparative study. For the British film topics section, students will analyze the macro and micro features of horror films, including their narratives, representation issues, audiences, and context. At least two British horror films must be discussed in detail: The Descent (2004), Dog Soldiers (2002), The Woman in Black (2012), and Dracula (1958). Sample exam questions are provided focusing on narrative, representation, and distinctive British elements.
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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 discusses various elements of movies including photography, mise-en-scène, editing, story, and genres. It covers topics such as camera shots, angles, lighting, composition, cutting techniques, narrative structures, and the conventions of different styles of films like realistic, formalistic, and documentary. Key filmmaking concepts and theories are explained through examples from famous movies.
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This document provides an overview of character types and representation in film studies. It discusses the objectives of learning about different character archetypes like protagonists and antagonists. It introduces Propp's theory of character types and applies it to the film Thor. The document also discusses representation and stereotyping in media, noting that representation can reinforce beliefs but also be seen as unfair. Various films are provided as examples to analyze characters and representation.
Genre and genre hybrids
Genre refers to the categorization of artistic works based on similarities in form, style and content. Originally defined by Aristotle to classify different types of plays, genres can also be combined into hybrids. A genre hybrid mixes two or more genres together in a single work, such as the zombie comedy "Shaun of the Dead." Creating genre hybrids allows films to appeal to broader audiences and attract more viewers, ensuring higher profits. As such, genre hybridization is considered a popular and potentially future-oriented approach for the film industry.
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Science fiction involves speculative elements based on established scientific laws or postulated future scientific discoveries. It differs from fantasy in grounding imaginary elements in science. Common themes include settings in the future, outer space, or involving new technology. Popular subgenres include hard science fiction focusing on physics; soft science fiction focusing on social sciences; cyberpunk set in dystopian near-futures dominated by corporations; and space opera featuring large-scale adventures in space. Recurring characters include aliens, cyborgs with enhanced abilities, mutants, espers with psychic powers, and hive minds occupying multiple bodies.
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Genre
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1. genre
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Learning ObjectivesAfter reading this chapter, you should be abl.docx
Learning Objectives
After reading this chapter, you should be able to do the following:
· Explain the difficulty in defining genre, and contrast the advantages and disadvantages that genres offer film studios, filmmakers, and audiences.
· Describe the popular film genres of westerns, gangster, mystery, and film noir.
· Describe the popular film genres of horror, fantasy, and science fiction.
· Describe the popular film genres of romantic comedy, musicals, and documentaries.
· Categorize films into genres, recognize when films cross genres, and analyze films using genres.
· Trace the history of popular sentiments and social issues through the evolution of films inside genres and recognize various social functions of genres.4.1 What Are Movie Genres?
A genre is a type, or category, and genre films are usually easily recognizable as part of a certain genre. This is because they tend to use familiar story formulas, character types, settings, and iconography (visual imagery with symbolic implications), all of which lead viewers to have certain expectations about what the movie will be like before actually watching it. For various reasons, which we shall note, genre films are prime candidates for analysis to reveal significance far deeper than the surface stories. Many genres also have a variety of related subgenres with more narrowly defined formulas and expectations. For example, any film in the horror genre can be expected to produce fear or anxiety in the viewer; some of the many subgenres of horror films include the vampire film, the zombie film, the monster movie, the mad doctor movie, the insane slasher-killer movie, and the psychological horror film, among others.
In Evil Dead II, a freewheeling horror film directed by Sam Raimi, Ash, the protagonist, played by Bruce Campbell, experiences some genuine terror, including (but not limited to) cutting off his own possessed hand with a chainsaw. Audiences and critics alike found it intense and scary. They also found it hilarious. How can a movie that includes the following exchange not be?
Ash (talking to mirror): I'm fine . . . I'm fine . . . (Mirror Ash jumps out of the mirror and grabs Ash.)
Mirror Ash: I don't think so. We just cut up our girlfriend with a chainsaw. Does that sound "fine"?
Courtesy Everett Collection
Little Big Man is a revisionist western. It takes the genre's conventions and reverses them. The Indians are the heroes and General Custer is the villain.
With its violence, gore, and shocks, there is no question that Evil Dead II, considered a cult classic, is a horror movie. With lines like the foregoing, there is also no debating that it's a comedy. So is it a horror film or a comedy? Why can't it be both? Evil Dead II is an example of a movie that crosses genres. The word "genre" comes from the Latin genus, which refers to birth, family, race, or class, and by extension to any sort of categorization. However, as we will see, there is much debate over just what the term genr ...
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Genre signifiers
- 1. Discussion Point How far are your cinema-going decisions influenced by generic enjoyment?
- 2. Genre a. Kind; sort; style b. A particular style or category of works of art; esp. a type of literary work characterized by a particular form, style, or purpose.
- 3. LO: • To understand what genre signifiers are. • To pick out generic signifiers relevant to specific genres. Genre signifiers Monday 23rd September 2013
- 4. Andrew Tudor (Genre Theory, 1974) ‘Chicken & Egg’ dilemma. Commonly recognized formal elements and common features of a specific genre need to be identified.
- 6. Round Robin What colours and costume would you associate with your genre?
- 7. Round Robin MOVE POSTERS ROUND… What character types would you expect?
- 8. Round Robin MOVE POSTERS ROUND… What objects, props and symbols do you associate with the genre?
- 9. Round Robin MOVE POSTERS ROUND… What settings do you associate with this genre?
- 10. Round Robin MOVE POSTERS ROUND… What music types and sounds to you expect?
- 11. Round Robin MOVE POSTERS ROUND… What plotlines are typical of this genre?
- 12. Genre hybrids You will rarely watch a ‘pure’ genre film. Most films typically include a romantic storyline- however, this does not categorize such films as ‘Romance’. What films can you think of that are genre hybrids?
- 13. Andrew Tudor (Genre Theory, 1974) Tudor commented that the best way to view these SIGNIFIERS were by watching film parodies- in order for the humour to work an understanding of generic traits is needed. What film parodies can you think of where the understanding of generic traits is important to the humour of the film?
- 14. Andrew Tudor (Genre Theory, 1974) Different cultures may not share the same pre-conceptions of genre: East Asia: Wuxia genre European culture: Swashbuckling movies The key component in both being swordplay and honour. Therefore Tudor finds notions of genre ineffective- too many ‘free-floating’ variables.
- 15. Discussion Point Tudor claims that the notion of ‘genre’ is ineffective. Discuss whether you agree or disagree with this statement.
Editor's Notes
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- How many ‘pure’ genre films can you list?
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