Genre Theories
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1) Genre is a critical tool that helps categorize texts into types based on common elements, allowing audiences and industries to understand and classify what they want to see or produce. 2) Genre theorists argue that genres are recognizable through repeated codes and conventions, and that genres evolve through negotiation and borrowing elements from one another over time. 3) While genre provides a useful framework for studying and marketing media, it also risks limiting creativity and over-categorizing artists in a way that does not fully represent them.
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G325 – question 1b
1. This document discusses key concepts used in A2 media studies coursework, including genre, narrative, representation, audience, and media language.
2. It provides definitions and explanations of these concepts, citing several theorists for each concept. For genre, it discusses the views of Rick Altman, Tom Ryall, John Fiske, and Steve Neale. For narrative, it outlines the work of Vladimir Propp and Levi Strauss.
3. The document also briefly touches on representation, audience theories, and defines what is meant by media language.
Christian metz
Christian Metz was a French film theorist who believed genres go through four stages over their lifetime: the experimental stage where foundations are built, the classic stage where codes and conventions become iconic, the parody stage where codes can be mocked since they are widely recognized, and the deconstruction stage where genres begin to evolve, merge with others, and have their rules broken.
Daniel chandler an introduction to genre theory
This document provides an overview of genre theory and discusses some of the challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no agreed-upon taxonomy and theorists often disagree on how to define specific genres. Genres exist as abstract concepts rather than empirical categories, and their boundaries are not fixed but debated. The document also lists some of the typical features used to characterize genres, such as narrative patterns, characters, themes, and film techniques. However, it acknowledges that defining genres based solely on these features is problematic since criteria can vary significantly between theorists.
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.
Genre theory 1
Genre theory helps categorize media texts based on common elements and allows audiences and institutions to identify what they want to consume. There are several key aspects of genres including iconography, narrative structure, representation of characters and stereotypes, and underlying ideologies. However, genre is not static - it is constantly evolving as genres hybridize and borrow from each other, making categorization more difficult over time. While genre theory provides a framework for studying, developing and marketing media, it can also constrain creativity by forcing works to conform to established genres.
3
Thomas Schatz proposed that genres tend to develop through predictable stages over their lifespan:
1) An innovative stage where genres experiment with conventions.
2) A classical stage where conventions are well-established.
3) A parody stage where conventions are self-consciously drawn attention to.
4) A deconstruction stage where conventions are challenged and subverted.
However, Schatz's model has limitations as it views genre development as closed and internal, ignoring factors like subgenres, timeframes, and external influences on why genres change.
Genre theory (2012 lesson 2)
This document discusses several theories of genre from film scholars:
- Rick Altman and Jason Mittell suggest that genres offer audiences familiar pleasures and allow them to select media based on prior experience. Genres are also used to market products to audiences.
- David Buckingham argues that genres are constantly evolving through negotiation and change over time, leading to hybrid genres that blend elements.
- Steve Neale notes that genres are processes of systemization that change over time as themes can appear in any genre.
Chandler genre theory
This document provides an introduction to genre theory and discusses some of the key challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no consensus on how to define genres or determine their boundaries. Generically classifying texts involves theoretical difficulties as genres often overlap and individual texts can belong to multiple genres. The document examines debates around whether genres exist objectively or are social constructions, and if they are defined by shared content, form, or both. It also explores how genres are not fixed but change over time as new hybrid genres emerge.
Recommended
G325 – question 1b
1. This document discusses key concepts used in A2 media studies coursework, including genre, narrative, representation, audience, and media language.
2. It provides definitions and explanations of these concepts, citing several theorists for each concept. For genre, it discusses the views of Rick Altman, Tom Ryall, John Fiske, and Steve Neale. For narrative, it outlines the work of Vladimir Propp and Levi Strauss.
3. The document also briefly touches on representation, audience theories, and defines what is meant by media language.
Christian metz
Christian Metz was a French film theorist who believed genres go through four stages over their lifetime: the experimental stage where foundations are built, the classic stage where codes and conventions become iconic, the parody stage where codes can be mocked since they are widely recognized, and the deconstruction stage where genres begin to evolve, merge with others, and have their rules broken.
Daniel chandler an introduction to genre theory
This document provides an overview of genre theory and discusses some of the challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no agreed-upon taxonomy and theorists often disagree on how to define specific genres. Genres exist as abstract concepts rather than empirical categories, and their boundaries are not fixed but debated. The document also lists some of the typical features used to characterize genres, such as narrative patterns, characters, themes, and film techniques. However, it acknowledges that defining genres based solely on these features is problematic since criteria can vary significantly between theorists.
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.
Genre theory 1
Genre theory helps categorize media texts based on common elements and allows audiences and institutions to identify what they want to consume. There are several key aspects of genres including iconography, narrative structure, representation of characters and stereotypes, and underlying ideologies. However, genre is not static - it is constantly evolving as genres hybridize and borrow from each other, making categorization more difficult over time. While genre theory provides a framework for studying, developing and marketing media, it can also constrain creativity by forcing works to conform to established genres.
3
Thomas Schatz proposed that genres tend to develop through predictable stages over their lifespan:
1) An innovative stage where genres experiment with conventions.
2) A classical stage where conventions are well-established.
3) A parody stage where conventions are self-consciously drawn attention to.
4) A deconstruction stage where conventions are challenged and subverted.
However, Schatz's model has limitations as it views genre development as closed and internal, ignoring factors like subgenres, timeframes, and external influences on why genres change.
Genre theory (2012 lesson 2)
This document discusses several theories of genre from film scholars:
- Rick Altman and Jason Mittell suggest that genres offer audiences familiar pleasures and allow them to select media based on prior experience. Genres are also used to market products to audiences.
- David Buckingham argues that genres are constantly evolving through negotiation and change over time, leading to hybrid genres that blend elements.
- Steve Neale notes that genres are processes of systemization that change over time as themes can appear in any genre.
Chandler genre theory
This document provides an introduction to genre theory and discusses some of the key challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no consensus on how to define genres or determine their boundaries. Generically classifying texts involves theoretical difficulties as genres often overlap and individual texts can belong to multiple genres. The document examines debates around whether genres exist objectively or are social constructions, and if they are defined by shared content, form, or both. It also explores how genres are not fixed but change over time as new hybrid genres emerge.
Genre Theorists
Genre theorists Steve Neale and Tom Ryall propose theories about genre. Neale argues that pleasure comes from familiar genre conventions being manipulated in familiar and unfamiliar ways. Ryall suggests genre criticism views the relationship between film/artist/audience as triangular, with all three equally constituting the text's meaning, unlike auteur theory which privileges the artist. Ryall depicts concentric circles representing the studio/industry context and broader society influencing the film. Genre conventions establish expectations for creators and audiences.
Genre lesson
Introduction to Genre
Brief history
Questions to ask comparing your own product
Theory -link to Ryall
Theory - Branston & Stafford
Glossary
Genre Theory
The document discusses the history and purpose of genre in media. It explains that genres originated from Ancient Greek plays that were used for religious rituals and emotional release. Over time, genres such as comedy and tragedy became standardized ways to categorize plays. The document also discusses how genres help audiences understand what to expect from different media works and allow them to be more easily marketed and sold. However, genres have become more hybridized and fluid over time as they incorporate elements from multiple genres.
A2 Media Skyfall Lesson 1 Genre
This document discusses genre theory and how genres are defined. It notes that genres can overlap and there are mixed genres. While genres rely on repetition, difference is also essential to attract audiences. The document presents Nick Lacey's framework for analyzing genres which breaks down a text into setting, character, narrative, iconography, and style. It also discusses how audiences derive pleasure from recognizing genres and anticipating their conventions.
Genre theory
Genre theory categorizes texts into types or categories based on common elements. Traditionally, genres were seen as fixed forms, but contemporary theory emphasizes that genres are dynamic and reflect changes in society. Genres are recognizable through repeated conventions like iconography, narrative structure, character stereotypes, and themes. However, genres are also progressive and blurring, making pure genres a thing of the past as they hybridize and borrow from one another. The main strength of genre theory is that it provides a framework for producers, audiences, and scholars to understand and engage with media texts, but it also risks stifling creativity if genres become too rigid.
Genre Theory
This document discusses genre theory in media. It defines genre as a category that media texts fall into based on conventions like plot, characters, and stylistic elements. Theories discussed include genres having subgenres and evolving over time (Grant, Neale), genres being used by industries to sell familiar codes and conventions to audiences (Mittell), and genres providing audiences pleasures like emotional response and decoding narratives (Altman). Music videos are given as an example of reinforcing elements of music genres to appeal to youth subcultures.
2 genre
Here is a potential plan for answering this exam question:
Introduction:
- State which production piece will be discussed (e.g. my short film 'XYZ')
- Briefly describe the piece
Body paragraph 1:
- Discuss Neale's theory of genre circulating between industry, text and subject
- Apply this theory to my short film - how does it fit with/challenge this idea?
- Reference quote from Neale
Body paragraph 2:
- Discuss Barthes' theory of intertextuality and making sense of texts in relation to other genres
- Analyze how my film draws on/departs from conventions of related genres
- Reference Barthes quote
Body paragraph 3
Genre theorists
The document discusses different genre theorists and their perspectives on genre. John Fiske viewed genre as embodying ideological concerns of their time and being convenient for producers and audiences. Henry Jenkins saw genres as constantly breaking rules and evolving in hybrid forms. John Hartley argued that genre is culturally interpreted and a text's genre can change based on time and location. Daniel Chandler viewed genres as potentially too restrictive. Steve Neale stressed that genres are dynamic processes rather than fixed systems. David Buckingham linked genre development to changing identity. Jason Mittell analyzed genre commercially and culturally. Barry Keith Grant referred to genre's meaning in terms of production, consumer indexing, and critical taxonomy. Rick Altman proposed genres are defined by media language elements and
Genre theory (2012 lesson 1)
Genres are used to categorize different types of texts to help organize the large amount of information available. They allow audiences and institutions to easily identify and understand texts based on their common elements. According to theorists, genres appeal to our need to impose order and simplify information. While genres provide familiarity, they are not rigid, as texts can also blend elements of multiple genres or have sub-genres within a main genre. This hybridity and existence of sub-genres means genres are further divided into more specific categories.
Genre theory 2015 lesson 2
This document discusses several theoretical perspectives on genre:
1. Rick Altman breaks genre down into semantic (props, characters, etc.) and syntactic (ideologies, narratives) elements which must be analyzed separately.
2. David Buckingham argues that genre is constantly negotiated and changing through hybridization.
3. Nicholas Abercrombie suggests that economic pressures lead to the "dismantling of genre" through pursuing new audiences.
4. Todorov argues that new genres transform old genres, similar to postmodern bricolage combining multiple genres.
5. Some Marxists see genre as social control reproducing dominant ideologies, while feminists examine how genres produce hegemonic representations viewed as common sense.
Burton’s genre theory
Burton's genre theory proposes that genres can be defined by key elements such as protagonists, stock characters, predictable plots, icons, background/décor, and themes. These elements recur across examples of a genre to create expectations for audiences and allow genres to be categorized. The theory provides a formula to define genres based on the combination of these elements. An analysis of three horror films found they shared many of Burton's proposed key elements for the genre, supporting that his theory can accurately describe and define genres.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
Genre theory
Genre theory divides texts into categories based on common elements to help study them. Genre helps audiences and institutions decide what to watch or create by supplying demand. Traditionally genres were fixed, but theorists now see them as dynamic and always changing to reflect society. Genre conventions from the past are less common as audiences want more variety. Still, genre remains useful as everyone understands it, allowing producers, audiences, and scholars to analyze media in the same way. Its accessibility also lets genre apply broadly across text types, though genres can restrict creativity and risk-taking if formulas become tired.
Genre theory details
Genre theory has become too focused on signs and meaning rather than how genres historically emerged from the film industry. Ignoring this context means not understanding how and why genres develop, change in popularity, and decline over time. Additionally, what one theorist sees as a genre may be viewed as a sub-genre by another, showing genres are abstract concepts that change over time based on technology, the volume of films/media, and audience tastes. Genres provide audiences familiar conventions and pleasures they seek to fulfill needs like information, identity, social interaction, and entertainment.
Genre theory
The document discusses genre theory as it relates to films. It defines genre as categories that films fit into based on familiar conventions that repeat and vary. Genre theory is important for easily categorizing films and allowing audiences and studios to identify what types of films they want to view or produce. However, genre classification is problematic, as identified by theorist Rick Altman, because genres are not clearly defined or stable, individual films may fit multiple genres, and genres can vary over time and between countries.
Genre theory
This document discusses various theories of genre from film and media scholars. It addresses how genre is both positively and negatively viewed in terms of classifying works. While genre conventions can lead to stagnation if rigidly adhered to, they also provide audiences with familiar expectations. Theories covered include genres having underlying patterns of repetition with variations; conveying moral and social contexts; and being signaled through iconic symbols. Most works incorporate elements of multiple genres. Genres continue to diversify and their boundaries remain fluid over time through cultural negotiation.
Media Studies theorists key concepts - Revision pack
all the theorists you need to access many of the A-level content for upcoming Media exams. Use this to revise, plan and ace your essays. Media Studies revision.
1.media language
This document discusses key concepts related to media language, including conventions, genre hybridity, intertextuality, semiotics, and genre theory. Conventions are typical elements expected in a media text that help identify genre. Genre hybridity occurs when a text uses conventions from multiple genres. Intertextuality refers to when one text references another. Semiotics is the study of signs, including denotation (literal meaning) and connotation (symbolic meaning). Theorists like Barthes, Baudrillard, and Neale contributed to understanding how meaning is constructed through signs and genre in media texts.
Genre
This document summarizes several genre theorists and their theories. It identifies Chandler as saying all things have a genre as a way to study texts and audience response. Tudor's theory is that genres need recognizable elements before they can be identified. Altman's theories are that genre has become too focused on semantics over context, and that genres offer audiences pleasures. The document also notes theories by Stam, Grant, Feurer, McQuail, Mittel, Metz, Buckingham, and Neale about genre classification, subgenres, abstractness, uses and gratifications, industry uses, cycles of change, cultural negotiation, and systemization over time.
Genre theory
This document summarizes several theorists' perspectives on genre theory:
1. It discusses five key functions of genre identified by The Five Functions of Genre: reinforcement of cultural ideas, creation of audience expectations, recognizable characteristics, relationship between audiences and producers to minimize financial risk, and dynamism and flexibility over time.
2. It briefly outlines four genre theorists' views: Chandler defines genre by shared conventions of content; Neale sees genres as instances of repetition and difference for audience pleasure; Hartley notes the same text can belong to different genres in different contexts; and Buckingham sees genre as a constant process of negotiation and change.
3. It poses several questions about defining and understanding genres, including whether they are
Narrative Theories and Theorists
This document discusses various narrative theories and theorists that provide frameworks for analyzing narratives across different media. It covers concepts like narrative structure, character archetypes, codes of narrative, and postmodern approaches. Theorists discussed include Propp, Todorov, Barthes, Levi-Strauss, and Cameron. Examples are provided to illustrate how these theories can be applied, such as in the analysis of the Taylor Swift music video "You Belong With Me".
Andrew Goodwin - 6 Features of Music Videos and 5 Ways to Analyse Them
Andrew Goodwin's book Dancing in the Distraction Factory suggests there are 6 key features and 5 ways to analyze music videos. The 6 features are: 1) genre characteristics, 2) relationships between lyrics and visuals, 3) intertextual references, 4) demands of the record label, 5) reference to looking, and 6) intertextual references to other areas. The 5 ways to analyze are: thought beats, the voice of the star, narrative and performance, star image, and the relation of visuals to the song. Goodwin argues these elements are important to understand how music videos tell stories and communicate with audiences.
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Genre Theorists
Genre theorists Steve Neale and Tom Ryall propose theories about genre. Neale argues that pleasure comes from familiar genre conventions being manipulated in familiar and unfamiliar ways. Ryall suggests genre criticism views the relationship between film/artist/audience as triangular, with all three equally constituting the text's meaning, unlike auteur theory which privileges the artist. Ryall depicts concentric circles representing the studio/industry context and broader society influencing the film. Genre conventions establish expectations for creators and audiences.
Genre lesson
Introduction to Genre
Brief history
Questions to ask comparing your own product
Theory -link to Ryall
Theory - Branston & Stafford
Glossary
Genre Theory
The document discusses the history and purpose of genre in media. It explains that genres originated from Ancient Greek plays that were used for religious rituals and emotional release. Over time, genres such as comedy and tragedy became standardized ways to categorize plays. The document also discusses how genres help audiences understand what to expect from different media works and allow them to be more easily marketed and sold. However, genres have become more hybridized and fluid over time as they incorporate elements from multiple genres.
A2 Media Skyfall Lesson 1 Genre
This document discusses genre theory and how genres are defined. It notes that genres can overlap and there are mixed genres. While genres rely on repetition, difference is also essential to attract audiences. The document presents Nick Lacey's framework for analyzing genres which breaks down a text into setting, character, narrative, iconography, and style. It also discusses how audiences derive pleasure from recognizing genres and anticipating their conventions.
Genre theory
Genre theory categorizes texts into types or categories based on common elements. Traditionally, genres were seen as fixed forms, but contemporary theory emphasizes that genres are dynamic and reflect changes in society. Genres are recognizable through repeated conventions like iconography, narrative structure, character stereotypes, and themes. However, genres are also progressive and blurring, making pure genres a thing of the past as they hybridize and borrow from one another. The main strength of genre theory is that it provides a framework for producers, audiences, and scholars to understand and engage with media texts, but it also risks stifling creativity if genres become too rigid.
Genre Theory
This document discusses genre theory in media. It defines genre as a category that media texts fall into based on conventions like plot, characters, and stylistic elements. Theories discussed include genres having subgenres and evolving over time (Grant, Neale), genres being used by industries to sell familiar codes and conventions to audiences (Mittell), and genres providing audiences pleasures like emotional response and decoding narratives (Altman). Music videos are given as an example of reinforcing elements of music genres to appeal to youth subcultures.
2 genre
Here is a potential plan for answering this exam question:
Introduction:
- State which production piece will be discussed (e.g. my short film 'XYZ')
- Briefly describe the piece
Body paragraph 1:
- Discuss Neale's theory of genre circulating between industry, text and subject
- Apply this theory to my short film - how does it fit with/challenge this idea?
- Reference quote from Neale
Body paragraph 2:
- Discuss Barthes' theory of intertextuality and making sense of texts in relation to other genres
- Analyze how my film draws on/departs from conventions of related genres
- Reference Barthes quote
Body paragraph 3
Genre theorists
The document discusses different genre theorists and their perspectives on genre. John Fiske viewed genre as embodying ideological concerns of their time and being convenient for producers and audiences. Henry Jenkins saw genres as constantly breaking rules and evolving in hybrid forms. John Hartley argued that genre is culturally interpreted and a text's genre can change based on time and location. Daniel Chandler viewed genres as potentially too restrictive. Steve Neale stressed that genres are dynamic processes rather than fixed systems. David Buckingham linked genre development to changing identity. Jason Mittell analyzed genre commercially and culturally. Barry Keith Grant referred to genre's meaning in terms of production, consumer indexing, and critical taxonomy. Rick Altman proposed genres are defined by media language elements and
Genre theory (2012 lesson 1)
Genres are used to categorize different types of texts to help organize the large amount of information available. They allow audiences and institutions to easily identify and understand texts based on their common elements. According to theorists, genres appeal to our need to impose order and simplify information. While genres provide familiarity, they are not rigid, as texts can also blend elements of multiple genres or have sub-genres within a main genre. This hybridity and existence of sub-genres means genres are further divided into more specific categories.
Genre theory 2015 lesson 2
This document discusses several theoretical perspectives on genre:
1. Rick Altman breaks genre down into semantic (props, characters, etc.) and syntactic (ideologies, narratives) elements which must be analyzed separately.
2. David Buckingham argues that genre is constantly negotiated and changing through hybridization.
3. Nicholas Abercrombie suggests that economic pressures lead to the "dismantling of genre" through pursuing new audiences.
4. Todorov argues that new genres transform old genres, similar to postmodern bricolage combining multiple genres.
5. Some Marxists see genre as social control reproducing dominant ideologies, while feminists examine how genres produce hegemonic representations viewed as common sense.
Burton’s genre theory
Burton's genre theory proposes that genres can be defined by key elements such as protagonists, stock characters, predictable plots, icons, background/décor, and themes. These elements recur across examples of a genre to create expectations for audiences and allow genres to be categorized. The theory provides a formula to define genres based on the combination of these elements. An analysis of three horror films found they shared many of Burton's proposed key elements for the genre, supporting that his theory can accurately describe and define genres.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
Genre theory
Genre theory divides texts into categories based on common elements to help study them. Genre helps audiences and institutions decide what to watch or create by supplying demand. Traditionally genres were fixed, but theorists now see them as dynamic and always changing to reflect society. Genre conventions from the past are less common as audiences want more variety. Still, genre remains useful as everyone understands it, allowing producers, audiences, and scholars to analyze media in the same way. Its accessibility also lets genre apply broadly across text types, though genres can restrict creativity and risk-taking if formulas become tired.
Genre theory details
Genre theory has become too focused on signs and meaning rather than how genres historically emerged from the film industry. Ignoring this context means not understanding how and why genres develop, change in popularity, and decline over time. Additionally, what one theorist sees as a genre may be viewed as a sub-genre by another, showing genres are abstract concepts that change over time based on technology, the volume of films/media, and audience tastes. Genres provide audiences familiar conventions and pleasures they seek to fulfill needs like information, identity, social interaction, and entertainment.
Genre theory
The document discusses genre theory as it relates to films. It defines genre as categories that films fit into based on familiar conventions that repeat and vary. Genre theory is important for easily categorizing films and allowing audiences and studios to identify what types of films they want to view or produce. However, genre classification is problematic, as identified by theorist Rick Altman, because genres are not clearly defined or stable, individual films may fit multiple genres, and genres can vary over time and between countries.
Genre theory
This document discusses various theories of genre from film and media scholars. It addresses how genre is both positively and negatively viewed in terms of classifying works. While genre conventions can lead to stagnation if rigidly adhered to, they also provide audiences with familiar expectations. Theories covered include genres having underlying patterns of repetition with variations; conveying moral and social contexts; and being signaled through iconic symbols. Most works incorporate elements of multiple genres. Genres continue to diversify and their boundaries remain fluid over time through cultural negotiation.
Media Studies theorists key concepts - Revision pack
all the theorists you need to access many of the A-level content for upcoming Media exams. Use this to revise, plan and ace your essays. Media Studies revision.
1.media language
This document discusses key concepts related to media language, including conventions, genre hybridity, intertextuality, semiotics, and genre theory. Conventions are typical elements expected in a media text that help identify genre. Genre hybridity occurs when a text uses conventions from multiple genres. Intertextuality refers to when one text references another. Semiotics is the study of signs, including denotation (literal meaning) and connotation (symbolic meaning). Theorists like Barthes, Baudrillard, and Neale contributed to understanding how meaning is constructed through signs and genre in media texts.
Genre
This document summarizes several genre theorists and their theories. It identifies Chandler as saying all things have a genre as a way to study texts and audience response. Tudor's theory is that genres need recognizable elements before they can be identified. Altman's theories are that genre has become too focused on semantics over context, and that genres offer audiences pleasures. The document also notes theories by Stam, Grant, Feurer, McQuail, Mittel, Metz, Buckingham, and Neale about genre classification, subgenres, abstractness, uses and gratifications, industry uses, cycles of change, cultural negotiation, and systemization over time.
Genre theory
This document summarizes several theorists' perspectives on genre theory:
1. It discusses five key functions of genre identified by The Five Functions of Genre: reinforcement of cultural ideas, creation of audience expectations, recognizable characteristics, relationship between audiences and producers to minimize financial risk, and dynamism and flexibility over time.
2. It briefly outlines four genre theorists' views: Chandler defines genre by shared conventions of content; Neale sees genres as instances of repetition and difference for audience pleasure; Hartley notes the same text can belong to different genres in different contexts; and Buckingham sees genre as a constant process of negotiation and change.
3. It poses several questions about defining and understanding genres, including whether they are
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Media Studies theorists key concepts - Revision pack
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Narrative Theories and Theorists
This document discusses various narrative theories and theorists that provide frameworks for analyzing narratives across different media. It covers concepts like narrative structure, character archetypes, codes of narrative, and postmodern approaches. Theorists discussed include Propp, Todorov, Barthes, Levi-Strauss, and Cameron. Examples are provided to illustrate how these theories can be applied, such as in the analysis of the Taylor Swift music video "You Belong With Me".
Andrew Goodwin - 6 Features of Music Videos and 5 Ways to Analyse Them
Andrew Goodwin's book Dancing in the Distraction Factory suggests there are 6 key features and 5 ways to analyze music videos. The 6 features are: 1) genre characteristics, 2) relationships between lyrics and visuals, 3) intertextual references, 4) demands of the record label, 5) reference to looking, and 6) intertextual references to other areas. The 5 ways to analyze are: thought beats, the voice of the star, narrative and performance, star image, and the relation of visuals to the song. Goodwin argues these elements are important to understand how music videos tell stories and communicate with audiences.
Media Language
This document discusses key concepts in media language, including codes, semiotics, and theorists who have contributed to our understanding of how meaning is constructed in media texts. It covers several technical elements used in media like mise-en-scene, camerawork, sound, and editing. Semiotics is introduced as the study of signs, exploring the work of Saussure on the signifier and signified. Barthes and others examined how signs take on ideological meanings within a society through connotation. Goodwin's work on media features and ways of viewing is also briefly mentioned as relevant to understanding media language.
Why I Chose Avicii The Nights
Ben chose Avicii's "The Nights" for his music video because the song allows for different types of videos through its versatile music and meaningful message that many can relate to about growing up. The song's music opens up possibilities for narrative, conceptual and performance style videos, and Ben knows the song well and has a clear vision for the impression he wants to convey in the video.
Target Audience
The document analyzes the target audience for Avicii's song "The Nights". It identifies that the target age range is 15-25 years old as that is who generally listens to this genre of dance pop music. It notes the music would not appeal to much younger or older audiences. It also states that the target audience could include both men and women equally as dance pop has varied popularity across genders. The themes of the song, like nightclubs and dancing, suggest the target audience includes adolescents, students, and those seeking adventure or travel.
Floor Plans of Filming Locations
The document outlines several filming locations for a music video including rural and urban areas in Ringwood, Bransgore, Burley, and Bournemouth. Key shots will include footage of the main character wandering and hitchhiking through various countryside and roadside settings. Specific locations mentioned are Christchurch Road for its long straight stretches flanked by houses and green areas, Bransgore and Burley forests for shots of the character exploring alone in natural settings, and Bournemouth Beach and gardens for scenes where the character is more familiar with his surroundings.
Reece of Locations
Ringwood town centre and outskirts will serve as the starting location where the son says goodbye to his father. Footage will also be captured along the road to Bransgore and Burley for hitchhiking shots, as the winding landscape allows for changing scenery. Hengistbury Head will provide a sense of reaching the "end of the Earth" for closing shots. Bournemouth's beaches and gardens offer ideal settings to show the character taking in new surroundings.
Props
The document discusses props for an "Avicii The Nights" music video. It lists four props: a rucksack, headphones, camera, and watch. It provides explanations for including each prop. The rucksack is needed to carry supplies on a trip. Headphones allow the character to listen to music, possibly the song itself. A camera lets the character take photos and experience the adventure like the audience. A watch could show the connection between the character and his father by indicating their different time zones.
Costume
The document discusses costume choices for characters in the music video for "Avicii The Nights." For the main character, the Son, the costume is meant to portray him as smart casual and adventurous as he goes travelling. Specific props will further exemplify his activities. The Father's costume is less important as he only briefly appears, and is meant to look like typical casual weekend wear.
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Similar to Genre Theories
Genre theory 1
Genre theory helps categorize media texts based on common elements and allows audiences and institutions to identify what they want to consume. There are several theorists who have studied genres and how they evolve over time. Genres are recognizable through codes and conventions but are also progressive and hybridize over time, making them more difficult to define. While genre theory provides a framework for studying, developing, and marketing media, it can also constrain creativity by forcing texts to conform to established genres.
Genre theory monday 2014
This document discusses genre theory and definitions of genre. It provides perspectives from several theorists on what constitutes a genre and how genres function. Daniel Chandler defines genres based on shared conventions of content, themes and settings. Steve Neale views genres as instances of repetition and difference that provide pleasure to audiences. Genres are seen as dynamic and constantly changing rather than fixed forms. The document also discusses genre hybridization and provides examples of how genres develop over time from experimental to classic to parody to deconstruction. It examines genres as providing structure, expectations and pleasure for both audiences and producers.
Genre theory
1. Genre theory proposes that genres are conventions of content and form that are shared by texts belonging to that genre.
2. Genres are dynamic and open to negotiation rather than fixed forms. A text can belong to different genres over time and location.
3. Genres position both producers and audiences in certain ways. Producers work within genre conventions while audiences have expectations shaped by familiar genres.
Genre theory
1. Genre theory proposes that genres are conventions of content and form shared by texts belonging to them, though genres are dynamic and constantly changing rather than fixed.
2. Genres position both producers and audiences in certain ways, with genres providing expectations for audiences around plot, characters, and pleasures like emotional responses and sharing the experience with others.
3. However, genre classification is problematic, as individual texts may belong to multiple genres, genres are not clearly defined and change over time and between cultures, and their functions and borders are debated.
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.
Audience theory
Narrative theory analyzes how media texts communicate meaning through structured stories. It views narratives as having a beginning, middle, and end that establishes causal relationships between events. Theorists like Propp, Barthes, and Levi-Strauss broke down narratives into character types, codes, and symbolic oppositions to understand how they reflect cultural values. Genre theory categorizes media texts based on shared conventions and helps audiences understand and engage with different types of texts. While genres provide structure, they can also constrain creativity, so theorists debate whether pure genres still exist or if they are evolving through hybridization.
SECTION A Genre
This document discusses genre theory and defines genre as the categorization of media texts. It notes that genres have identifiable codes and conventions that create audience expectations. While genres were once more rigid, theorists now argue they are progressive and dynamic through hybridization. The document analyzes the horror/comedy hybrid genre of Shaun of the Dead and discusses genre identification based on narrative, characters, setting, and other elements. It describes how genres convey certain themes and ideologies through their character archetypes and storylines.
Narrative theory
Narrative theory analyzes how media texts communicate meaning through structured stories. It views narrative as a chain of causally linked events with a beginning, middle, and end. Theorists like Branigan, Propp, and Barthes developed approaches to analyzing characteristics like character types, codes, and underlying cultural themes in narratives. More recent theorists examine how genres, postmodern narratives, and hybrid forms challenge traditional understandings of narrative structure. Narrative theory provides concepts to inform how meaning is constructed in media texts and genres help categorize texts for audiences, creators, and scholars.
Genre Theory
1. Genre theory proposes that genres are defined by shared conventions of content, themes, settings, and form/style between texts.
2. Theories differ on whether genres are fixed categories or dynamic and negotiated.
3. Genres provide expectations for audiences and positions readers in an "ideal" role, while also offering pleasures through recognition, emotion, and differences from conventions.
Genre theory
Genre theory divides texts into categories based on common elements to help study them and audience responses. Theorists argue that genres are dynamic and change over time to reflect societal changes. Film theorist Rick Altman asserts that pure genres no longer exist and that audiences want more variety, leading genres to hybridize and blend conventions. Genres are recognizable through repeated generic codes and conventions. Strengths of genre theory are its accessibility and usefulness to producers, audiences, and scholars, but it risks limiting experimentation and failing to appreciate artistic elements outside genres.
1b) Genre
Genres are categories of creative works based on common elements. They allow analysis of texts and audience responses. Genres have recognizable codes and conventions like costumes, locations, sounds, and narratives. Subgenres have more specific categories. Genres are dynamic and evolve over time. Producers use familiar genre codes and conventions to meet audience expectations and sell products. Audiences recognize codes to choose genres that fulfill pleasures.
Theorist overview
This document provides information on various media theorists that can be used for a 1B media analysis. It discusses theorists related to genre, narrative, representation, audience and media language. Specifically, it outlines key concepts from theorists such as Levi-Strauss on binary oppositions, Mulvey on the male gaze, Propp's narrative roles, and Hall's encoding/decoding model of audiences. It also provides guidance on applying these theories to analyze representations, audience positioning and genre in media texts.
Genre Theory
This document introduces genre theory and key concepts about how genres are used to categorize different types of media texts. It discusses how genres share common narrative elements, visual styles, characters, and other features to help audiences identify and make sense of different types of texts. While genres provide a useful framework, the document also notes that genres are not rigid and can evolve and blend over time as new works push genre boundaries.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition of conventions alongside innovation and deviation from expectations.
Genre theorists
1. Several genre theorists view genres as dynamic processes that evolve over time as people experiment with new conventions and characteristics.
2. Genres operate within broader cultural and industry contexts and can reference audience knowledge of society and other texts.
3. Horror films often function as morality plays that punish those who break social rules, addressing themes like fear of the unknown, the relationship between sex and death, and the breakdown of society.
Genre theory details
Genre theory has become too focused on signs and meaning rather than how genres historically emerged from the film industry. Ignoring this context provides no understanding of how and why genres develop, change in popularity, and decline over time. Additionally, what one theorist sees as a genre may be viewed as a sub-genre by another, showing genres are abstract concepts without set definitions. Industries use familiar genre conventions and codes to sell media products by appealing to audience's existing knowledge and desires.
Genre theory A2
This document discusses genre theory in media such as film. It defines genre as a category or type of media text that shares common conventions. Genre helps both audiences and producers classify texts and make decisions about what to watch or create. While genres offer audiences familiarity and anticipation, theorists note that genres are dynamic and evolve over time in response to changes in society and audience tastes. Some key points discussed are that genres are defined by recurring codes and conventions, but are also hybridizing and blurring as audiences expect more novelty. The document also examines different genre theorists' perspectives on genres and their flexible, negotiated nature.
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
The document discusses several media theorists' perspectives on genre. Steve Neale recognized that genres are dynamic processes that evolve over time, as evidenced by how the vampire genre changed from Nosferatu to Interview with the Vampire. Jason Mittell described how genres operate within industries, audiences and culture. Genres help industries market to audiences and allow audiences to choose what to consume. Rick Altman discussed the different pleasures genres provide audiences: emotional, visceral, and intellectual. Nicholas Abercrombie noted that genre boundaries are shifting and genres are becoming more permeable. David Buckingham and Christian Metz both argued that genres are constantly negotiated and changing, rather than fixed categories.
Five media theoretical ideas
This document discusses five media theoretical ideas: genre theory, audience theory (cultivation theory), mediation and stereotyping, Todorov's narrative theory, and semiotics. It provides definitions and examples of each theory. Genre theory examines how texts are categorized into genres and subgenres. Cultivation theory proposes that television shapes viewers' perceptions of reality. Mediation theory explores how media constructs alternate realities through selection, organization and focus. Todorov's theory analyzes common narrative patterns in stories. Semiotics studies signs and their meanings in communication and media.
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Genre Theories
- 1. Ben Walker AS Media A Jones Genre Section A - Question 1B ‘Genre’isa critical tool that helpsusstudytextsandaudience responsestotextsbydividingthem intocategoriesbasedoncommonelements. The word genre means‘type’or‘category’.- FilmStudiesbyWarranBuckland Genre helpsbothaudiencesandinstitutionstomake decisionsaboutwhattheywantto see and whattheywant to make to supplythatdemand. Genre theorists Tom Ryall – 1978 Arguesthatgenre are recognisable throughthe repeateduse of genericcodesandconvention,as howwe watch as the audience knowahorror filmisa horror film. He suggeststhatthe typesof conventionsfoundingenresmightbe groupedwithinthe following categories: Iconographies(symbolicformsassociatedwiththe genre) Narrative (structure,open/closed) Representation(characters/stereotypes) Ideologies(beliefsandideasof the ‘ideal’concept,themes.) Buckingham - 1993 “The Mediadoesn’tofferusa transparentwindow onthe world.The offeraconstructedversionof the world” Traditional genrestendedtobe regardedasfixedformsbutcontemporarytheoryemphasisesthat boththeirformsand functionsare dynamic. He arguesthat ‘Genre isnot… simplygivenbythe culture:rather,itisina constantprogressof negotiationandchange’. Changesingenre reflectschangesinsocietyandourvalues. Andrew Goodwin - 1992 Music videosare simplyanextensionof the lyrics.Basicallyshouldbe able todetermineagenre judgingbythe lyricsof the song. No.4 of Goodwin’s5ways:relationof visual tosong – doesyourvideoillustrate(show),amplify (make general feelingbiggerandworse) orcause disjuncture (Readlyricsanddoa videoof a totally different,unrelatedsubject). Music videosdemonstrategenre characteristics
- 2. Ben Walker AS Media A Jones Rick Altman – 1999 Arguesthat“There isno suchthingas ‘pure’genre anymore.Genre isprogressiveandthatitwill alwayschange.” He saysgenre issurvivingdue tohybridisationorgenresborrowingconventionsfromone another and thusbeingmuchmore difficulttocategorise. E.g TaylorSwiftbeing‘CountryPop’oniTunes.Due toherCountryroots and now branchinginto more pop songs. Strengths Everybodyunderstandwhatgenre is: - Mediaexpertsuse ittostudy mediatexts - Industryusesitto developand markettexts - Audiencesuse ittodecide whattextstoconsume Potential forthe same concepttobe understoodbyproducers,audiences,andscholarsmakesgenre a useful critical tool. Weaknesses Genre providesboundariesandcausesdivisions.Youcanbecome categorisedintoanareathat you may notwant to be.Meaningyoucouldonlybe put intoa certainareas whichmaynot necessarily suityou. It can squashcreativity Withoutgenre itmay meanitis hard forindustriestomarketor sell theirproductsmeaningthatthe categorisationthatgenre bringsmaymeanthatpeople are tooleadby whichgenre a filmmaybe.