This document discusses different perspectives on genres from various scholars. It addresses how genres are traditionally defined based on shared conventions of content, structure and style. However, contemporary theory emphasizes that genres are dynamic forms that change through a process of cultural negotiation. While genres provide familiarity and predictability, they also need elements of difference and innovation to remain interesting to audiences over time. Hybrid genres that combine conventions from different genres have become more common as a way to challenge genres.

2. DAVID CHANDLER
• Conventional definitions of genres tend to be based on
the notion that they constitute particular conventions of
content (theme and settings) and (structure and style)
which are shared by texts that are regarded as belonging
to them.
• This means that all genres have set conventions which
are associated with them, this helps the audience to know
what to expect from a certain genre.

3. DAVID CHANDLER
• Every genre positions those who participate in a text.
• Each positioning implies different possibilities for response and action.
• Embedded in texts are assumptions about the ‘ideal reader’ including
their attitudes towards the subject matter and often their class, age,
gender and ethnicity

4. STEVE NEALE
• ‘Genres are instances of repetition and difference. Difference is essential to the
economy of genre if you only have repetition this does not attract the audience. This is
one of the reason why texts often exhibit the convention of more than one genre’.
• This means that due to genres having set conventions to them it leaves the audience to
know what to expect, and although these may be perceived as a positive trait it can also
be seen as a negative. This is because it gets boring for the audience to know what they
are going to watch and therefore repetitive. This is why you nee different elements
within the same genre to challenge and develop it. Hybrids are now more common as
different conventions of different genres have been layered together, this keeps texts
(music videos, films) interesting.
• Repetition and difference
• No pleasure with-out difference
• We derive pleasure from observing how the convention of the genre is manipulated.
• We enjoy the stretching of a genre in new directions and the shifting of our
expectations.

5. • Traditionally ‘literary’ genres tend to be regarded as fixed
forms, but contempory theory emphasizes that both their
forms and functions are dynamic.
• David Buckingham argues that ‘Genre is not…simply
‘given’ by the culture rather it is in a constant process of
negotiation and change.

6. USES AND GRATIFICATION
• One pleasure may be the recognition of the features of a
a particular genre because of familiarity
• Genres may offer various emotional pleasure such as
empathy or escapism.
• Debrorah Knight ‘Satisfaction is guaranteed with genre;
the deferral of the inevitable provides the additional
pleasure of prolonged anticipation’.

7. • TOM RYALL – genre provides a framework of structuring
rules (patterns, forms and styles which acted as
‘supervision’.
• JOHN FISHE – defines genres as ‘attempts to structure
some order into the wide range of texts and meaning that
circulate in our culture for the convenience of producers
and audiences.
• RICK ALTMAN – genres are usually defined in terms of
media language and codes of certain ideas and
narratives.

8. STEVE NEALE
Hollywood generic regime performs 2 inter-related
functions.
1) Guarantee meanings and pleasure
2) To offset considerable economic risks of industrial film
production by providing cognitive collateral against
innovation and differences.