Genre Theory
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This document discusses different perspectives on genre theory. It begins by defining genre as a distinctive type of text, and notes that genres have sub-genres and are dynamic, evolving processes rather than static systems. Generic conventions include common narrative elements, settings, costumes and props across different media. Genres are cultural categories that exist within industries, audiences and society. They use familiar codes and conventions to appeal to audiences and allow audiences to choose media based on genre. Genres also provide audiences with different types of pleasures and evolve over time as society changes.
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Genre
Genre is a dynamic process that evolves over time through subgenres and conventions. Theories of genre discuss how genres develop through stages from experimental to classic to parody to deconstruction. Genre operates within industries, audiences and culture - industries use genre to sell products and audiences use genre to choose what to consume. The main strength of genre theory is that it can be accessed and applied by producers, audiences and academics to study media texts across different mediums.
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
This document discusses genres and how they are used to categorize media texts based on common features. Genres are divided into subgenres and have recognizable characteristics that audiences use to identify and decide what to consume. Genres show typical elements like visual style, narrative, characters, personnel, sound, and editing. They provide familiarity that audiences find comforting and derive pleasure from both the repetition and differences within genres. Genres are dynamic and evolve over time, operating as cultural categories within both media texts and audience practices. Themes can appear across genres, and audiences take pleasure in generic conventions while also desiring some differences.
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.
Genre Theory
This document discusses genre theory in media. It defines genre as a category that media texts are placed in due to conventions and characteristics. Examples of genres include romance, horror, sci-fi, thriller, action, and fantasy. Genres sort media texts so audiences know what to expect. Audiences can develop preferences for certain genres. Genres are dynamic and evolve over time rather than being static systems. Consistent elements within genres include mise-en-scene, narratives, characters, production companies, personnel, sound design, and editing style. Genres allow audiences to choose what media to consume to fulfill certain pleasures like emotional, visceral, and intellectual responses.
Genre
This document discusses genre theory and how genres are used and evolve. It provides definitions of genre from various scholars and outlines some key characteristics of genres across media texts. Genres are described as cultural categories that transcend media and are used by industries, audiences and scholars. Genres develop conventions over time but also change as societies change, going through cycles from an experimental to a classic stage and potentially being parodied or deconstructed. The strengths of genre theory are that the concept is widely understood by producers, audiences and academics.
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.
Genre theory
This document discusses genre theory in film. It defines genre as a category or type of film defined by structural and thematic elements that allow audiences to identify common traits. While genres aim to organize films, sub-genres have emerged that combine elements of different genres. This allows for more experimental hybrid genres but makes categorization less clear-cut. The document also profiles several theorists' perspectives on genre, including that genres can restrict creativity but provide predictability valued by audiences.
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Genre
Genre is a dynamic process that evolves over time through subgenres and conventions. Theories of genre discuss how genres develop through stages from experimental to classic to parody to deconstruction. Genre operates within industries, audiences and culture - industries use genre to sell products and audiences use genre to choose what to consume. The main strength of genre theory is that it can be accessed and applied by producers, audiences and academics to study media texts across different mediums.
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
This document discusses genres and how they are used to categorize media texts based on common features. Genres are divided into subgenres and have recognizable characteristics that audiences use to identify and decide what to consume. Genres show typical elements like visual style, narrative, characters, personnel, sound, and editing. They provide familiarity that audiences find comforting and derive pleasure from both the repetition and differences within genres. Genres are dynamic and evolve over time, operating as cultural categories within both media texts and audience practices. Themes can appear across genres, and audiences take pleasure in generic conventions while also desiring some differences.
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.
Genre Theory
This document discusses genre theory in media. It defines genre as a category that media texts are placed in due to conventions and characteristics. Examples of genres include romance, horror, sci-fi, thriller, action, and fantasy. Genres sort media texts so audiences know what to expect. Audiences can develop preferences for certain genres. Genres are dynamic and evolve over time rather than being static systems. Consistent elements within genres include mise-en-scene, narratives, characters, production companies, personnel, sound design, and editing style. Genres allow audiences to choose what media to consume to fulfill certain pleasures like emotional, visceral, and intellectual responses.
Genre
This document discusses genre theory and how genres are used and evolve. It provides definitions of genre from various scholars and outlines some key characteristics of genres across media texts. Genres are described as cultural categories that transcend media and are used by industries, audiences and scholars. Genres develop conventions over time but also change as societies change, going through cycles from an experimental to a classic stage and potentially being parodied or deconstructed. The strengths of genre theory are that the concept is widely understood by producers, audiences and academics.
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.
Genre theory
This document discusses genre theory in film. It defines genre as a category or type of film defined by structural and thematic elements that allow audiences to identify common traits. While genres aim to organize films, sub-genres have emerged that combine elements of different genres. This allows for more experimental hybrid genres but makes categorization less clear-cut. The document also profiles several theorists' perspectives on genre, including that genres can restrict creativity but provide predictability valued by audiences.
Genre Theory
This document discusses genre theory as it relates to film studies. It provides definitions of genre from several scholars and discusses how genre is used to categorize and organize films into groups based on common attributes. However, the boundaries between genres are noted to be fuzzy rather than clearly defined. Most films contain elements of multiple genres. Genre theory examines how a text relates to other similar texts and the context in which it is consumed. While genres help audiences and producers, they also come with criticisms such as being restrictive to creators and risk-averse for institutions.
Genre theory Steve Neale
Steve Neale is an influential film studies scholar who has written extensively on genre theory. He argues that genres are defined by both repetition of conventions and elements of difference in each text. Genres are not fixed but evolve as new works subvert conventions or combine elements of multiple genres. Audiences expect certain genre conventions but regimes of realism vary between genres based on their internal rules rather than reality alone.
Section a media theories
Genre theory helps categorize texts based on common elements and audience response. It is a useful critical tool as producers, audiences, and scholars can understand genres. However, it can also limit creativity.
Genre theorists like Buckingham, Altman, and Ryall argue that genres are dynamic and evolve over time based on societal changes. While genres were once rigid forms, they are now constantly negotiated and changing. Altman believes genres are progressive and audiences want more variety beyond standard formulas. Ryall suggests genres are recognized through repeated generic codes and conventions.
The main strengths of genre theory are its accessibility and applicability across many text types. However, its potential weakness is that it can constrain creativity and force artists to change their
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.
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 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.
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.
Genre theory
Genre theory provides an important framework for understanding texts. Genres orient audiences with default expectations that help make sense of a work, though some expectations may be challenged. Competent genre readers are not confused by some expectations not being met, as the genre offers a starting point rather than a strict set of rules. Assigning a text to a genre allows audiences to decide if it will appeal to them and enables predictions about narrative events based on knowledge of other works in that genre.
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.
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 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.
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 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
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
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and always changing in response to society. Genres survive through a process of hybridization, borrowing conventions from one another. Genres are recognizable through repeated use of codes and conventions within their narratives, representations, ideologies, and iconography. However, genre theory is not without weaknesses, as rigid adherence to genres may reduce creativity.
Genre
Genre theory examines texts and audience responses by categorizing works into genres based on common elements and conventions. Some key points of genre theory include that all genres have subgenres, genres evolve over time through negotiation between creators and audiences, and hybrid genres emerge that fuse elements of multiple genres. Analyzing genres considers both semantics, or iconography, as well as syntax, or how narrative elements work together.
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.
Genre theory
This document discusses several genre theorists and their perspectives on genre:
- Barry Keith Grant discussed how subgenres emerge to make categories more specific for audiences.
- Steve Neale viewed genres as dynamic processes of systemization that change over time through conventions and ideas.
- Jason Mittell analyzed how genres operate beyond media texts in industries, audiences, and culture through references and consumption decisions.
- Rick Altman described the pleasures genres provide as emotional, visceral, and intellectual responses to plots and problems.
- David Bordwell claimed any theme can appear in any genre and listed common themes like fear of the unknown and breakdown of society.
Genre Investigation
The document discusses genre in media texts such as film, music and literature. Genre is a way to categorize media based on its content and style in order to help audiences understand and identify different types of media they may enjoy. Common genres include comedy, crime, animation, sci-fi, romance, horror and thriller. Theorists like Culler, Ryall and Hartley see genre as providing a framework that establishes expectations for creators and audiences and can limit a text's meaning potential. Genre conventions in horror films typically include isolated settings, dark lighting, villains and a structure where the victim faces a killer who eliminates others until a climactic confrontation.
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Genre Theory
This document discusses genre theory as it relates to film studies. It provides definitions of genre from several scholars and discusses how genre is used to categorize and organize films into groups based on common attributes. However, the boundaries between genres are noted to be fuzzy rather than clearly defined. Most films contain elements of multiple genres. Genre theory examines how a text relates to other similar texts and the context in which it is consumed. While genres help audiences and producers, they also come with criticisms such as being restrictive to creators and risk-averse for institutions.
Genre theory Steve Neale
Steve Neale is an influential film studies scholar who has written extensively on genre theory. He argues that genres are defined by both repetition of conventions and elements of difference in each text. Genres are not fixed but evolve as new works subvert conventions or combine elements of multiple genres. Audiences expect certain genre conventions but regimes of realism vary between genres based on their internal rules rather than reality alone.
Section a media theories
Genre theory helps categorize texts based on common elements and audience response. It is a useful critical tool as producers, audiences, and scholars can understand genres. However, it can also limit creativity.
Genre theorists like Buckingham, Altman, and Ryall argue that genres are dynamic and evolve over time based on societal changes. While genres were once rigid forms, they are now constantly negotiated and changing. Altman believes genres are progressive and audiences want more variety beyond standard formulas. Ryall suggests genres are recognized through repeated generic codes and conventions.
The main strengths of genre theory are its accessibility and applicability across many text types. However, its potential weakness is that it can constrain creativity and force artists to change their
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.
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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 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.
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.
Genre theory
Genre theory provides an important framework for understanding texts. Genres orient audiences with default expectations that help make sense of a work, though some expectations may be challenged. Competent genre readers are not confused by some expectations not being met, as the genre offers a starting point rather than a strict set of rules. Assigning a text to a genre allows audiences to decide if it will appeal to them and enables predictions about narrative events based on knowledge of other works in that genre.
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.
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 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.
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.
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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
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
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and always changing in response to society. Genres survive through a process of hybridization, borrowing conventions from one another. Genres are recognizable through repeated use of codes and conventions within their narratives, representations, ideologies, and iconography. However, genre theory is not without weaknesses, as rigid adherence to genres may reduce creativity.
Genre
Genre theory examines texts and audience responses by categorizing works into genres based on common elements and conventions. Some key points of genre theory include that all genres have subgenres, genres evolve over time through negotiation between creators and audiences, and hybrid genres emerge that fuse elements of multiple genres. Analyzing genres considers both semantics, or iconography, as well as syntax, or how narrative elements work together.
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.
Genre theory
This document discusses several genre theorists and their perspectives on genre:
- Barry Keith Grant discussed how subgenres emerge to make categories more specific for audiences.
- Steve Neale viewed genres as dynamic processes of systemization that change over time through conventions and ideas.
- Jason Mittell analyzed how genres operate beyond media texts in industries, audiences, and culture through references and consumption decisions.
- Rick Altman described the pleasures genres provide as emotional, visceral, and intellectual responses to plots and problems.
- David Bordwell claimed any theme can appear in any genre and listed common themes like fear of the unknown and breakdown of society.
Genre Investigation
The document discusses genre in media texts such as film, music and literature. Genre is a way to categorize media based on its content and style in order to help audiences understand and identify different types of media they may enjoy. Common genres include comedy, crime, animation, sci-fi, romance, horror and thriller. Theorists like Culler, Ryall and Hartley see genre as providing a framework that establishes expectations for creators and audiences and can limit a text's meaning potential. Genre conventions in horror films typically include isolated settings, dark lighting, villains and a structure where the victim faces a killer who eliminates others until a climactic confrontation.
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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
This document discusses genre theory and defines genres as distinctive types of texts that are dynamic and evolve over time. It explores how genres have recognizable characteristics including mise-en-scene, narratives, and characters to help audiences identify them. Genres exist within cultural, industry, and audience practices and help audiences choose media to consume for pleasure. Genres also go through typical cycles of change as experimental, classic, parody, and deconstruction stages as wider society changes over time.
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.
Genre Theory
Mittell argues that genres are cultural categories that exist beyond individual media texts and operate within industries, audiences, and culture. He states that industries use genres to market products to specific audiences by using familiar conventions and cultural references. Genres allow audiences to choose media texts that fulfill a particular pleasure or need. Neale disagrees with the idea that genres are static systems, arguing instead that genres evolve over time based on changing audience ideologies. Altman identifies four types of pleasures genres provide audiences: emotional, visceral, intellectual puzzles, and formal experimentation.
G3251bmediarepresentation
This document provides an overview of key concepts in representation theory, including Marxism, feminism, postmodernism, and stereotypes. It discusses how representations encode ideologies and can reinforce power structures. Representations are never neutral and involve selective portrayals of reality. Media texts use stereotypes, myths and other techniques to represent social groups and ideologies in simplistic ways for audiences.
Genre Theory
This document discusses genre theory and its application to defining the thriller genre. It explores different models of genre theory, from traditional views that see genres as having fixed conventions to more contemporary views that see genres as dynamic and blurring between other genres. The document uses examples like North by Northwest, The Shining, Alien, and Memento to examine how films may conform to or challenge genre conventions. It also notes some of the key texts and producers that are often associated with the thriller genre.
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This document provides information about the Year 11 Media Studies exam on science fiction film. The exam is 1.5 hours long and consists of 4 questions worth equal marks. It makes up 40% of the student's final grade. The questions will be based on a brief given 4 weeks in advance and will assess knowledge of key concepts like media language, audience, representation, and institutions. The document then provides information and exercises on various aspects of media language as it relates to science fiction film, including conventions, mise-en-scene, narrative theory, genres, and reflection theory. It also covers audience profiles, appeal using uses and gratifications theory, subcultures, and imagined communities.
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This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
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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.
Key media concepts
This document summarizes several key media concepts and theories related to genre, representation, media language, and audience. It discusses how genre is a negotiated process that changes over time according to theorists like Buckingham, Neale, and Metz. Representation theorists like Peirce, Gauntlett, and Baudrillard explore how identity and reality are constructed through signs. Theories of media language from Goodwin and Vernallis analyze elements like narrative, editing, camerawork, and diegesis in music videos. Theories of audience from Hall, Hartley, McQuail, and Ang examine how audiences are defined, relate to institutions, and exist as imagined entities.
Representation in your chosen media text
This document discusses representation in media, including how the media constructs rather than reflects reality through careful mediation. It defines representation and discusses how certain groups are commonly represented, such as through stereotypes. Several theories of representation are outlined, including how women are often objectified and gazed at from the male perspective. The document also discusses how stereotypes can both enhance realism for audiences but also reinforce dominant ideologies. It questions whether media representations are ever truly realistic or simply simulations that produce our understanding of reality.
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 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.
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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.
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This document discusses several key concepts related to media studies including genre, narrative, representation, and audience. It provides definitions and theories for each concept. For genre, it discusses how genres are developed and categorized. For narrative, it outlines different narrative structures and relevant theorists like Propp and Todorov. For representation, it discusses representation in media and relevant theories from thinkers like Berger and Willis. It also discusses stereotypes, ideology, and hegemony. For audience, it outlines different audience theories like the hypodermic needle model.
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This document provides an introduction to film genre theory. It discusses genre as a contested area that is open to academic debate. Genre is defined as commercial films that tell familiar stories with familiar characters and situations, though this definition is problematic as it is too broad. The document examines the example of film noir and whether it is a style or genre. It also discusses how genres are not fixed and can adapt or combine elements. The key challenges with defining genres are addressed, such as when elements are unfamiliar or films combine genres.
Media Theory
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.
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- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
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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.
Key media concept
The document discusses several key concepts in media studies including genre, media language, representation, and narrative. It summarizes theories and perspectives from various scholars on these topics as they relate to media texts. Genre is described as allowing audiences to identify media through familiar characteristics, while also being a constantly evolving process. Media language includes elements like technical aspects, voyeurism, and relationships between visuals and lyrics. Representation and narrative are influenced by editing, diegesis, selections, and various stock characters and story structures.
Genre Theory - Chandler
This document discusses the challenges of defining genres. It notes that genres are difficult to define precisely due to issues like overlapping characteristics between genres, exceptions to definitions, and dynamic changes over time. While genres can be intuitively recognized, necessary and sufficient conditions are impossible to determine. The document explores various approaches to conceptualizing genres, such as family resemblances and prototypical examples, and argues that genres are social constructs that exist through collective recognition rather than essential categories.
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Evaluation Q2
The student created several ancillary texts - a digipak containing two album disks, a magazine advertisement, and a main music video product - to promote a fictional indie artist's album. The ancillary texts and main product were designed to have continuity through shared elements like color scheme, fonts, imagery, and indie genre conventions. Peer feedback confirmed the products worked well together and effectively promoted the album through their consistent style and complementary nature.
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The document discusses an upcoming ancillary text photoshoot. Details include that the photoshoot is for additional text pieces and will require models to be photographed. Photographers and a makeup artist will be on hand to capture images for texts pieces to supplement existing materials.
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I decided on a 10 track tracklist for the digipak by researching the typical tracklist lengths of indie artists I like. I searched Google for their tracklists and chose 10 songs that fit my artist's image and would appeal to her target audience. The final 10 track tracklist is then listed.
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This document summarizes several theories related to representation. It discusses Laura Mulvey's male gaze theory, which argues that audiences view media through the perspective of a heterosexual male and that women are objectified for the male gaze. It also summarizes Richard Dyer's star theory, which proposes that celebrities are constructed by institutions for financial gain to appeal to target audiences. Finally, it outlines Tessa Perkins' discussion of stereotypes, noting that stereotypes are assumptions based on groups that can be both positive and negative.
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The survey results showed that the target audience for the music video is 15-19 year old females who enjoy indie music. Most respondents preferred abstract or mixed narrative/abstract music videos that are 2-3 minutes long and feature the artist's performance. Technical elements like music, editing, and cinematography are important, and respondents believed music videos help promote artists. Open responses provided recommendations to include unique ideas, relatable narratives, and avoid cliches.
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Music videos began as a way for artists like Elvis and The Beatles to promote themselves through films in the 1950s-60s. The first true music video was Queen's "Bohemian Rhapsody" in 1975, setting conventions like lighting effects and editing to the beat. Michael Jackson's "Thriller" video in 1983 with its complex narrative and production values was hugely influential. Today, music videos are often shared online through platforms like YouTube, gaining millions of views, while still incorporating conventions established by early pioneers.
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Genre Theory
- 1. Genre Theory
- 2. What Is Genre? David Chandler (2001) Argues that the word ‘genre’ comes from the French word for ‘kind’ or ‘class’ – used to refer to a distinctive type of text Barry Keith Grant (1995) All genres have sub-genres – they’re divided into more specific categories that allow audiences to identify them specifically by their familiar & recognisable characteristics Steve Neale (1995) Genres aren’t systems, they’re processes of systemisation, i.e. they-re dynamic & evolve over time Generic conventions: MES Costume Setting Props Areas of Narrative Action
- 3. Continued… Generic characteristics across all texts share similar elements of the below depending on the medium: • Typical MES • Typical types of narrative • Generic types Archetype = the first/original Styles: Comedy & animation are not genres – they’re styles or treatments
- 4. Jason Mittell (2001) • Genres = cultural categories that surpass the boundaries of media texts & operate within industry, audience & cultural practices • Industries use genre to sell products to audiences – they use familiar codes & conventions that often make cultural references to test their audience’s knowledge of society • Genre also allows audiences to make choices about what products they want to consume through acceptance in order to fulfil a particular pleasure Genre Institution Text Audience
- 5. Rick Altman (1999) Genre offers audiences ‘a set of pleasures’: • Emotional (mental/emotional effect) • Visceral (physical effect) • Intellectual (e.g. whodunit in mystery)
- 6. Genre Development & Transformation Genres develop/change over the years as the wider society that produces them changes – generic transformation Christian Metz – Language & Cinema (1974) Argued that genres go through a typical cycle of changes during their lifetime: 1. Experimental stage 2. Classic stage 3. Parody stage 4. Deconstruction stage
- 7. Music Videos Music videos are: • A medium intended to appeal directly to youth subcultures by reinforcing generic elements of musical genres • ‘Pop-promos’ used to promote a band/artist • Post-modern texts with the main purpose of promoting a star persona • They don’t have to be literal representations of the song or lyrics Some music videos have themes for a youthful audience, e.g.: • Teen angst • Coming of age • Rebellion • Tribalism • Bullying • Romance • Hedonism • Sex • Friendship • Nostalgia • Nihilism
- 8. David Bordwell (1989) “Any theme may appear in any genre” Horror film = modern fairy tale Fear of the unknown = monster is the ‘monstrous other’ Sex = death = sex is immoral & will be punished (in horror films) – werewolf movies can be seen as a metaphor for puberty & vampires can be a metaphor for STD’s & rape The breakdown of society = post-apocalyptic movies are bout our fear of the breakdown of society The duality of man/personal journey = conflict between man’s civilised & savage side Segregation & alienation = 2 opposing cultures or beings going through a struggle to survive
- 9. Buckingham “Genre is not simply given by culture, rather it is in a constant process”