Genres provide conventions and expectations that are shared by texts belonging to that genre. They position audiences and creators in certain roles like interviewer/interviewee or reader/writer. Genres are instances of repetition and difference - mere repetition would not attract audiences. Pleasure is derived from both the repetition of familiar genre conventions and differences or unfamiliar elements. Genres guarantee meanings and pleasures for audiences while also offsetting the financial risks for large scale film production.

2. Daniel Chandler
Conventional definitions of genres tend
to be based on the notion that they
constitute particular convention of
context and/or form which are shared
by the texts which are regarded as
belonging to them.
Every genre positions those who
participate in a text of that kind: as
interviewer or interviewee, as a reader
or writer- each of these positionings
implies different possibilities for response
and for action.

3. Steve Neale
Declares that “genres are instances of
repetition and difference” (Neale 1980,
48). He adds that difference is
absolutely essential to the economy of
genre”: mere repetition would not
attract an audience. Texts often exhibit
the conventions of more than one
genre.
Argues that
pleasure is derived
from “repetition
difference”
Much of the pleasure of popular cinema
lies in the process of “difference in
repetition”- i.e- recognition of familiar
elements and in the way those elements
might be orchestrated in an unfamiliar
fashion or in the way that unfamiliar
elements might be introduced.
Argues that Hollywood’s generic
regime performance two inter-
relation functions: 1) to guarantee
meanings and pleasures for
audiences. 2) to offset the
considerable economic risks of
industrial film production by
providing cognitive collateral
against innovation and difference.
Genre is constituted by “specific
systems of expectations and
hypothesis which spectators bring
with them to the cinema and
which interact with the films
themselves during the course of
the viewing process.”

4.  Notes that “the same text can belong to
different genres in different countries or
times”
 Argues that “genre is not… simply ‘given’
by the culture: rather , it is in a constant
process of negotiation and change”
 Notes that “satisfaction id guaranteed with
genre; the deferral of the inevitable
provides the additional pleasure of
prolonged anticipation”.

5. Kress (1998)
Each written text provides a “reading
position” for readers, a position
constructed by the writer for the “ideal
reader” of the text. Thus, embedded
within texts are assumptions about the
“ideal reader”, including their attitudes
towards the subject matter and often
their class, age, gender and ethnicity.

6. Tom Ryall (1978)
Genre provides a framework of
structuring rules, in the shape of
patterns/forms/styles/structures, which
act as a form of ‘supervision’ over the
work of production of filmmakers and
the work of reading by the audience.
Ryall sees this framework provided by
the generic system; therefore, genre
becomes a cognitive repository of
images, sounds, stories, characters and
expectations.