b322

3.  Genre theory has become too preoccupied with semiotics
(signs, iconography, meaning) rather than considering the
historical emergence of genre movies. Theory ignores the fact
that generic definitions were first introduced by the industry.
In ignoring historical context there is no recognition for
understanding how and why genre develop, mutate and rise and
fall in popularity and audience is forgotten.
 SEMANTICS =This is concerned with the conventions of the genre
that communicate to the audience such as characters, locations,
props, music, shooting style and other signifiers
 i.e. ‘sci-fi genre’ = what do you associate with the genre?
 Look at western iconography on next slide…

4. Iconography
 Example: Western genre
▪ Costume: Cowboy Hat
▪ Setting: 19th century American West
(time period, general location)
▪ Staging: saloons and rolling plains /prairies
(buildings, specific locations, =
details of these – what do they look like?
Example: basement in isolated house which
is run down)
▪ Star/celebrity: Clint Eastwood, John Wayne

5.  There are other ways to classify films:
 Some genres are not classified under the ‘main
umbrellas’ but could be categorised by:
-story content (the war film),
-borrowed from literature (comedy, melodrama)
-from other media (the musical).
-performer-based (the Astaire-Rogers films)
-budget-based (blockbusters),
-artistic status (the art film),
-racial identity (Black cinema),
-location (theWestern)
-sexual orientation (Queer cinema).

6.  'genre is abstract’ (not perfectly clear)
One theorist's genre may be another's sub-genre or
even super-genre….
Basically Feurer argues genre is abstract or not clear because
there is no set or correct definition. One person may believe
what is ‘genre’ another person might see that as ‘sub genre’.

7.  Jason Mittell (2001) argues that industries use genre
to sell products to audiences.
Media producers use familiar codes and conventions
that very often make references to their audience
knowledge of society, other texts.
 This theory argues that texts are created to sell and
make money based on products that already exist.
 Example:Vampire phenomenon
 List all the texts you can think of related to vampires.

9.  Genres go through typical cycle of changes during their lifetime
 But why?
 Think of how the ‘horror’ genre has changed over past 50 years…….
 50/60?
 70?
 80?
 90?
 Now?
 WHY DOES IT CHANGE?
 What about music videos?
 80?
 Who changed it up?
 What about now?

10.  genres are processes of systemisation - they change over time
 Role of technology?
 The sheer amount of films/music videos etc)
 Audience demand/needs/wants etc
 Also similar to metz/neale
 The way we define ‘films’ and film genre is always changing….now ‘horror’ is
quite broad….we could classify films is so many ways (stam)

11.  Genre also allows audiences to make choices about what products they want to
consume through acceptance in order to fulfil a particular pleasure.
 Theorist Rick Altman (1999) argues that
‘genre offers audiences ‘a set of pleasures’.
 can also be linked to Denis McQuail’s (1972) theory on ‘uses and gratifications’
Film openings Horror films Music videos Social media

12.  USE = for people to use media texts
 GRATIFICATION = people get gratification from using media texts
(Gratification = satisfaction, indulgence, fulfilment, delight, pleasure)
 Basically, ‘uses & gratifications’ theory is a
theory that argues that media texts are made
to satisfy the needs and desires of it’s
audience.

13.  Why do people use/seek the media?
INFORMATION PERSONAL
IDENTITY
INTEGRATION &
SOCIAL
INTERACTION
ENTERTAINMENT
-finding out about relevant
events and conditions in
immediate surroundings,
society and the world
-seeking advice on practical
matters or opinion and
decision choices
-satisfying curiosity and
general interest
-learning; self-education
-gaining a sense of security
through knowledge
-finding reinforcement for
personal values
-finding models of behaviour
-identifying with valued
other (in the media)
-gaining insight into one's
self
-gaining insight into
circumstances of others;
social empathy
-identifying with others and
gaining a sense of
belonging
-finding a basis for
conversation and social
interaction
-having a substitute for real-
life companionship
-helping to carry out social
roles
-enabling one to connect
with family, friends and
society
-escaping, or being diverted,
from problems
-relaxing
-getting intrinsic
(basic/essential) cultural or
aesthetic enjoyment
-filling time
-emotional release