Genre
• Genre from French, genre French
  pronunciation: "kind" or "sort", from Latin:
  genus (stem gener-), Greek: genos, is the term
  for any category of literature or other forms of
  art or entertainment, e.g. music, whether
  written or spoken, audial or visual, based on
  some set of stylistic criteria.
• Genres are formed by conventions that
  change over time as new genres are invented
  and the use of old ones are discontinued.
• Often, works fit into multiple genres by way of
  borrowing and recombining these
  conventions.
• History
• This concept of genre originated from the
  classification systems created by Aristotle and
  Plato.
• Plato divided literature into the three classic
  genres accepted in Ancient Greece: poetry,
  drama, and prose.
• Poetry is further subdivided into epic, lyric,
  and drama. The divisions are recognized as
  being set by Aristotle and Plato; however, they
  were not alone.
• Many genre theorists contributed to these
  universally accepted forms of poetry. Similarly
  many theorists continued to philosophize
  about genre and its uses, which caused genre
  as Plato and Aristotle knew it to evolve and
  further expand.
Visual arts
• The term "genre" is much used in the history
  and criticism of visual art, but in art history
  has meanings that overlap rather confusingly.
• Genre painting is a term for paintings where
  the main subject features human figures to
  whom no specific identity attaches - in other
  words, figures are not portraits, characters
  from a story, or allegorical personifications.
• These are distinguished from staffage:
  incidental figures in what is primarily a
  landscape or architectural painting.
• Genre painting may also be used as a wider
  term covering genre painting proper, and
  other specialized types of paintings such as
  still-life, landscapes, marine paintings and
  animal paintings.
• The concept of the "hierarchy of genres" was a
  powerful one in artistic theory, especially
  between the 17th and 19th centuries. It was
  strongest in France, where it was associated
  with the Académie française which held a
  central role in academic art.
The genres in hierarchical order are:
• History painting, including narrative religious
  mythological and allegorical subjects
• Portrait painting
• Genre painting or scenes of everyday life
• Landscape (landscapists were the "common footmen in
  the Army of Art" according to the Dutch theorist
  Samuel van Hoogstraten) and cityscape
• Animal painting
• Still life
Film Genre
• In film theory, genre refers to the method
  based on similarities in the narrative elements
  from which films are constructed.
• Most theories of film genre are borrowed
  from literary genre criticism. As with genre in
  a literary context, there is a great deal of
  debate over how to define or categorize
  genres.
• Besides the basic distinction in genre between
  fiction and documentary (from which hybrid
  forms emerged founding a new genre,
  docufiction), film genres can be categorized in
  several ways.
• Fictional films are usually categorized
  according to their setting, theme topic, mood,
  or format. The setting is the milieu or
  environment where the story and action takes
  place
• The theme or topic refers to the issues or
  concepts that the film revolves around. The
  mood is the emotional tone of the film.
• Format refers to the way the film was shot
  (e.g., anamorphic widescreen) or the manner
  of presentation (e.g.: 35 mm, 16 mm or 8
  mm). An additional way of categorizing film
  genres is by the target audience.
• Some film theorists argue that neither format
  nor target audience are film genres.
• Film genres often branch out into subgenres,
  as in the case of the courtroom and trial-
  focused subgenre of drama known as the legal
  drama.
• They can be combined to form hybrid genres,
  such as the melding of horror and comedy in
  the Evil Dead films.
Definition
• Martin Loop argues that Hollywood films are
  not pure genres, because most Hollywood
  movies blend the love-oriented plot of the
  romance genre with other genres.
• Staiger classifies Andrew Tutor's ideas that the
  genre of film can be defined in four ways.
• The "idealist method" judges films by
  predetermined standards. The "empirical
  method" identifies the genre of a film by
  comparing it to a list of films already deemed
  to fall within a certain genre.
• The Apriori method uses common generic
  elements which are identified in advance. The
  "social conventions" method of identifying the
  genre of a film is based on the accepted cultural
  consensus within society. Jim Colins claims that
  since the 1980s, Hollywood films have been
  influenced by the trend towards "ironic
  hybridization", in which directors combine
  elements from different genres as with the
  Western/Science fiction mix in Back to the Future
  Part III.
• Genre is always a vague term with no fixed
  boundaries. Many words also cross into
  multiple genres. Recently, film theorist Robert
  Stam challenged whether genres really exist,
  or whether they are merely made up by
  critics.
• Stam has questioned whether "genres [are] really 'out there' in the
  world or are they really the construction of analysts?". As well, he
  has asked whether there is a "... finite taxonomy of genres or are
  they in principle infinite?" and whether genres are "...timeless
  essences ephemeral, time-bound entities? Are genres culture-
  bound or trans-cultural?". Stam has also asked whether genre
  analysis should aim at being descriptive or prescriptive. While some
  genres are based on story content (the war film), other are
  borrowed from literature (comedy, melodrama) or from other
  media (the musical). Some are performer-based (the Fred Astaire
  and Ginger Rogers films) or budget-based (blockbusters), while
  others are based on artistic status (the art film), racial identity
  (Black cinema), location (the Western), or sexual orientation (Queer
  Cinema)
• Many genres have built-in audiences and
  corresponding publications that support them,
  such as magazines and websites. Films that are
  difficult to categorize into a genre are often less
  successful as such film genres are also useful in
  areas of, criticism and consumption Hollywood
  story consultant originality and surprise." Some
  screenwriters use genre as a means of
  determining what kind of plot or content to put
  into a screenplay. They may study films of specific
  genres to find examples.
• This is a way that some screenwriters are able
  to copy elements of successful movies and
  pass them off in a new screenplay. It is likely
  that such screenplays fall short in originality.
  As Truby says, "Writers know enough to write
  a genre script but they haven’t twisted the
  story beats of that genre in such a way that it
  gives an original face to it".
• Screenwriters often attempt to defy the
  elements found in past works, as originality
  and surprise are seen as elements that make
  for good film stories.For example, European-
  filmed spaghetti westerns changed the
  western film genre by eschewing many of the
  conventions of earlier Westerns.
• There are other methods of dividing films into
  groups besides genre. For example auteur critics
  group films according to their directors. Some
  groupings may be casually described as genres
  although the definition is questionable.For
  example, while independent films are sometimes
  discussed as if they are a genre in-and-of
  themselves, independent productions can belong
  to any genre. Similarly, art films are referred to as
  a genre, even though an art film can be in a
  number of genres.
• Genre can also be distinguished from film
  style, which concerns the choices made about
  cinematography, editing, and sound.A
  particular style can be applied to any genre.
• Whereas film genres identify the manifest
  content of film, film styles identify the manner
  by which any given film's genre(s) is/are
  rendered for the screen. Style may be
  determined by plot structure, scenic design,
  lighting, cinematography, acting, and other
  intentional artistic components of the finished
  film product.
• Others argue that this distinction is too
  simplistic, since some genres are primarily
  recognizable by their styles.
• Many film historians and film critics debate
  whether film noir is a genre or a style of film-
  making often emulated in the period's
  heyday.Indeed, film noir films from the 1940s
  and 1950s were made in a range of genres,
  such as gangster films, police procedural
  dramas, and thrillers.
• Categorization
• Film genres can be categorized according to
  the setting of the film.
• Nevertheless, films with the same settings can
  be very different, due to the use of different
  themes or moods.
• For example, while both The Battle of Midway
  and All Quiet on the Western Front are set in a
  wartime context, the first examines the
  themes of honor, sacrifice, and valour, and the
  second is an anti-war film which emphasizes
  the pain and horror of war.
• While there is an argument that film noir
  movies could be deemed to be set in an urban
  setting, in cheap hotels and underworld bars,
  many classic noirs take place mainly in small
  towns, suburbia, rural areas, or on the open
  road.
• The editors of filmsite.org argue that
  animation, children's films, and so on are non-
  genre-based film categories.
• The non-genre based categories they list
  include children's films, family films, cult films,
  documentary films, pornographic films and
  silent films.
• Linda Williams argues that horror, melodrama,
  and pornography all fall into the category of
  "body genres", since they are each designed
  to elicit physical reactions on the part of
  viewers.
• Horror is designed to elicit spine-chilling,
  white-knuckled, eye-bulging terror;
  melodramas are designed to make viewers cry
  after seeing the misfortunes of the onscreen
  characters; and pornography is designed to
  elicit sexual arousal.
•   References
•   Bawarshi, Anis. "The Ecology of Genre." Ecocomposition: Theoretical and
    Pedagogical Approaches. Eds. Christian R. Weisser and Sydney I. Dobrin. Albany:
    SUNY Press, 2001. 69-80.
•   Bitzer, Lloyd F. "The Rhetorical Situation." Philosophy and Rhetoric 1:1 (1968): 1-
    14.
•   Bleich, David. "The of Language and the Pedagogy of Exchange." Pedagogy 1.1
    (2001): 117-141.
•   Charaudeau, P.; Maingueneau, D. & Adam, J. Dictionnaire d'analyse du discours
    Seuil, 2002.
•   Coe, Richard. "'An Arousing and Fulfillment of Desires': The Rhetoric of Genre in
    the Process Era - and Beyond." Genre and the New Rhetoric. Ed. Aviva Freedman
    and Peter Medway. London: Taylor & Francis, 1994. 181-190.
•   Keith, Barry. Film Genre: From Iconography to Ideology. Wallflower Press: 2007
•   Stam, Robert. Film Theory: An Introduction. Malde, MA: Wiley-Blackwell, 2000. 14.
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Genre+filmgenre

  • 1.
  • 2.
    • Genre fromFrench, genre French pronunciation: "kind" or "sort", from Latin: genus (stem gener-), Greek: genos, is the term for any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audial or visual, based on some set of stylistic criteria.
  • 3.
    • Genres areformed by conventions that change over time as new genres are invented and the use of old ones are discontinued.
  • 4.
    • Often, worksfit into multiple genres by way of borrowing and recombining these conventions.
  • 5.
    • History • Thisconcept of genre originated from the classification systems created by Aristotle and Plato.
  • 6.
    • Plato dividedliterature into the three classic genres accepted in Ancient Greece: poetry, drama, and prose.
  • 7.
    • Poetry isfurther subdivided into epic, lyric, and drama. The divisions are recognized as being set by Aristotle and Plato; however, they were not alone.
  • 8.
    • Many genretheorists contributed to these universally accepted forms of poetry. Similarly many theorists continued to philosophize about genre and its uses, which caused genre as Plato and Aristotle knew it to evolve and further expand.
  • 9.
    Visual arts • Theterm "genre" is much used in the history and criticism of visual art, but in art history has meanings that overlap rather confusingly.
  • 10.
    • Genre paintingis a term for paintings where the main subject features human figures to whom no specific identity attaches - in other words, figures are not portraits, characters from a story, or allegorical personifications.
  • 11.
    • These aredistinguished from staffage: incidental figures in what is primarily a landscape or architectural painting.
  • 12.
    • Genre paintingmay also be used as a wider term covering genre painting proper, and other specialized types of paintings such as still-life, landscapes, marine paintings and animal paintings.
  • 13.
    • The conceptof the "hierarchy of genres" was a powerful one in artistic theory, especially between the 17th and 19th centuries. It was strongest in France, where it was associated with the Académie française which held a central role in academic art.
  • 14.
    The genres inhierarchical order are: • History painting, including narrative religious mythological and allegorical subjects • Portrait painting • Genre painting or scenes of everyday life • Landscape (landscapists were the "common footmen in the Army of Art" according to the Dutch theorist Samuel van Hoogstraten) and cityscape • Animal painting • Still life
  • 15.
    Film Genre • Infilm theory, genre refers to the method based on similarities in the narrative elements from which films are constructed.
  • 16.
    • Most theoriesof film genre are borrowed from literary genre criticism. As with genre in a literary context, there is a great deal of debate over how to define or categorize genres.
  • 17.
    • Besides thebasic distinction in genre between fiction and documentary (from which hybrid forms emerged founding a new genre, docufiction), film genres can be categorized in several ways.
  • 18.
    • Fictional filmsare usually categorized according to their setting, theme topic, mood, or format. The setting is the milieu or environment where the story and action takes place
  • 19.
    • The themeor topic refers to the issues or concepts that the film revolves around. The mood is the emotional tone of the film.
  • 20.
    • Format refersto the way the film was shot (e.g., anamorphic widescreen) or the manner of presentation (e.g.: 35 mm, 16 mm or 8 mm). An additional way of categorizing film genres is by the target audience.
  • 21.
    • Some filmtheorists argue that neither format nor target audience are film genres.
  • 22.
    • Film genresoften branch out into subgenres, as in the case of the courtroom and trial- focused subgenre of drama known as the legal drama.
  • 23.
    • They canbe combined to form hybrid genres, such as the melding of horror and comedy in the Evil Dead films.
  • 24.
    Definition • Martin Loopargues that Hollywood films are not pure genres, because most Hollywood movies blend the love-oriented plot of the romance genre with other genres.
  • 25.
    • Staiger classifiesAndrew Tutor's ideas that the genre of film can be defined in four ways.
  • 26.
    • The "idealistmethod" judges films by predetermined standards. The "empirical method" identifies the genre of a film by comparing it to a list of films already deemed to fall within a certain genre.
  • 27.
    • The Apriorimethod uses common generic elements which are identified in advance. The "social conventions" method of identifying the genre of a film is based on the accepted cultural consensus within society. Jim Colins claims that since the 1980s, Hollywood films have been influenced by the trend towards "ironic hybridization", in which directors combine elements from different genres as with the Western/Science fiction mix in Back to the Future Part III.
  • 28.
    • Genre isalways a vague term with no fixed boundaries. Many words also cross into multiple genres. Recently, film theorist Robert Stam challenged whether genres really exist, or whether they are merely made up by critics.
  • 29.
    • Stam hasquestioned whether "genres [are] really 'out there' in the world or are they really the construction of analysts?". As well, he has asked whether there is a "... finite taxonomy of genres or are they in principle infinite?" and whether genres are "...timeless essences ephemeral, time-bound entities? Are genres culture- bound or trans-cultural?". Stam has also asked whether genre analysis should aim at being descriptive or prescriptive. While some genres are based on story content (the war film), other are borrowed from literature (comedy, melodrama) or from other media (the musical). Some are performer-based (the Fred Astaire and Ginger Rogers films) or budget-based (blockbusters), while others are based on artistic status (the art film), racial identity (Black cinema), location (the Western), or sexual orientation (Queer Cinema)
  • 30.
    • Many genreshave built-in audiences and corresponding publications that support them, such as magazines and websites. Films that are difficult to categorize into a genre are often less successful as such film genres are also useful in areas of, criticism and consumption Hollywood story consultant originality and surprise." Some screenwriters use genre as a means of determining what kind of plot or content to put into a screenplay. They may study films of specific genres to find examples.
  • 31.
    • This isa way that some screenwriters are able to copy elements of successful movies and pass them off in a new screenplay. It is likely that such screenplays fall short in originality. As Truby says, "Writers know enough to write a genre script but they haven’t twisted the story beats of that genre in such a way that it gives an original face to it".
  • 32.
    • Screenwriters oftenattempt to defy the elements found in past works, as originality and surprise are seen as elements that make for good film stories.For example, European- filmed spaghetti westerns changed the western film genre by eschewing many of the conventions of earlier Westerns.
  • 33.
    • There areother methods of dividing films into groups besides genre. For example auteur critics group films according to their directors. Some groupings may be casually described as genres although the definition is questionable.For example, while independent films are sometimes discussed as if they are a genre in-and-of themselves, independent productions can belong to any genre. Similarly, art films are referred to as a genre, even though an art film can be in a number of genres.
  • 34.
    • Genre canalso be distinguished from film style, which concerns the choices made about cinematography, editing, and sound.A particular style can be applied to any genre.
  • 35.
    • Whereas filmgenres identify the manifest content of film, film styles identify the manner by which any given film's genre(s) is/are rendered for the screen. Style may be determined by plot structure, scenic design, lighting, cinematography, acting, and other intentional artistic components of the finished film product.
  • 36.
    • Others arguethat this distinction is too simplistic, since some genres are primarily recognizable by their styles.
  • 37.
    • Many filmhistorians and film critics debate whether film noir is a genre or a style of film- making often emulated in the period's heyday.Indeed, film noir films from the 1940s and 1950s were made in a range of genres, such as gangster films, police procedural dramas, and thrillers.
  • 38.
    • Categorization • Filmgenres can be categorized according to the setting of the film.
  • 39.
    • Nevertheless, filmswith the same settings can be very different, due to the use of different themes or moods.
  • 40.
    • For example,while both The Battle of Midway and All Quiet on the Western Front are set in a wartime context, the first examines the themes of honor, sacrifice, and valour, and the second is an anti-war film which emphasizes the pain and horror of war.
  • 41.
    • While thereis an argument that film noir movies could be deemed to be set in an urban setting, in cheap hotels and underworld bars, many classic noirs take place mainly in small towns, suburbia, rural areas, or on the open road.
  • 42.
    • The editorsof filmsite.org argue that animation, children's films, and so on are non- genre-based film categories.
  • 43.
    • The non-genrebased categories they list include children's films, family films, cult films, documentary films, pornographic films and silent films.
  • 44.
    • Linda Williamsargues that horror, melodrama, and pornography all fall into the category of "body genres", since they are each designed to elicit physical reactions on the part of viewers.
  • 45.
    • Horror isdesigned to elicit spine-chilling, white-knuckled, eye-bulging terror; melodramas are designed to make viewers cry after seeing the misfortunes of the onscreen characters; and pornography is designed to elicit sexual arousal.
  • 46.
    References • Bawarshi, Anis. "The Ecology of Genre." Ecocomposition: Theoretical and Pedagogical Approaches. Eds. Christian R. Weisser and Sydney I. Dobrin. Albany: SUNY Press, 2001. 69-80. • Bitzer, Lloyd F. "The Rhetorical Situation." Philosophy and Rhetoric 1:1 (1968): 1- 14. • Bleich, David. "The of Language and the Pedagogy of Exchange." Pedagogy 1.1 (2001): 117-141. • Charaudeau, P.; Maingueneau, D. & Adam, J. Dictionnaire d'analyse du discours Seuil, 2002. • Coe, Richard. "'An Arousing and Fulfillment of Desires': The Rhetoric of Genre in the Process Era - and Beyond." Genre and the New Rhetoric. Ed. Aviva Freedman and Peter Medway. London: Taylor & Francis, 1994. 181-190. • Keith, Barry. Film Genre: From Iconography to Ideology. Wallflower Press: 2007 • Stam, Robert. Film Theory: An Introduction. Malde, MA: Wiley-Blackwell, 2000. 14.
  • 47.
    • Youtube • DevianArt •SlideShare • Magic word (enjoycottage) Facebook aloysiusyapp