Theory & Practice Week Three - Genre 2011
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This document discusses genre theory and how genres are used to classify and analyze media texts. Some key points: - Genre refers to types or categories of media texts that share common conventions, themes, and patterns. - Genres act as signifying systems that provide paradigms or templates that media texts can draw from. This allows for a "contract" between producers and audiences about what to expect. - Individual texts may demonstrate generic elements while also differing from other texts in that genre through hybridity or innovation. - Genres are not static but rather develop and change over time through combinations with other genres or becoming obsolete. They frame audience understanding and require cultural knowledge to recognize.
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Genre theory (2012 lesson 1)
Genres are used to categorize different types of texts to help organize the large amount of information available. They allow audiences and institutions to easily identify and understand texts based on their common elements. According to theorists, genres appeal to our need to impose order and simplify information. While genres provide familiarity, they are not rigid, as texts can also blend elements of multiple genres or have sub-genres within a main genre. This hybridity and existence of sub-genres means genres are further divided into more specific categories.
Genre theorists
The document discusses different genre theorists and their perspectives on genre. John Fiske viewed genre as embodying ideological concerns of their time and being convenient for producers and audiences. Henry Jenkins saw genres as constantly breaking rules and evolving in hybrid forms. John Hartley argued that genre is culturally interpreted and a text's genre can change based on time and location. Daniel Chandler viewed genres as potentially too restrictive. Steve Neale stressed that genres are dynamic processes rather than fixed systems. David Buckingham linked genre development to changing identity. Jason Mittell analyzed genre commercially and culturally. Barry Keith Grant referred to genre's meaning in terms of production, consumer indexing, and critical taxonomy. Rick Altman proposed genres are defined by media language elements and
A2 Media Studies Genre
The document discusses genres and how they develop through repetition and recognition of conventions. Audiences come to expect certain conventions within different genres, like horror conventions in Halloween or teen conventions in Mean Girls. Genres are successful because audiences find familiarity comforting but producers also need to innovate somewhat to avoid boredom. Genres thus rely on a balance of repeating familiar conventions while also adding new elements or twists. This allows audiences to enjoy what they know while still being surprised.
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 media
Genre refers to categories of artistic works such as literature, music, and film. Genres are defined by conventions that change over time as new genres emerge and old ones fade away. Films can be categorized by their themes, settings, moods or formats. However, defining film genres is complex as most Hollywood films blend elements of multiple genres. The need to categorize films into genres is important for marketing films to audiences and enabling discussion, but genres are not pure and film identities can be ambiguous.
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.
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 summarizes several theorists' perspectives on genre theory:
1. It discusses five key functions of genre identified by The Five Functions of Genre: reinforcement of cultural ideas, creation of audience expectations, recognizable characteristics, relationship between audiences and producers to minimize financial risk, and dynamism and flexibility over time.
2. It briefly outlines four genre theorists' views: Chandler defines genre by shared conventions of content; Neale sees genres as instances of repetition and difference for audience pleasure; Hartley notes the same text can belong to different genres in different contexts; and Buckingham sees genre as a constant process of negotiation and change.
3. It poses several questions about defining and understanding genres, including whether they are
Recommended
Genre theory (2012 lesson 1)
Genres are used to categorize different types of texts to help organize the large amount of information available. They allow audiences and institutions to easily identify and understand texts based on their common elements. According to theorists, genres appeal to our need to impose order and simplify information. While genres provide familiarity, they are not rigid, as texts can also blend elements of multiple genres or have sub-genres within a main genre. This hybridity and existence of sub-genres means genres are further divided into more specific categories.
Genre theorists
The document discusses different genre theorists and their perspectives on genre. John Fiske viewed genre as embodying ideological concerns of their time and being convenient for producers and audiences. Henry Jenkins saw genres as constantly breaking rules and evolving in hybrid forms. John Hartley argued that genre is culturally interpreted and a text's genre can change based on time and location. Daniel Chandler viewed genres as potentially too restrictive. Steve Neale stressed that genres are dynamic processes rather than fixed systems. David Buckingham linked genre development to changing identity. Jason Mittell analyzed genre commercially and culturally. Barry Keith Grant referred to genre's meaning in terms of production, consumer indexing, and critical taxonomy. Rick Altman proposed genres are defined by media language elements and
A2 Media Studies Genre
The document discusses genres and how they develop through repetition and recognition of conventions. Audiences come to expect certain conventions within different genres, like horror conventions in Halloween or teen conventions in Mean Girls. Genres are successful because audiences find familiarity comforting but producers also need to innovate somewhat to avoid boredom. Genres thus rely on a balance of repeating familiar conventions while also adding new elements or twists. This allows audiences to enjoy what they know while still being surprised.
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 media
Genre refers to categories of artistic works such as literature, music, and film. Genres are defined by conventions that change over time as new genres emerge and old ones fade away. Films can be categorized by their themes, settings, moods or formats. However, defining film genres is complex as most Hollywood films blend elements of multiple genres. The need to categorize films into genres is important for marketing films to audiences and enabling discussion, but genres are not pure and film identities can be ambiguous.
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.
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 summarizes several theorists' perspectives on genre theory:
1. It discusses five key functions of genre identified by The Five Functions of Genre: reinforcement of cultural ideas, creation of audience expectations, recognizable characteristics, relationship between audiences and producers to minimize financial risk, and dynamism and flexibility over time.
2. It briefly outlines four genre theorists' views: Chandler defines genre by shared conventions of content; Neale sees genres as instances of repetition and difference for audience pleasure; Hartley notes the same text can belong to different genres in different contexts; and Buckingham sees genre as a constant process of negotiation and change.
3. It poses several questions about defining and understanding genres, including whether they are
2 genre
Here is a potential plan for answering this exam question:
Introduction:
- State which production piece will be discussed (e.g. my short film 'XYZ')
- Briefly describe the piece
Body paragraph 1:
- Discuss Neale's theory of genre circulating between industry, text and subject
- Apply this theory to my short film - how does it fit with/challenge this idea?
- Reference quote from Neale
Body paragraph 2:
- Discuss Barthes' theory of intertextuality and making sense of texts in relation to other genres
- Analyze how my film draws on/departs from conventions of related genres
- Reference Barthes quote
Body paragraph 3
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.
Lost, How does it attract its audience?
The document provides an overview of topics covered in an exam on film, television and music. It discusses the three areas - film, television and music - and common question types about audience, industry, and genre/representation. Specific past exam questions are outlined for television focusing on audience targeting and response. Notes sections provide guidance on answering audience targeting questions and analyzing the television show Lost in terms of its ensemble cast, neutral setting, and hybrid genre. The role of enigma codes, narrative structures, and non-diegetic scores in television is also summarized.
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
This document discusses different theories of genre from several scholars. Steve Neale and John Hartley argue that genres are defined by conventions of content but can change over time and between cultures. David Buckingham asserts that genre is constantly negotiated and changing. John Fiske views genre as structuring media texts for producers and audiences. The document raises questions about how genres may be defined through structure versus content, whether they are culturally fluid, and how audience and economics impact genres.
Exam 1 b genre
This document provides learning objectives and questions around the concept of genre for a media studies coursework assignment. It introduces several theories on genre from scholars like Derrida, Abercrombie, Goodwin, Metz, Buckingham, and Wales. Students are asked to decide which of their media productions they would analyze in terms of genre for the assignment. They should also consider how their work uses, develops, or subverts generic conventions and codes.
Daniel chandler an introduction to genre theory
This document provides an overview of genre theory and discusses some of the challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no agreed-upon taxonomy and theorists often disagree on how to define specific genres. Genres exist as abstract concepts rather than empirical categories, and their boundaries are not fixed but debated. The document also lists some of the typical features used to characterize genres, such as narrative patterns, characters, themes, and film techniques. However, it acknowledges that defining genres based solely on these features is problematic since criteria can vary significantly between theorists.
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
1. Genre theory proposes that genres are defined by shared conventions of content, themes, settings, and form/style between texts.
2. Theories differ on whether genres are fixed categories or dynamic and negotiated.
3. Genres provide expectations for audiences and positions readers in an "ideal" role, while also offering pleasures through recognition, emotion, and differences from conventions.
G325 a media theory and theorists_sectiona-
This document provides an overview of various media theorists that could be relevant for analyzing media productions and case studies. It emphasizes that students do not need to be experts in all the theories but should be able to apply a few theories to discuss their work. Theorists are categorized by areas of genre, narrative, representation, audience and media language. Students are advised to quote, summarize and comment on theories rather than fully explaining them.
Genre Theory
The document discusses the history and purpose of genre in media. It explains that genres originated from Ancient Greek plays that were used for religious rituals and emotional release. Over time, genres such as comedy and tragedy became standardized ways to categorize plays. The document also discusses how genres help audiences understand what to expect from different media works and allow them to be more easily marketed and sold. However, genres have become more hybridized and fluid over time as they incorporate elements from multiple genres.
Genre theory (2012 lesson 2)
This document discusses several theories of genre from film scholars:
- Rick Altman and Jason Mittell suggest that genres offer audiences familiar pleasures and allow them to select media based on prior experience. Genres are also used to market products to audiences.
- David Buckingham argues that genres are constantly evolving through negotiation and change over time, leading to hybrid genres that blend elements.
- Steve Neale notes that genres are processes of systemization that change over time as themes can appear in any genre.
Genre 2015 lesson 1
Genres are ways of categorizing and organizing different types of texts to simplify the mass of available information for both audiences and producers. They create order and appeal to our need to organize chaos. Genres are categories based on common textual elements that attempt to structure some order into the wide range of circulating cultural texts. All genres have sub-genres that divide them into more specific categories, and texts can also evidence hybridity by combining elements of two or more genres. Hybridity and sub-genres allow audiences to identify texts through their familiar and recognizable genre characteristics.
Genre Theory
Genres are created through a process of repetition and recognition by audiences that leads to anticipation of generic conventions. While genres provide familiarity, they must also include differences and the unexpected to maintain audience interest. Producers rely on genres as they provide a proven structure but also allow for creativity through hybrid forms, new techniques, and modern social issues to keep genres fresh.
3
Thomas Schatz proposed that genres tend to develop through predictable stages over their lifespan:
1) An innovative stage where genres experiment with conventions.
2) A classical stage where conventions are well-established.
3) A parody stage where conventions are self-consciously drawn attention to.
4) A deconstruction stage where conventions are challenged and subverted.
However, Schatz's model has limitations as it views genre development as closed and internal, ignoring factors like subgenres, timeframes, and external influences on why genres change.
Genre test
The document defines key terms related to genre, including that genre refers to a type of media text recognized through repeated codes and conventions. It discusses how hybrid genres use elements of multiple genres. Audiences understand genres based on familiar codes and conventions. These codes provide pleasures for audiences and allow genres to conform to their expectations. It attributes quotes about genre to their original authors and asks the student to analyze one of their own productions in relation to genre codes and conventions.
L4 Genre
1. Genre is a way of categorizing texts that defines codes and conventions to structure meaning and set audience expectations. It is constructed through visual and aural signs.
2. Genres are not fixed but rather dynamic processes that are historically and culturally specific. They are constantly evolving through negotiation and change.
3. Categorizing films into genres allows producers to follow templates, distributors to market to audiences, and audiences to predict narratives based on familiar conventions. This satisfies audiences through a sense of cultural capital and correctly predicting outcomes.
Genre completed
The document discusses genre theory and its application to media texts. It defines genre as conventions that classify texts into categories. It outlines several genre theorists and their perspectives, such as Chandler who sees genre as dividing texts based on common elements. Grant discusses subgenres as more specific categories within a genre. The document also discusses how genres appeal to audiences through familiarity and pleasure, and how genres evolve over time through hybridization and changing conventions.
Example answer for question 1b
Analyse one of your productions in relation to media language.
DISCLAIMER: This is an example answer, not an exemplar!
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 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.
Op 6 draft part 2
The document discusses various genres and conventions of film genres. It provides examples of different genres like melodrama, addiction drama, and crime drama. It then discusses conventions like love, sadness, lost love, social class, tragedy, happy endings, poverty, and isolation seen in genre films. Specific films are referenced to illustrate how different conventions like shadows, flashbacks, death, and blood are used in thriller films. Finally, it proposes using, developing, or challenging certain conventions like isolation, sadness, and tragedy in an original film.
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2 genre
Here is a potential plan for answering this exam question:
Introduction:
- State which production piece will be discussed (e.g. my short film 'XYZ')
- Briefly describe the piece
Body paragraph 1:
- Discuss Neale's theory of genre circulating between industry, text and subject
- Apply this theory to my short film - how does it fit with/challenge this idea?
- Reference quote from Neale
Body paragraph 2:
- Discuss Barthes' theory of intertextuality and making sense of texts in relation to other genres
- Analyze how my film draws on/departs from conventions of related genres
- Reference Barthes quote
Body paragraph 3
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.
Lost, How does it attract its audience?
The document provides an overview of topics covered in an exam on film, television and music. It discusses the three areas - film, television and music - and common question types about audience, industry, and genre/representation. Specific past exam questions are outlined for television focusing on audience targeting and response. Notes sections provide guidance on answering audience targeting questions and analyzing the television show Lost in terms of its ensemble cast, neutral setting, and hybrid genre. The role of enigma codes, narrative structures, and non-diegetic scores in television is also summarized.
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
This document discusses different theories of genre from several scholars. Steve Neale and John Hartley argue that genres are defined by conventions of content but can change over time and between cultures. David Buckingham asserts that genre is constantly negotiated and changing. John Fiske views genre as structuring media texts for producers and audiences. The document raises questions about how genres may be defined through structure versus content, whether they are culturally fluid, and how audience and economics impact genres.
Exam 1 b genre
This document provides learning objectives and questions around the concept of genre for a media studies coursework assignment. It introduces several theories on genre from scholars like Derrida, Abercrombie, Goodwin, Metz, Buckingham, and Wales. Students are asked to decide which of their media productions they would analyze in terms of genre for the assignment. They should also consider how their work uses, develops, or subverts generic conventions and codes.
Daniel chandler an introduction to genre theory
This document provides an overview of genre theory and discusses some of the challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no agreed-upon taxonomy and theorists often disagree on how to define specific genres. Genres exist as abstract concepts rather than empirical categories, and their boundaries are not fixed but debated. The document also lists some of the typical features used to characterize genres, such as narrative patterns, characters, themes, and film techniques. However, it acknowledges that defining genres based solely on these features is problematic since criteria can vary significantly between theorists.
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
1. Genre theory proposes that genres are defined by shared conventions of content, themes, settings, and form/style between texts.
2. Theories differ on whether genres are fixed categories or dynamic and negotiated.
3. Genres provide expectations for audiences and positions readers in an "ideal" role, while also offering pleasures through recognition, emotion, and differences from conventions.
G325 a media theory and theorists_sectiona-
This document provides an overview of various media theorists that could be relevant for analyzing media productions and case studies. It emphasizes that students do not need to be experts in all the theories but should be able to apply a few theories to discuss their work. Theorists are categorized by areas of genre, narrative, representation, audience and media language. Students are advised to quote, summarize and comment on theories rather than fully explaining them.
Genre Theory
The document discusses the history and purpose of genre in media. It explains that genres originated from Ancient Greek plays that were used for religious rituals and emotional release. Over time, genres such as comedy and tragedy became standardized ways to categorize plays. The document also discusses how genres help audiences understand what to expect from different media works and allow them to be more easily marketed and sold. However, genres have become more hybridized and fluid over time as they incorporate elements from multiple genres.
Genre theory (2012 lesson 2)
This document discusses several theories of genre from film scholars:
- Rick Altman and Jason Mittell suggest that genres offer audiences familiar pleasures and allow them to select media based on prior experience. Genres are also used to market products to audiences.
- David Buckingham argues that genres are constantly evolving through negotiation and change over time, leading to hybrid genres that blend elements.
- Steve Neale notes that genres are processes of systemization that change over time as themes can appear in any genre.
Genre 2015 lesson 1
Genres are ways of categorizing and organizing different types of texts to simplify the mass of available information for both audiences and producers. They create order and appeal to our need to organize chaos. Genres are categories based on common textual elements that attempt to structure some order into the wide range of circulating cultural texts. All genres have sub-genres that divide them into more specific categories, and texts can also evidence hybridity by combining elements of two or more genres. Hybridity and sub-genres allow audiences to identify texts through their familiar and recognizable genre characteristics.
Genre Theory
Genres are created through a process of repetition and recognition by audiences that leads to anticipation of generic conventions. While genres provide familiarity, they must also include differences and the unexpected to maintain audience interest. Producers rely on genres as they provide a proven structure but also allow for creativity through hybrid forms, new techniques, and modern social issues to keep genres fresh.
3
Thomas Schatz proposed that genres tend to develop through predictable stages over their lifespan:
1) An innovative stage where genres experiment with conventions.
2) A classical stage where conventions are well-established.
3) A parody stage where conventions are self-consciously drawn attention to.
4) A deconstruction stage where conventions are challenged and subverted.
However, Schatz's model has limitations as it views genre development as closed and internal, ignoring factors like subgenres, timeframes, and external influences on why genres change.
Genre test
The document defines key terms related to genre, including that genre refers to a type of media text recognized through repeated codes and conventions. It discusses how hybrid genres use elements of multiple genres. Audiences understand genres based on familiar codes and conventions. These codes provide pleasures for audiences and allow genres to conform to their expectations. It attributes quotes about genre to their original authors and asks the student to analyze one of their own productions in relation to genre codes and conventions.
L4 Genre
1. Genre is a way of categorizing texts that defines codes and conventions to structure meaning and set audience expectations. It is constructed through visual and aural signs.
2. Genres are not fixed but rather dynamic processes that are historically and culturally specific. They are constantly evolving through negotiation and change.
3. Categorizing films into genres allows producers to follow templates, distributors to market to audiences, and audiences to predict narratives based on familiar conventions. This satisfies audiences through a sense of cultural capital and correctly predicting outcomes.
Genre completed
The document discusses genre theory and its application to media texts. It defines genre as conventions that classify texts into categories. It outlines several genre theorists and their perspectives, such as Chandler who sees genre as dividing texts based on common elements. Grant discusses subgenres as more specific categories within a genre. The document also discusses how genres appeal to audiences through familiarity and pleasure, and how genres evolve over time through hybridization and changing conventions.
Example answer for question 1b
Analyse one of your productions in relation to media language.
DISCLAIMER: This is an example answer, not an exemplar!
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.
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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.
Op 6 draft part 2
The document discusses various genres and conventions of film genres. It provides examples of different genres like melodrama, addiction drama, and crime drama. It then discusses conventions like love, sadness, lost love, social class, tragedy, happy endings, poverty, and isolation seen in genre films. Specific films are referenced to illustrate how different conventions like shadows, flashbacks, death, and blood are used in thriller films. Finally, it proposes using, developing, or challenging certain conventions like isolation, sadness, and tragedy in an original film.
Postmodernism & Genre Theory
The document discusses postmodernism and genre theory. It provides definitions of genre as a style or category of art and discusses how genres have become more flexible with new hybrid genres emerging. It notes that negotiations now occur between producers and audiences. Steve Neale is cited saying genres involve repetition and difference, and Hollywood uses genres to guarantee meaning, pleasure, and offset economic risks. Horkheimer's critical theory is mentioned as embracing future societal possibilities through critiquing and changing society as a whole.
Genre theory
The document discusses genre theory and Christian Metz's claims about four developmental stages of genres: experimental, classical, parody, and deconstruction. It provides examples of music videos and film trailers that exemplify each of these stages. The experimental stage establishes the foundations and codes of a genre. The classical stage sees these codes become standardized. The parody stage involves mocking or playing with established conventions. The deconstruction stage breaks genre rules and blends genres.
Conventions of genre
This document discusses the conventions of the post-apocalyptic genre in film. It defines the genre as depicting the end of the world through disasters that destroy modern civilization. Common conventions include survivors banding together, abandoned settings with limited resources, and dangerous environments/antagonists. Narrative theories like Todorov's equilibrium model and Propp's character archetypes apply. Films typically target 16-30 year old audiences with dark themes and violence appealing more to males. Common elements involve survival, death, fear, and isolated protagonist communities struggling to maintain order.
Genre hybrid’s
Genre hybrids refer to films that combine elements of two or more established genres. Film directors increasingly create genre hybrids to develop new storytelling approaches using a limited number of core plots. Common genre combinations include mixing horror with other genres like romance, war, historical drama, or romantic comedy. This allows directors to attract audiences interested in particular genres while adding novelty through unexpected genre fusions.
Anthony Pym; Against praise of hybridity
This document discusses the concept of hybridity in translation. It argues that translations inherently contain elements of both the source text and language, making them hybrid objects. Several examples are provided to illustrate how translations exist in a hybrid space between cultures and identities. The document also discusses how some theorists like Schleiermacher viewed translations as risky hybrids that could undermine cultural purity, while translators themselves tend to be hybrid figures living in cultural intersections. Non-professional translations specifically serve to dehybridize texts for external readers by presenting a coherent version suited to their culture.
Genre theory
This document discusses genre theory in film and media. It provides definitions of genre from several scholars and theorists. Genre involves organizing films into categories based on shared conventions. This allows audiences to recognize genres and understand what to expect. However, genres are also dynamic and evolve over time through hybridization and changes in conventions. The document examines positives and negatives of genre theory, and discusses how genres provide structure for audiences and industries, but can also become stereotyped or restrict creativity.
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This document provides information about film genres, subgenres, and hybrids. It begins by defining genre as a category or kind used to classify films. Thirteen basic genres are listed such as drama, comedy, action/adventure, and horror. Subgenres are defined as combinations of two genres, like romantic comedy or disaster films. Hybrids combine three or more genres or subgenres, for example science fiction/action westerns. Students are assigned a homework task to create a diagram exploring a genre in more detail, including its purpose, conventions, examples, subgenres, and a hybrid. Examples of good and poor diagrams are provided to demonstrate the level of detail and organization expected.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
Types of Genres
This document provides an overview of writing genres and subgenres. It discusses the 5 main genres of poetry, nonfiction, fiction, folklore, and drama. For each genre, it lists related subgenres and provides brief descriptions and examples. The document aims to teach students the categories and subgenres that different types of writing fall into.
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The document discusses codes, conventions, genres, and messages in media. It begins by defining genre and how understanding genres is important for interpreting media codes and conventions. It then discusses various genre types in different media like television, literature, and film. The document also covers codes in media messages, common codes like technical and symbolic codes, and conventions. It discusses tropes that are commonly used in television storytelling. Finally, it briefly touches on audiences and how they experience media.
Question 1 b – key concepts and theories
This document discusses several key concepts and theories related to genre, narrative, representation, and ideology in media texts. It explains that genre provides a template for construction and establishes clear audience expectations. The five main functions of genre are also outlined. The document then discusses several genre and narrative theories proposed by scholars like Chandler, Neale, Buckingham, and Propp. It also covers concepts of representation and how representations encode dominant ideologies. Marxist views of how the media circulates and reinforces dominant ideologies are also summarized.
Theoretical research
Genre theory is used to categorize films based on stylistic criteria. Genres help audiences identify different types of films and cater to their expectations. Narratives describe a sequence of events and move the story along defined roles and plot points. Representation involves how media texts portray reality through intentional construction of signs and symbols. Audience theory examines how audiences receive and make meaning from media texts, either passively or actively engaging with them based on social and personal factors. Research and planning are required to systematically develop ideas and create goals for making a horror film, such as analyzing film techniques, planning plots, and selecting locations. Digital technologies, creative techniques, and post-production stages are also needed to produce a finished horror film or trailer.
Theoretical research
This document discusses several key concepts in media theory, including genre, narrative, representation, audience, and research. It provides definitions and examples of prominent theorists for each concept. Genre is defined as categories of media based on stylistic criteria. Theorists discussed include Gunther Kress and Denis McQuail. Narrative refers to the sequence of events presented to an audience. Theorists mentioned are Vladimir Propp and Tzvetan Todorov. Representation discusses how media presents versions of reality, and theorists covered are Laura Mulvey on the male gaze and Judith Butler on queer theory. Audience theory examines the relationship between media texts and their intended consumers. Theories discussed include hypodermic needle model, two
Media unit 11 notes on narrative and genre theories
Narrative theories propose that narratives are organized sequences of causally linked events that have a beginning, middle, and end. Branigan argues narratives embody judgments about the nature of events. Propp identified character archetypes that frequently appear in stories, like heroes, villains, helpers. Barthes identified five codes that help readers make sense of narratives, such as action, characters, and symbolic codes. Genre theory categorizes media texts based on shared elements, though genres are dynamic and evolve over time as society and values change. While genre provides a useful framework, it can also constrain creativity and experimentation.
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.
Media representation theory
Media Representation Theory discusses how media constructs representations of reality through various processes. Some key aspects of representation theory are:
1) Representation involves the construction of people, places, events and identities in any medium like mass media.
2) Representations involve how identities are constructed in the text as well as in the processes of production and reception.
3) Representations aim to seem 'natural' by positioning subjects in particular ways that serve ideologies.
Analyzing representations involves considering whose realities are represented and whose are denied through semiotics and other formal analysis methods.
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.
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.
Theoretical research
Genre theory is used to categorize films based on stylistic criteria. Genres help audiences identify different types of films and cater to their expectations. Narratives describe a sequence of events and follow common story structures identified by theorists like Propp and Todorov. Representation in media involves intentionally constructing artificial versions of reality. Audience theory considers how audiences interpret and are influenced by media texts. Research and planning are required to systematically develop knowledge and create goals for making a horror film, such as analyzing films and planning elements like plot, characters, and locations.
FM2 Booklet Part 1
This document provides information about a British and American Film Topics summer examination for a course. It outlines the three sections of the exam, with Section B focusing on British film topics taught by Mrs. Raji. This section will focus on the horror genre, key elements of narrative and representation, and expectations for understanding two detailed case study films. The document also provides definitions and explanations of genre, codes and conventions, and how they construct meaning and audience experience. Key concepts for film analysis like institutions, representations, and ideology are also introduced.
FM2 Booklet Part 1
Here are some key narrative features that are distinctive in many horror films:
- Non-linear/flashback storytelling that builds mystery and tension.
- Isolation of characters in remote/confined settings that heightens their vulnerability.
- A "final girl" protagonist who is often the last survivor.
- Jump scares and suspenseful build ups that startle the audience.
- Gore and graphic violence used to shock or disturb viewers.
- Twist endings or reveals that subvert expectations.
- Ambiguous or open-ended conclusions that leave threats still lingering.
- Moral or social commentary on issues like sexuality, drugs, or changing social values.
Focusing
Media key concept research
This document provides an overview of key media concepts related to audience, institutions, representation, language, codes and conventions, and narrative theory. It defines audience as the recipients of a media text and discusses several theories of how audiences interact with media, such as the hypodermic needle theory. It also defines institutions as organizations that produce and distribute media, and representation as the ideas and identities constructed in media texts. The document then examines media language and various codes and conventions used in different genres. Finally, it summarizes several narrative theories including those proposed by Propp, Todorov, and others.
UAL Media Unit 4: Structuralism - binary opposites, genre and narrative
The document provides information about media language and structuralism. It discusses how media texts are constructed to create meaning through the use of codes/signs like camerawork, mise-en-scene, and words. It explains that codes can have two levels of meaning - denotation, which is the literal meaning, and connotation, which refers to further implied meanings and associations. The document then discusses how structuralism views media texts and meanings as being determined by underlying social and psychological structures. It provides examples of how binary oppositions and genres are structural elements that help create and organize meaning in media texts.
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.
A level media- A2- Section 1B
For all media students in the second year of A levels, for the written exam at the end of the year, this is some help for the second part of the first section of that exam!
Audience
This document discusses theories of audiences for media producers. It describes theories of passive audiences that are directly influenced by media versus active audiences that interpret media through their own experiences. It also discusses targeting mass audiences versus niche audiences and gaining feedback from the intended audience. Common audience motivations like diversion, social interaction, and information are examined.
1.media language
This document discusses key concepts related to media language, including conventions, genre hybridity, intertextuality, semiotics, and genre theory. Conventions are typical elements expected in a media text that help identify genre. Genre hybridity occurs when a text uses conventions from multiple genres. Intertextuality refers to when one text references another. Semiotics is the study of signs, including denotation (literal meaning) and connotation (symbolic meaning). Theorists like Barthes, Baudrillard, and Neale contributed to understanding how meaning is constructed through signs and genre in media texts.
Collective identity notes
This document discusses collective identity and representations of Britishness in media. It provides background on studying collective identity through case studies and media texts. Some key topics of collective identity are identified such as gender, ethnicity, age and class. Examples of exploring representations of Britishness in British cinema and television news are given. Theories around the public sphere and how mass media has impacted it are also summarized. Students would analyze representations of collectives in media texts and debates around topics like national identity.
Similar to Theory & Practice Week Three - Genre 2011 (20)
Media unit 11 notes on narrative and genre theories
Media unit 11 notes on narrative and genre theories
UAL Media Unit 4: Structuralism - binary opposites, genre and narrative
UAL Media Unit 4: Structuralism - binary opposites, genre and narrative
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History of camera tech week two
The document provides a history of early camera technology, beginning with toys and magic in the pre-history era. It then discusses the concept of persistence of vision and revisits the myth of how it relates to motion pictures. The document also references Marcel Duchamp's 1912 painting "Nude Descending a Staircase, No. 2" as part of the history.
Camera history week one
This document outlines the content and assessments for a course on the history of camera technologies. The course will cover the development of still and moving image cameras from early toys and magic lanterns to modern electronic cameras. Students will work in groups to produce a short film using a vintage 35mm camera and give a presentation reflecting on the technical and creative aspects. Assessments include an individual or paired flip book exercise in the first week and the group film production and presentations in later weeks.
Med ins week 8
The document provides potential topics and ideas for presentations on media and broadcasting. Some suggested topics include the history of institutions like the BBC and their modern importance; the impact of technologies like Sky+ on audiences and industries; regulation of broadcasting and whether bodies like Ofcom are effective; scandals in broadcasting and lessons that can be learned; and the role and funding of public service broadcasting. For each topic, the document emphasizes analyzing meanings, impacts and implications rather than just listing facts or events. Presentations should consider topics in-depth rather than being superficial summaries.
Audio culture week 1 without sound
This document provides information about an "Audio Culture" module taken over two semesters. It outlines the learning outcomes, which involve skills in digital audio production and dissemination as well as understanding debates around audio's role in culture. There are two assessments: a portfolio of audio analyses worth 50% and an audio production project worth 50%. The portfolio involves analyzing four audio pieces in terms of production, audience and context. The production project involves creating a significant audio work negotiated with tutors. The module will examine sound in the contexts of radio, music, film/TV and new media.
Week Eight Presentation
The document discusses elements that help define media genres including characters, tone, locations, sound, editing, framing, and exposition. It provides examples of how these elements are used in different genres like news, game shows, children's programming, and documentaries to help produce and sell media products by explaining them to audiences and forming contracts with expectations.
PowerPoint - Genre Theory to Genre Practice
The document discusses genre theory and its application to media production. It explains that genre helps describe, produce, and sell media products by forming contracts with audiences. It then lists and provides examples of various elements that comprise genres, including characters, tone, locations, sound, editing, framing/shots, and others. These elements help shape audience expectations for different types of media.
History of camera tech week 5
The document discusses the history of sound in film from the 1890s experiments linking sound and image to the introduction of talking pictures in the late 1920s. It addresses some myths, noting that while silent films did not have synchronized sound, they were often accompanied by live music or lectures. Early sound-film experiments had issues with synchronization and amplification. The Jazz Singer in 1927, which featured both silent and spoken sequences, is considered the first "talkie." Warner Brothers helped drive the transition to sound by partnering with Western Electric on the Vitaphone sound-on-disc system due to losing small town audiences to automobiles. Technical challenges included noisy cameras, insensitive microphones, and ensuring smooth 24 fps projection without jerkiness.
Preparing your pitch
This document provides guidance on pitching documentary ideas. It emphasizes that a pitch must grab the commissioning editor's attention with a great story and succinct presentation. Developing a strong pitch takes research on the audience, style, subject matter, and institution. The pitch should be tailored to the expected audience and genre conventions. Thorough research is important to justify creative and production decisions. A good pitch concludes with an elevator pitch that summarizes what the viewer will get from the documentary in 30 seconds or less. Practice pitching and receiving feedback are important skills. The document then lists groups and tutorial timeslots for providing pitch feedback.
History of Camera Technologies - Week One
The document outlines the content and assessments for a course on the history of camera technologies. Students will learn about the development of still and movie cameras from early toys and magic lanterns to modern electronic cameras. They will demonstrate their understanding by producing a short film using a vintage 35mm film camera and presenting critically on the film. The course will cover topics like fixing and moving images as well as hearing and color images over time. It discusses approaches to studying history and assessing inventions, and that the first session will be at 9:30am starting next week. Students are asked to produce a basic flip book as an introductory exercise.
Theory and practice week 11
This document provides a history of broadcasting in the UK from the early 1900s to present day. It discusses the development of radio broadcasting by the Marconi Company and the BBC in the 1920s. The BBC was established to provide programming to serve all audiences. In the 1950s, commercial television was introduced in the UK, led by ITV, which was primarily advertiser funded. Today, both the BBC and ITV have public service broadcasting remits but utilize different funding models, with the BBC receiving funds from television licenses and ITV generating revenue from advertising.
Regulation
This document discusses different forms of regulation for media including legal, official, cultural, self, and economic regulation. It provides examples of media regulatory bodies in the UK such as Ofcom, ASA, BBC Trust, BBFC, and PCC. It also summarizes a case study about a Heinz deli meat advertisement that received complaints but was never officially banned or pulled in the UK.
Media Institutions week 2 2011
- The BBC had a monopoly on broadcasting in the UK pre-WW2 and through most of the 1940s, focusing mainly on radio. Commercial television was introduced in the 1950s through the new Independent Television Authority (ITA) to provide competition to the BBC and allow advertising-funded broadcasts.
- The Pilkington Committee in the 1960s recommended that ITV should be reorganized and the BBC given a third channel, leading to the launch of BBC 2 in 1964. Further reports looked at introducing more channels, resulting in the launch of Channel 4 in 1982 and satellite broadcasting by BSB and Sky in the late 1980s/early 1990s.
Media Institutions week 1 2011
The document outlines the learning outcomes and assessments for a module on media institutions, which will use lectures and seminars to explore issues affecting the contemporary media landscape such as ownership, globalization, and technological changes, assessing students through group presentations and individual podcast/video productions.
T & p week 1 upload version
This document outlines an introductory lecture for a media production course. It introduces the instructors and has the students do a quick icebreaker exercise. It then discusses the learning outcomes, which focus on developing critical analysis skills and understanding the relationship between theory and practice. It emphasizes that theory is important for production work and should not be seen as just reading. It explores what constitutes media texts and the importance of analysis. It also discusses aesthetics, media literacy, and where producers draw their influences from such as literature, art, and other media. It stresses the importance of having breadth beyond just technology.
Pp1 11 week 1
- This document outlines the goals and requirements for the first part of a two-part production project module, which focuses on planning a major creative project.
- The aims are to develop research, time management, and self-assessment skills through practical work and to produce an individual work.
- Assessments include a 25% pitch due November 1st describing the project plan, and a 75% treatment due December 13th providing details of the planned production. The treatment must also include a sample of the planned work.
Sound
Sound is omnidirectional and omnipresent, with qualities like timbre, level, and continuity that must be considered when recording. Unlike light, sound dissipates quickly on a logarithmic scale. While background noise, echo/reverb, and distortion cannot be removed in post-production, effects like additional background noise, echo/reverb, music, foley, and sound effects can be added. When recording audio, it is important to consider the space for booms, record as clean and flat as possible while monitoring, and re-shoot if needed. Using clappers and consistent microphone placement and techniques are essential for continuity.
Assessment Drama Production A
The document outlines the requirements and assessment criteria for two assignments for a drama production module. The first assignment involves producing a production schedule with evidence of planning and collaboration from group members. The second assignment requires an individual analysis of suitability for different drama production roles and consideration of strengths and weaknesses. Both assignments are due in December 2009 and January 2010 respectively and make up 50% of the module grade.
Global
This document discusses several aspects of globalization and Latin music. It addresses how Latin music became more influential in the late 1990s due to artists like Jennifer Lopez and Ricky Martin. It also discusses how salsa music negotiates issues of identity and how media can help preserve traditions but also lead to innovation and formation of new identities. The document provides context on the French rap group NTM and how rap was adapted in France to address issues of inequality, racism, and imperialism through rebellious discourses.
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Paper: https://doi.org/10.1007/978-3-031-61000-4_16
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Let's Integrate MuleSoft RPA, COMPOSER, APM with AWS IDP along with Slack
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Cosa hanno in comune un mattoncino Lego e la backdoor XZ?
Cosa hanno in comune un mattoncino Lego e la backdoor XZ?
National Security Agency - NSA mobile device best practices
National Security Agency - NSA mobile device best practices
20240609 QFM020 Irresponsible AI Reading List May 2024
20240609 QFM020 Irresponsible AI Reading List May 2024
Theory & Practice Week Three - Genre 2011
- 1. Genre
- 2. political meaning economy Genre Theory institutions Genre Structuralism symbolic code texts cultural code ‘new’ media
- 3. Another way in which to explore the media texts construct meaning
- 4. Developed in relation to film
- 5. Genre • From the French for ‘type’ or ‘kind’ • At its simplest, a system for classification • Widely understood and used form of analysis
- 8. Contract between producer and audience
- 9. Let’s start with what we know . . .
- 10. Medical Drama
- 11. Medical = white coats, doctors, nurses, patients, hospitals
- 15. House
- 17. Medical procedural Detective Who Dunnit?
- 19. House offers generic hybridity
- 20. Detectives Holmes Kojak Columbo Cracker
- 24. A mystery or problem to solve, tortured central character who shares traits with his ‘nemesis’, dubious dress sense? Relations to authority, the ‘sidekick’
- 25. • Genre is a signifying system • A Paradigm • The elements from which a text can draw are syntagms
- 26. Functional • Agents of ‘ideological closure’ (after Hartley) • Limit meaning potential • ‘Contract’ between producer and audience as to content • Annoying when broken!
- 27. “Typical forms of texts which link kinds of producer, consumer, topic, medium, manner and occasion” (Hodge & Kress, 1988, 7) Think also about camera movement, editing techniques, colour, costume, language, music . . .
- 28. For Producers . . . . • Creative or Constraining? (Gledhill, 1985) • Creative tension or ‘efficient’ communication (Fowler, 1989)
- 29. For Producers • Constructs an audience • Manages expectations • Possibility of disrupting expectation • Managing regulation
- 30. For Audiences • Frames of reference • Active process of constructing meaning • Recognition requires ‘Cultural Capital’ - Generic knowledge as a ‘competency’ or literacy
- 32. New media forms often borrow from what has gone before Novels - epislatory format of letter writing Radio - theatre concert and music hall TV - literary adaptation and soap Gaming - film, fairy story,
- 33. • So meaning is produced by the combination of elements in particular ways • Doesn’t require the presence of all possible choices
- 34. • Individual texts may be recognisable generically (shared paradigmatic features and themes) • Whilst differing dramatically from other texts within that genre • e.g. My Family & Peep Show - both sitcoms!
- 35. • Genres develop and change dynamically over time (diachronically) • They may combine - hybridity • Or become extinct - cease to have cultural currency
- 36. For Next Week . . . • In your groups produce a presentation which illustrates the key elements of the genre you are given • The presentation should be designed with the conventions of the genre in mind (e.g. font, colours, images, sounds) • See LN for more detail
Editor's Notes
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- It refers primarily to a distinction between the creative personality of the individual artist and the industrial production culture of the genre text (Roy Stafford)\nWe can find a variety of issues around the criteria used to group media texts. These are often related to institutional questions about how texts are produced and distributed as well as the ways in which they are approached by critics and audiences.\n
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