Genre

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. . . 9th . December. , 2011. . Magdalena . Tutka. . -. . Gwozdz. , . Ph. . D.. Department of Media and . Communication. . ID: 311338 Download Presentation

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Genre




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Presentations text content in Genre

Slide1

Genre

9th

December

, 2011

Magdalena

Tutka

-

Gwozdz

,

Ph

. D.

Department of Media and

Communication

Slide2

Defining a Genre

the word "genre"

(with French origin) means kind or type.

need to form

a shared sense that certain films seem to resemble one another in significant ways

.

Slide3

Particular genres are recognizable by:

their subjects or themes

, f. ex. Western, science-fiction

the emotional effect they aim for

, f. comedy, thriller

the plot pattern

, f. ex. detective film

manner of presentation

, f. ex. musical

few large, blanket genre categories that fit many films

, f. ex. musicals,

thrillers, horrors

Slide4

The role genres play in the cinema industry:

affect industry officials’ decisions

serve as a simple way to characterize film for publicity

Slide5

Analyzing a Genre

There are specific “conventions” serving as

pathwa

y

into the film for the viewer

:

certain plot elements

theme or general meanings

characteristic film techniques

characteristic objects and settings (iconography)

iconographic star

Conventions can be also reinvent or reject

Slide6

Genre History

Conventions change over time. This is

the

result of

:

borrowing existing conventions from the other media

genre mixing

mixing genres across the cultures

technology

a genre never dies

, however it do not remain constantly successful.

A batch of genre films that enjoys intense popularity

an

d

influence over a distinct period is called

a cycle

.

Slide7

The Social Functions of Genres:

reaffirm cultural values with little variation

serve to distract the audience from social problems

exploit ambivalent social values and attitudes

channel

“negative” emotions into approved attitudes

, f. ex. gangster film

display the audience's doubts or anxieties and correspond with current social situation

.

reflect social attitudes, as if in a mirror

(“

reflectionist

" approach)

reflect filmmakers' guess about what can bring them to commercial success

Slide8

Rick Altman, A Semantic / Syntactic Approach to Film Genre

fundamentally

bivalent nature of the genre

a double function

- most genres go through a period of accommodation during which the public's desires are fitted to Hollywood's priorities (and vice versa). (...)Whenever a lasting fit is obtained - which it is whenever a semantic genre becomes a syntactic one - it is because a common ground has been found, a region where the audience's ritual values coincide with Hollywood's ideological ones

.

Slide9

dual approach

allows to grasp

intergeneric

connections typically suppressed by

single­minded

approaches

, as well as to

establish a new continuity, relating film analysis, genre theory, and genre history

.

The

distinction between the semantic and the syntactic

(...) thus corresponds to a distinction between the primary, linguistic elements of which all texts are made and the secondary, textual meanings that are sometimes constructed by virtue of the syntactic bonds established between primary elements

.”

linguistic elements are developed into the textual meaning

.

Slide10

Please read!

Description of three genres (western, thriller and musical),

“Film Art. An Introduction”, pp. 338 - 346

Slide11

Film examples (conventions and innovations)

Western:

High Noon

, Fred

Zinnemann

(1952)

/

Once Upon a Time in the West

, Sergio Leone (1968)

Thriller:

Nosferatu

,

Fredich

Wilhelm

Murnau

(1922)

/

Rosmary’s

Baby

, Roman

Polański

(1968)

Gangster Film:

Little Caesar

,

Mervyn

LeRoy

(1931) /

Goodfellas

, Martin Scorsese (1990)

Science - fiction:

Metropolis

,

Fritz Lang (1927) /

Blade Runner

,

Ridley Scott (1982)

Musical:

American in Paris

, Vincent

Minelli

(1951) /

The Rocky Horror Picture Show

,

Jim Sharman

(1975) /

Tango

, Carlos

Saura

(1998)

Please read!

Functions of Film Sound

in K. Thompson / D.

Bordwell

, “Film Art”, pp. 298 - 307;

Writing a Critical Analysis of a Film

in K. Thompson / D.

Bordwell

, “Film Art”, pp. 443

-

451

Thank

you

!

Slide12

Slide13


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