Section A:
Theoretical
Evaluation [25%]
Question 1b
–
Genre
·
Genre is a critical tool to help us study texts
and audience responses to texts by dividing them into categories based on
common elements.
·
‘The word genre comes from the French (and
originally Latin) word for “kind” or “class” (Daniel Chandler (2001))
·
The term is widely used in literary and media
theory to refer to a distinctive type of ‘text’.
·
All Genres have Sub-genres.
·
Major genres are divided up into more specific
categories that allow audiences to identify them specifically by familiar
characteristics. These characteristics become more familiar over time.
·
Steve
Neale (1995) stresses that: ‘genres are not systems, they are processes of
systemisation’. Genres are dynamic and evolve over time.
o
Systems don’t last; it has to change through
systemisation.
o
Some fundamental categories change (e.g.
important social issues), and others stay the same.
o
For example:
§
a film
genre is still classed as a Western, but it changes in various ways, for
example, from a stage coach attacks, to a rundown town run by a sheriff)
§
Horror – from Frankenstein to Saw - there is
still the element of frightening audiences, but there are different elements of
what is involved in the film.
When Steve Neale
describes Genres as processes of systemisation rather than systems what is he
getting at?
Steve Neale says that “systems don’t last; it has to change
through systemisation”. He means that genres are dynamic and will evolve over
time. Systems don’t last; it has to change through systemisation, with various
fundamental categories changing and others staying the same, such as important
social issues. For example, a film genre is still classed as a Western but it
changes in various ways, from stage coach attacks, to a rundown town run by a
sheriff. Another example is horror,
which has evolved from Frankenstein to Saw, where there is still the element of
frightening audiences, but there are different elements involved in the film.
[Points to improve:
·
Change style – don’t repeat yourself – narrow it down]
·
Jason
Mittell (2001) argues that genres are cultural categories that surpass the
boundaries of media texts and operate within industry, audience, and cultural
practices as well.
o
In short, industries use genre to sell products
to audiences. Media producers use familiar codes and conventions that often
make cultural references to their audience’s knowledge of society + other
texts.
§
For example, 21 Jump Street America
§
This example is representative of the real
world, as this kind of issue is commonly associated with the audience’s knowledge
of society.
§
Therefore, Jason Mittell’s argument is accurate.
o
Genre allows audiences to make choices about
what products they want to consume through acceptance in order to fulfil a
particular pleasure.
§
For example, the feeling of fear in the cinema may
influence their choice on their next film.
§
Certain
phrases could include:
·
on the edge of my seat
·
intellectually engaged
·
scared witless
·
emotionally and physically moved
·
intense
·
uncomfortable
§
In whatever genre, you will have certain
particular pleasures gratified.
·
In horror, you will be terrified
·
In comedy, you will laugh
·
In thriller, you will experience
excitement/shock
·
Rick
Altman (1999) argues that genre offers audiences’ a set of pleasures.
o
Emotional Pleasures:
§
Are offered to audiences of genre films and are
particularly significant when they generate a strong audience response.
o
Visceral Pleasures:
§
Are ‘gut’ responses and are defined by how the
film’s stylistic construction elicits a physical effect upon its audience. This
can be a feeling of revulsion, kinetic speed, or a ‘roller coaster ride’.
o
Intellectual Pleasures:
§
Certain film genres such as the thriller or the
‘whodunit’ offer the pleasure in trying to unravel a mystery or a puzzle.
Pleasure is derived from deciphering the plot and forecasting the end or the
being surprised by the unexpected.
§
For example, my intro from AS Media offers intellectual pleasures. This intro
involves a young adolescent walking into the path of an older adolescent bully,
before he is rescued at a critical point of paths crossing, by another
adolescent. Pleasure comes from the audience trying to forecast the outcome of
these two people crossing paths, and deciphering the relationship between all
three characters, and why the consequences of crossing paths would be severe.
This strengthens Rick Altman’s argument, as if the audience was successful in
predicting what would happen, pleasure will derive from their emotions.
§
[Points to improve: Refer to Rick Altman earlier and explain
what intellectual pleasures means in more detail.]
·
Genre Development and Transformation:
·
Over the years genres develop and change as the
wider society that produce them also changes, a process that is known as
generic information
·
John Ford (1939) stage coach
·
Metz
o
Experimental Stage- trying out different things
(e.g. “Stage Coach” (John Ford)
o
Classical Stage – town, tumbleweed, saloon, bank
robbery, (e.g. “The Magnificent Seven)
o
Parody Stage – copied for humorous effect,
slapstick laughter (e.g. “Amazing Saddles”)
o
Deconstruction Stage – where the genre is pulled
apart, truths are put to the test, rules are broken (e.g. “Unforgiven”)
·
Short film is a form. It is not a genre.
·
Does it have specific conventions?
·
Nicholas
Abercrombie (1996) suggests that ‘the boundaries between genres are
shifting and becoming more permeable’
·
Abercrombie is concerned with modern television,
which he suggests seems to be engaged in ‘a steady dismantling of genre’
·
Genres are not fixed. They constantly change and
evolve over time.
·
David
Buckingham (1993) argues that ‘genre is not…simply “given” by the culture:
rather, it is in a constant process of negotiation and change’.
o
Many external agents are involved in this
process.
·
A postmodern theorist Jacques Derrida reminds us – ‘the law of the law of genre is a
principle of contamination, a law of impurity’.
o
Genres are not pure.
o
Different opinions on genre can change the way
people look upon that genre.
o
For example, in Saw, people can say “this isn’t
a horror, it’s more humorous”, and other peopled can agree with this and change
the way they look at this genre.
·
How we define a genre depends on our purposes (Chandler
o
E.g. if I want to be terrified I will need a
certain set of elements to appear in that film, which defines the genre. Closes
off certain boundaries. Genre is informed by the audience.
·
What was your purpose and the medium?
