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Transcript of film
b. often expresses the potential of technology to destroy humankind designed to make us experience what it might be like for us to possess a certain specific perspective on the world that is not our own Film Genres gen·re [zhahn-ruh; Fr. zhahn-ruh] noun,plural gen·res [-ruhz; Fr. -ruh], adjective Genre 1. a. kind, category, or sort, esp of literary or artistic work b. (as modifier): genre fiction 1. Newsreel/Reflexive Kinds of Documentary Films: those that deal with historical, social, scientific or economic subjects, either photographed in actual occurrence or re-enacted, and where the emphasis is more on factual content than entertainment Documentary -Academy of Motion Picture Arts and Sciences a. first used by John Grieson, an early documentary filmmaker in England "documentary" b. a "creative treatment of reality" c. to describe a non-fiction film d. John Grieson is the father of the documentary film A short film of news and current affairs, formerly made for showing as part of the program in a movie theater. "Genres are ways of classifying films that are largely shared across society, by filmmakers, critics, and viewers." -Collins English Dictionary (Bordwell & Thompson, 2010) 2. Realistic/Observational 3. Lyrical/Poetic Attempts to portray life as it is Create film poem
first appeared in the 1920’s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the early fiction film. 4. Social Action/Performative usually express a point of view
life itself the source of the ideas, research and film making 5. Propaganda/Expository are structured and emotionally appealing, persuading us to form conclusions that are not necessarily part of the intellectual process 6. Naturalist /Participatory concerned with the natural and primitive parts of our world-primitive peoples and nature usually include high energy, big-budget physical stunts and chases, possibly with rescues, battles, fights, escapes, destructive crises Action non-stop motion, spectacular rhythm and pacing, and adventurous, often two-dimensional 'good-guy' heroes (or recently, heroines) battling 'bad guys' - all designed for pure audience escapism. Disaster has an impending disaster as its subject focus on the character's attempts to avert, escape, or cope the disaster scores of minor characters, extras and sometimes, one major character will die before the story is resolved a. are serious, plot-driven presentations, portraying realistic characters, settings, life situations, and stories involving intense character development and interaction
b. relies on emotional and relational development of realistic characters Drama a. Stories whose central struggle is between a Champion and a problem or injustice in society. Usually the Champion has a personal stake in the outcome of the struggle.
b. identifies problems in society--poverty, the education system, communicable diseases, the disadvantaged, antisocial rebellion, and the like--then constructs a story demonstrating a cure. Social Drama a. focus on stories of young people on the edge of maturity
b. the adolescent characters are forced to make a decision, the outcome of which will have a significant and life-shaping impact on their futures
c. major elements are sacrifice, change and challenge Coming-of-Age a. Stories whose central struggle is between two people who each want to win or keep the love of the other.
b. usually has a theme that explores an issue within love, including but not limited to: love at first sight, forbidden love, love triangles, and sacrificial love. Love/Romance Crime began in Hollywood's Golden Age in the late 1920's
portrays gangsters and criminals with a combination of fascination and compassion
revolves around the action of the criminal mastermind Film Noir has its root in hardboiled detective fiction
literally means "dark film"
both dark in its look, nighttime, and revealing the dark side of humanity Gangster focus on the rise to the power of an organized gang, focusing on the gang's leader as well as their fall.
developed around the sinister of actions of criminals and gangsters Thriller Stories whose central struggle pits an innocent hero against a lethal enemy who is out to kill him or her. are characterized by fast pacing, frequent action, and resourceful heroes who must thwart the plans of more-powerful and better-equipped villains. Detective/Courtroom a. Stories whose central struggle is to find out what really happened and thus to expose the truth . don’t see themselves as a transparent window on the world; instead they draw attention to their own constructedness, and the fact that they are representations attempt to simply and spontaneously observe lived life with a minimum of intervention stress subjective experience and emotional response to the world speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view are rhetorical, and try to persuade the viewer these films do is emulate the approach of the anthropologist: participant-observation
a. Stories which are animated, or whose central struggle plays out in two worlds - the "real" world and an imaginary world.
b. plays with time, space, and the physical, blending and mixing the laws of nature and the supernatural.
c. element of magic, myth, wonder, escapism, and the extraordinary Fantasy Adventure a. Stories whose central struggle plays out in the midst of a clash of great forces or in the sweep of great historical change.
b. take an historical or imagined event, mythic, legendary, or heroic figure, and add an extravagant setting and lavish costumes, accompanied by grandeur and spectacle, dramatic scope, high production values, and a sweeping musical score. Epic/Myth Science Fiction Musical/ Dance a. are cinematic forms that emphasize full-scale scores or song and dance routines in a significant way
b. Descended from opera, this genre presents a “reality” in which characters sing and dance their stories. Horror a. are designed to frighten and to invoke our hidden worst fears
b. Stories whose central struggle focuses on escaping from and eventually defeating a Monster (either human or non-human). a. has some similarities with action films but filled with travels, conquests, explorations and such
b. are exciting stories with new experiences or exotic settings
c. settings are risky because of "supernatural" and mysteries that they are dealing with Uncanny the source of horror is astounding but subject to “rational” explanation, such as beings from outer space, science-made monsters, or a maniac. Supernatural the source of horror is an “irrational” phenomenon from the spirit realm. the audience is kept guessing between the other two possibilities. Super-Uncanny Comedy a. are light-hearted dramas, crafted to amuse, entertain and provoke enjoyment
b. exaggerates situation, language, action and character 2 general formats: 1. comedian-led well-timed gags, jokes and sketches are told within narrative Animation Historical a. Many contemporary antagonisms are so distressing or loaded with controversy that it’s difficult to dramatise them in a present-day setting without alienating the audience.
b. depicting historical events and personages and socially significant phenomena in the history of society. Forms of Comedy 1.Slapstick not verbal effect but physical and visual action was primitive and physical action comedy with out sound effects 2. situation- comedy 2. Black Comedy dark, sarcastic, humorous or sardonic that help us examine or ignore dark and serious themes 3. Parody ridicules and/or imitates motifs of a serious work 4.Deadpan exemplified by the expression-less face 5.Verbal Comedy typified by the cruel verbal wit 6.Screwball combination of slapstick and witty dialogue of more sophisticated films 1. The act, process, or result of imparting life, interest, spirit, motion, or activity. 2. The quality or condition of being alive, active, spirited, or vigorous. 3.1. The art or process of preparing animated cartoons.
3.2.An animated cartoon. Analyzing a Genre genre conventions plot theme film techniques iconography -- consists of recurring symbolic images that carry meanings from film to film -- objects and settings; stars -- pathway into the film
-- landmarks that allow the genre movie to communicate information quickly and economically *A film can revise or reject the conventions associated with its genre.
*The interplay of convention and innovation, familiarity and novelty, is central to the genre film. Genre History Genres change over history. One important pressure on genres is technology. Film genres have their own history, combining borrowings from other arts and distinctive innovations. Most cinema genres and subgenres become established when one film achieves success and is widely imitated. It seems likely that genre never dies. It may pass out of fashion for a time, only to return in updated garb. A genre may also change by mixing its conventions with those of another genre. In some cases, genres influence and mix with one another across cultures. The fact that genres can intermingle does not mean that there are no distinctions among them. Genre and Society The conception of a genre's social function as ritual derives from the anthropological theory of Claude Lévi Strauss. Another conception of a genre's social function holds that genre films are centrally concerned with social groups that are oppressed and feared by many in a society. One argument for this approach can be found in Robin Wood, "An Introduction to the American Horror Film".