Introduction to genre theory Previously genre was used as a fixed set of conventions (holly wood). Critique of genre as a fixed concept – Adorno/ Horkheimer suggest genre must evolve as a creative tool. Hence Hybrids. Genre evolves due to its social and cultural context Genre is defined by its expected conventions. These conventions evolve. Daniel Chandler, a genre theorist: ‘ conventional definitions of genre tend to be based on the notion that they constitute particular conventions of content, such as themes or settings, and/ or structure or style which are shared by texts regarded as belonging to them.

Postmodernism ‘Modernism’ was an artistic movement from the late 19 th century to roughly the 1960’s embracing progress and seeking the ‘truth’ Post modernism encompasses the social and cultural ideas, attitudes and images since 1960/1970 Post modernism reflects our changing globalised culture from the 1960’s. it reflects the a more ‘confused’ time where traditional values are less clear. The post modern condition reflects the our digital age where media saturation presents a mix of cultural beliefs. Post modernist borrow ideas and present hybrid versions to make sense of our confused times. Media saturation – Media overload. Uses in the media Challenging narratives Non linear narrative Hybridisation Intersexuality (referencing) – pastiche= copy, bricolage= using specific iconography, homage=paying respect, parody=satire ‘High art’ editing / camera work- time remapping Simulacra / hyper reality – where the audience realise there is a mise en scene.

Sub Genre’s Film sub genres are films which use a hybrid of aspects from different film genres. It could range from mixes of; narrative layout, iconography, subject matter or style. Science fiction – a sense of science gone wrong’ where the future is controlled by a big brother scenario Post apocalyptic – end of the world scenario with limited survivors. It includes the theory of Darwinism which reflects the notion of survival noting that it is the rugged individual who proves capable of adapting to a new environment who will survive and eventually advance the new society. Horror – presenting a chaotic world of mutants or zombies created from human genetic research. Chick flicks – using aspects of comedy, action and drama.

Crime Genre 1930s Classic gangsters Prohibition era Dark sets 1940s Alienated hero Femme fatales Moody lighting Film noir Dark thriller Dark lighting 1960s Crime capers – reflected the optimism socially and economically of felt in the ‘swinging sixties’ Comedy A list stars 1970’s Gritty pictures Blaxploitation Foxy brown 1970’s Britain Gritty, hard faced crime dramas Get Carter (1971)

Narrative conventions of Crime films The main conventions of crime genre are Film Noir, American gangster, British gangster, comedy, action, and spy. Whilst studying clips of different examples of crime films, I found what the different styles included. As a conclusion I noticed that each one of the films included these conventions: Themes of criminal activity, violence and death Dramatic/Tension created from appropriate score Female interest Accent/Dialect according to setting Social/Cultural study Props related to violence/ crime (guns, vehicles) Morals, loyalty and sense of family unity within the criminal organisations

Character Conventions in Crime films There are usually three types of characters in crime films. A detective /police type character who tries to solve the crime or catch the perpetrator Criminal(s) who commit the crimes who may be the protagonist or antagonist depending on the style of the film for example in Snatch the protagonists are criminal boxing promoters Victims of the crimes committed or characters who get caught up with the antagonists wrong doings. A leader or Boss of a criminal organisation who is an imposing authority figure- usually enforcing through force/ fear.

The crime genre is usually quite faced paced, there is not often a lot of establishing long shots for example but rather the action is more character driven. With the use of close up shots and unconventional angles to enhance the action. Since crime films such as Reservoir Dogs are very much dialogue driven, The camera is used subtly to observer the conversations and the action on the screen. Not many artistic Camera shots from peculiar angles can be common in crime films, shots which are made to give the audience a sense of unease as they watch the film. Typical Camera Shots

Some crime films can be very stylized and fast paced, with the use of a lot of quick edits and camera transitions. A key example would be Snatch; which uses a lot of stylistic edits to emphasize the 80’s influenced crime/ comedy caper. Other crime films which are more gritty, in particular British crime films may use a granulated lens to highlight a bleak setting and create the harsh world of crime. Long /craning shots over locations – often urban landscapes filled with criminal activity. A lot of older crime films/ exploitation films use transitions which aim to create an element of hip culture, ‘cool’ styles of filming urban stories. Typical Editing Techniques

Another noticeable element of the story is that we never get to see the heist itself take place, only the aftermath The dialogue used in the film is a very realistic set of dialect, the use of the word ‘nigger’ was famously criticised for being used out of context. When in fact the characters would most likely used words like these and talk in a street like fashion. The idea of loyalty, family, morals is a key theme throughout the film. The sense of loyalty within criminal organisations is put into question as the crooks question who the rat in the group is. Mr Orange, the undercover cop breaks the trust and we as an audience resent what his character is doing – even though he is essentially doing a good thing. Themes of guns, violence, gangs is reminiscent throughout the film. Narrative Conventions exhibited in Reservoir Dogs Reservoir dogs is very unconventional, especially at the time it was made in terms of narrative structure. Starting after the event of the failed heist, it time lapses to re call the events of the characters as they try to piece together what went wrong.

Character Conventions exhibited in Reservoir Dogs The characters in reservoir dogs are all criminals preparing for a heist together, all with known and trusted criminal pasts. Each character is labelled with a ‘Mr ‘colour’ for e.g. Mr Pink. Designated by the ‘Boss’, a stereotypically imposing large bald man. The stereotype is played upon though with Mr Pink confronting the boss as to why he was given the feminine name of Mr Pink. As with many other crime films there is something which goes wrong in the crime/ heist/ event of the film, in this case it’s the character of Mr Orange (Tim Roth) who plays the undercover cop who foils the crooks plan. Nice Guy Eddie, who is the bosses son plays the role of the helper for the criminals. He interviews/ introduces the crooks to the plan and attempts to rectify the situation when the heist goes wrong. Another character which plays the helper, this time for the law/ undercover cop Mr Orange is Holdaway. Its unclear if he is a cop or just a street smart crook, he guides Mr Orange in preparation for his role as a believable criminal. The film twists the perception of a pure Hero, there’s two characters you could argue fulfil this role. Mr Orange and Mr White; The undercover cop who works for a good cause, yet betrays those around him and especially Mr White who goes out of his way to look after Mr Orange when he is fatally shot. The Mr white character is a prominent character which we see the most of in the film, with a strange sense of good morals within his criminal agenda. Both could be classified as anti hero figures.