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Chapter 9
Film Genres
© 2013 McGraw-Hill Higher Education. All rights reserved.

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Defining Genre
Genres are groups of films that have themes, subjects, or techniques in common that unite them.
Some films can fit into more than one genre.
Classifying films into genres makes it easy for producers, publicists, and viewers to understand what a film is like.
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3. Uses of Genre Allows us to predict what sort of movie to expect
Helps audiences to select the movies they attend
Reviewers’ critiques compare one film to others in its genre
Movie rental and retail sales organization
Movie listings

4. Genre Conventions Story formulas Themes Character types Setting
Presentation
Stars

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Analyzing a Genre
Genre conventions are plot elements, themes, techniques, or icons that define the genre.
Genre films may choose to revise or reject the conventions associated with them.
Genre films usually offer something familiar in terms of convention, but also something new.
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Genre History
Genres are constantly changing over time, borrowing techniques from other media, and reflecting innovations.
Genres become established when one film has commercial success and is imitated.
Genres come in and out of fashion in cycles.
Sometimes genres change by mixing with other genres.
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7. The Social Functions of Genres
They interact with values, rituals, and social trends.
Reflectionist genres reflect social and cultural processes and attitudes.
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8. Six Major American Genres
Gangster
Film noir
Science fiction
Horror
Western
Musical

9. Three Genres: 1. The Western
The basic theme is conflict between civilized order and the lawless frontier.
Iconography reinforces this.
The typical hero falls in between order and lawlessness.
Conventions reflect these themes.
Innovations developed include more complex protagonists and a reversal of the portrayal of Native American vs. white civilization.
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10. Defining Elements of the Genre: Western
A form of modern American mythology
Wilderness versus civilization
Setting: rural, dominated by landscape
Duality of characters
Highly recognizable visual style

11. Unforgiven (1992). Clint Eastwood, director
Unforgiven (1992). Clint Eastwood, director. Eastwood’s character exemplifies character duality in a Western protagonist.

12. My Darling Clementine (1946). John Ford, director
My Darling Clementine (1946). John Ford, director. Tension (and attraction) between encroaching civilization and the wide-open Wild West lies at the heart of most Western-genre narrative conflicts. My Darling Clementine, © 1946 Twentieth Century Fox Film Corporation.

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2. The Horror Film
Characterized by the effect on the audience.
Typically an unnatural, threatening monster and the other characters’ reactions define the genre.
Iconography includes setting, lighting, and makeup.
Critics suggest horror films reflect social concerns.
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14. Defining Elements of the Genre: Horror
Themes of death and insanity
Setting: “normal world” or rural setting; often at night
Protagonist: Loner or “flawed” character
Antagonist: “The Other”; with threats of infection and conversion
Highly recognizable visual style

15. Bride of Frankenstein (1935). James Whale, director
Bride of Frankenstein (1935). James Whale, director. Like film noir, the horror genre utilizes a style of lighting (referred to as low-key, or chiaroscuro, lighting) that emphasizes stark contrasts between bright illumination and deep shadow. Bride of Frankenstein, © 1935 Universal Pictures.

16. 28 Days Later (2002). Danny Doyle, director
28 Days Later (2002). Danny Doyle, director. 28 Days Later uses raging zombies as the other to confront our fear of death and insanity.

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3. The Musical
Began as revues but split into the backstage musical and the straight musical.
Associated with romance, children’s stories, and biopics of performers.
Accentuates the positive aspects of human nature.
Iconography includes backstage settings.
Techniques include bright lighting, bright costumes, color, crane shots, high angles, lip synching.
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18. Defining Elements of the Genre: Musical
Backstage narrative – stock characters/storylines
Integrated musical – musical performances at key dramatic moments
Dominated by romantic comedies and animated features

19. The Broadway Melody (1929). Harry Beaumont, director
The Broadway Melody (1929). Harry Beaumont, director. The Broadway Melody is an example of an integrated backstage musical.

20. Mamma Mia. (2008). Phyllida Lloyd, director. Mamma Mia
Mamma Mia! (2008). Phyllida Lloyd, director. Mamma Mia! uses a new approach to the movie musical featuring the catalog of the popular supergroup ABBA.

21. Defining Elements of the Genre: Gangster
Rags-to-riches-to-destruction theme
Urban setting
Questioning authority, institutions
Protagonist: antihero, outsider
Female characters: molls and mothers

22. The Godfather (1972). Francis Ford Coppola, director
The Godfather (1972). Francis Ford Coppola, director. One of the most famous gangster films, Francis Ford Coppola’s The Godfather includes many plot elements common to the gangster genre, as well as a few deviations. The Godfather, ©1972 Alfran Productions/Paramount Pictures.

23. Defining Elements of the Genre: Film Noir
Fatalistic themes, cynical tones, emphasis on corruption and despair
Urban setting
Hard-boiled characters
Protagonist: antihero, outsider
Female characters: Femme fatales
Highly recognizable visual style

24. Double Indemnity (1944). Billy Wilder, director
Double Indemnity (1944). Billy Wilder, director. Often in film noir, the hard-luck protagonist is doomed from the moment the story opens. Note the chiaroscuro lighting effects. Double Indemnity, © 1944 Paramount Pictures.

25. Fargo (1996). Joel Coen, director
Fargo (1996). Joel Coen, director. Many modern noir films offer a revised genre experience by relocating noir's thematic, aesthetic, and narrative elements to contemporary times and a typical locations. Joel Coen's Fargo unfolds on the frozen prairies of rural North Dakota and the snow-packed Minneapolis suburbs.

26. Defining Elements of the Genre: Science Fiction
Technology versus humanity theme
Speculative (often futuristic) setting
Protagonists: Down-to-earth
Antagonists: “Others” (aliens, computers, robots, etc.)

27. Close Encounters of the Third Kind (1977). Steven Spielberg, director
Close Encounters of the Third Kind (1977). Steven Spielberg, director. Science fiction films often emphasize a malevolent alien as the “other,” this one looking much like a reassuring humanoid.

28. Avatar (2009). James Cameron, director
Avatar (2009). James Cameron, director. Avatar puts a new spin on the science fiction genre by presenting humans as the cold-blooded alien invaders.

29. Evolution and Transformation of Genre
The process by which a particular genre is adapted to meet the expectations of a changing society
A hybrid may combine any combination of genres
Subgenres occur when areas of narrative or stylistic specialization arise within a single genre

30. The Twilight Saga: Eclipse (2010). David Slade, director
The Twilight Saga: Eclipse (2010). David Slade, director. In recent years, much of the horror has been drained from the subgenre as audiences have fully embraced the vampire as a romantic figure.

31. Buffy the Vampire Slayer (1992). Fran Rubel Kuzui, director
Buffy the Vampire Slayer (1992). Fran Rubel Kuzui, director. Buffy injects horror into an otherwise conventional high school melodrama.