Genre

Introduction to Genre

  • Definition of Genre
    “Genre is simply a French word for type or kind. It helps categorize media content by recurring characteristics.”

  • Importance of Genre
    Genres influence:

    • How we experience media
    • The status of works
    • Their circulation and production
    • Their interpretation by audiences

In what different ways can media be classified?

  1. types of medium – televisual media, print media, internet, social media, audio-media etc.

  2. target audiences – who is consuming media (mass public, niche audiences, kids/adults, etc.)

  3. genre – generic type and kind

  • Activity:
    Brainstorm and list examples of different genres in TV. Discuss why these classifications are important.

Why are genres important?

  • …to media producers/distributors?
  • …to media audiences?
  • … to media students?

Rick Altman’s genre theory

Genre as a…

  • Blueprint (for the producer): as a formula that “precedes, programs, and patterns industry production”

  • Label (for the distributor): as the name of a category shared by distributors & exhibitors to communicate the nature of the media text (genre film) that they are selling

  • Contract (for the audience): as the relationship between each genre film and its audience

  • Structure (for the students): as a formal framework to study the media texts (genre films)

Conventions & repertoires of elements

  • Conventions embedded into media products
    • set of unwritten rules that reinforce and repeat accepted structures or dominant values
  • Genre conventions & classifications helps shape:
    • audience expectations, interpretations, reception
  • Repetition of conventional elements (repertoires of genre elements):
    • narrative, characters
    • audio-visual codes (settings, location, costumes, décor, lighting, music, camera angles, colors etc.)

Repertoires of Elements

  • What Are Repertoires?
    “Genres consist of a fluid set of conventions, which both producers and audiences use to create and interpret media.”

  • Example:
    Romance genre conventions such as close-ups, sweeping music, and dialogues are recognizable, but they adapt to reflect contemporary themes.

Conventions & repertoires of elements

American Gangster

Genre:

  • Crime/Drama

Visible Repertoires of Genre Elements:

  1. Narrative Elements:

    • Crime and Power: The film revolves around Frank Lucas, a drug lord who rises to power in the criminal underworld, which is a core theme in crime dramas.

    • Law Enforcement vs. Criminals: The classic struggle between the criminal empire (Frank Lucas) and law enforcement (Detective Richie Roberts).

American Gangster

  1. Character Types:

    • Anti-Hero: Frank Lucas (played by Denzel Washington) is depicted as a charismatic yet ruthless criminal, a common trope in crime dramas.

    • Lawman with Integrity: Detective Richie Roberts (played by Russell Crowe) is portrayed as the morally upright character determined to take down Lucas, representing the law’s pursuit of justice.

    • Supporting Characters: Lucas’s family and associates, as well as corrupt law enforcement officers, add to the complexity of the crime world.

American Gangster

  1. Audio-Visual Codes:

    • Urban Setting: The film is set in 1970s New York City, a gritty, crime-infested environment typical of the crime genre.

    • Costumes and Props: Characters are dressed in period-specific attire, including suits and hats, reflecting the 1970s urban setting. Iconic props include drugs, money, and weapons, highlighting the criminal elements.

    • Lighting: Dark, moody lighting conveys the danger and tension of the criminal underworld.

    • Music: The trailer features intense, dramatic music that heightens the sense of impending conflict and power struggles.

American Gangster

  1. Themes:

    • Rise to Power: The story of a man building a criminal empire through illicit means is a central theme in crime dramas.

    • Corruption and Justice: The tension between corrupt systems and individuals seeking justice is a recurring theme, especially in Lucas’s interactions with both law enforcement and corrupt cops.

    • Morality vs. Survival: Characters in crime dramas often face moral dilemmas, choosing between personal gain and ethical principles, as shown by both Lucas and Detective Roberts.

The Dynamic Nature of Genre

  • Repetition and Difference
    “Genres are not fixed. Media texts within a genre rely on both familiar conventions and innovations.”

  • Besides repetition, they require variation.

  • A genre balances sameness & difference. Audience wants something similar but at the same time different.

  • Activity:
    Identify repeated and different elements in Master Chef and Survivor in between and global vs local

The Dynamic Nature of Genre

  • What is your favorite media genre?
  • What are its generic conventions?

Thomas Schatz: Difference between Film Genre vs. Genre Film?

  • The language analogy – langue and parole (grammar and usage)

  • A film genre – it has come into being because of its cultural significance as a meaningful narrative system (Schatz, 1999: 644)

  • A genre film – represents an effort to reorganize a familiar, meaningful system in an original way (Schatz, 1999: 644).

Articulating genre

Articulating genre: Adventure

Genre:

Action/Adventure

Repertoires of Generic Elements in the Poster:

  1. Heroic Figure (Protagonist):

    • Indiana Jones is centrally positioned, wearing his iconic outfit (fedora hat, whip, and rugged attire). This portrays him as the archetypal action-adventure hero, brave and capable of handling dangerous situations.

  2. Adventure Setting:

    • The background imagery, including ancient artifacts, temples, and exotic locations, signals an exploration of ancient mysteries, a classic trope in adventure films. The poster also hints at treasure hunting and archaeological pursuits.

  3. Action Symbols:

    • The whip in Indiana’s hand, raised in a dynamic action pose, suggests physical action and adventure, reinforcing the idea of dangerous stunts and fights typical of the genre.

Articulating genre: Adventure

  1. Secondary Characters:

    • The supporting characters depicted around the edges indicate a variety of roles such as allies and villains, which are key elements in adventure stories. These characters add depth to the protagonist’s journey, hinting at intrigue, betrayal, and partnerships.

  2. Color Palette:

    • The warm, earthy tones and bold, classic font are reminiscent of older pulp adventure serials. The coloring evokes a sense of exotic locales and hidden treasure, common in adventure films.

  3. Mystical and Historical Elements:

    • The inclusion of artifacts like the Ark of the Covenant and other ancient symbols connects the film to historical/mythical themes, often found in adventure films where characters seek legendary objects.
  • Overall, the poster effectively communicates the action/adventure genre with its focus on the heroic figure, action-oriented visuals, exotic locations, and ancient artifacts.

Articulating genre: Recep İvedik

Thomas Schatz’s Genre Theory

  • Each genre film incorporates a specific cultural context […] in the guise of a familiar social community (Schatz, 1999:646). 

  • Example: location and setting in Western films 

  • A cultural milieu (or field of reference) where inherent thematic conflicts are animated, intensified, and resolved by familiar characters and pattern of action (see Schatz, 1999:646).

Genre & ideology

Locating ideology in genre films (Thomas Schatz):

  •  The “social community” providing the setting (cultural context)

  •  Character types as embodiments of ideologies

  •  Within the plot structure:

    • Establishment of the generic social community

    • Animation of community through characters

    • Intensification of conflict

    • Resolution that restores community

Locating ideology in: Kurtlar Vadisi

Evolving Conventions

  • Old genres can be reshaped or new genres may develop.

    • Genre hybridity: hybrid, cross-generic forms

  • Intertextuality: co-presence of various genres

  • Generic conventions can be reframed to contest the existing norms and ideologies. 

  • Example: two identifiable cycles of Hollywood war films which interrogate the notions of masculinity and militarism in the American society. War films with felamle lead

Evolving Conventions

  • Why do genres change?

  • What could be the sources of change?

  • Can you think of a media text that has evolved from its generic conventions?

Evolving Conventions

  • A great example of a media text that has evolved from its generic conventions is The Dark Knight (2008), directed by Christopher Nolan. Traditionally, superhero films, especially those based on comic books, followed a formulaic structure: a clear distinction between heroes and villains, a focus on special effects and action sequences, and often a simplistic moral outlook where good triumphs over evil.

  1. Complex Characters: The film presents Batman as a morally ambiguous character, grappling with the ethics of his vigilantism. Likewise, the Joker is not just a supervillain but a deeply philosophical anarchist who challenges societal norms. The focus is not only on action but also on the psychological depth of these characters.

  2. Ambiguity and Lack of Closure: Unlike most superhero films, which offer clear resolutions, The Dark Knight leaves many moral questions unanswered and concludes on an unsettling note. This challenges the genre’s convention of a neatly wrapped-up happy ending.

Verisimilitude

  • veri- (truth) + simil- (similar)

  • Generic (formal) verisimilitude

    • How well a production matches conventions of its genre

  • Cultural verisimilitude

    • Measures a genre against expectations about the real world

    • The connections of genres to the social order or culture around them

Status and genres

  • Male genres:

    • More “realistic” genres (high cultural verisimilitude) 

    • Less emotional

    • Are more respected

  • Female genres:

    • Less “realistic” genres (high generic verisimilitude) 

    • More emotional

    • Are taken less seriously

    • ‘escapism’

Richard Dyer: Entertainment & Utopia

  • Definition of Utopia: Originally from Thomas More’s work, utopia means an ideal, perfect society.

  • Utopia in Entertainment: How movies, TV shows, and books reflect our desires for a better world.

  • Example: Star Trek – Imagines a future where humanity has overcome poverty, war, and inequality.

Richard Dyer: Why Utopia in Entertainment?

  • Escapism: Entertainment provides a break from reality, fulfilling a collective need for hope and harmony.

  • Influence on Society: Media shapes our perceptions, giving us a vision of what life “could be.”

  • Example: Disney movies – Many portray simple worlds where good triumphs over evil and happy endings are inevitable.

Richard Dyer: Main Arguments of the Article

  • Idealization: Entertainment often portrays exaggerated happiness and success.

  • Distraction from Reality: Creates a comforting illusion that may prevent audiences from facing societal issues.

  • Example: Reality TV – Shows like The Bachelor or Keeping Up with the Kardashians idealize lifestyles that are out of reach for many, creating a fantasy of wealth and romance.

Richard Dyer: Utopian Codes in Entertainment

  • Happy Endings: Resolve conflicts neatly and satisfyingly, reinforcing the idea that “everything will be okay.”

  • Example: The Lord of the Rings – The ultimate triumph of good over evil, where heroes live happily ever after.

  • Heroic Figures: Idealized characters with few flaws, presenting an oversimplified view of good and evil.

  • Example: Superhero Movies – Characters like Superman or Wonder Woman are portrayed as moral ideals.

Richard Dyer: Aesthetic Perfection

  • Visually Idealized Worlds: Perfect settings and beautiful characters give a polished version of reality.

  • Example: The Great Gatsby Movie – Glamorous parties and luxurious scenes give a beautiful but unrealistic view of the “American Dream.”

  • Social Media as a Modern Utopia: Platforms like Instagram use filters and curated images to create an idealized reality.

Richard Dyer: Moral Certainty in Utopian Media

  • Clear Distinctions of Right and Wrong: Good and bad are straightforward, providing a simple worldview.

  • Example: Harry Potter Series – Heroes and villains are clear-cut, reinforcing the belief that good always wins.

  • Implication: While comforting, this perspective oversimplifies the complexities of real-world ethics.

Richard Dyer: Positive Role of Utopia in Entertainment

  • Promotes Hope and Positivity: Encourages audiences to imagine a better world.

  • Example: Black Panther – Provides a vision of African progress and prosperity, inspiring pride and unity.

  • Social Cohesion: Utopian stories encourage audiences to seek solutions and unity in facing real-world issues.

Richard Dyer: Critical View: Limitations of Utopian Entertainment

  • Unrealistic Expectations: Leads to disappointment when real life does not match these idealized portrayals.

  • Example: Romantic Comedies – Idealized love stories create unrealistic expectations about relationships.

  • Passive Audiences: Constant escape into utopian worlds may discourage active engagement with real social challenges.

Richard Dyer: Case Study: The Hunger Games and Dystopian Utopia

  • Contrast with Utopia: Dystopias provide a “reverse utopia,” highlighting the risks of a society gone wrong.

  • Example: The Hunger Games – Depicts a society obsessed with spectacle and control, prompting reflection on issues like media manipulation and inequality.

  • Relevance: Dystopian portrayals warn audiences of potential societal pitfalls, balancing utopian narratives.

Conclusion: The Dual Role of Utopia in Entertainment

  • Escapism vs. Reality: While entertaining, utopian portrayals risk creating illusions that distract from societal needs.

  • Encouraging Critical Consumption: Audiences benefit from recognizing utopian codes and engaging critically with media.

  • Final Example: Wall-E – Highlights the dangers of consumerism and environmental neglect, encouraging viewers to reflect on their actions.

Richard Dyer: Entertainment & Utopia

Emre Toros - Media Studies - Week 5