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Approaches to understanding and defining genre
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When something is created it is a given that it will be picked apart, dismantled, will evolve into something even greater. It has become the norm in film-making to play by these rules of deformation. Movie makers have stretched the definitions of genre to encompass the given criteria set up by the very people who created these staple types of films that movie goers are used to. Today we can watch romantic comedies that take place in outer space, or horror where no one is killed. It seems as though as soon as you find a clear definition of what a specific genre is, someone comes along and reinvents the category.
The idea of the genre developed from the need for steady box-office success. The same basic combination of precise plots, character types, and themes, proved to draw crowd after crowd into the theaters to see their favorite stars and story lines played out. But somewhere along the way the very thing that drew in these crowds started to evolve to become greater and diverse. Cabaret, Unforgiven, and The Godfather are clear examples of this
Each one ripped apart the mold assigned to the genre that it now fits into. The Godfather proves that family business is no longer money or power, it is now the family. Prior to this the gangster film had little to with family life. Unforgiven stuck to the setting of the original western, but broke through the misconception that a western had to be about "deserve." The musical, dominated by Hollywood and happy endings, moved to Germany to deal with abortion in Cabaret.
One could examine each anti-genre film, pick apart technical and literary elements and find exactly where it goes astray from the intended form. Each one will differ in its own way. Upon examining these three, I found that the thing that ties them together is character action. It is the main character that steps outside the characterization that we expect. Sally Bowles, the "divinely decadent" star of Cabaret is a show girl that sleeps around, a far cry from the Gene Kelly type that we would expect to be in the middle of a musical. Bill Munny is not the lone ranger character delivered to us time and time again. Instead he is disenchanted with life, and pays no attention to the laws of the west. And last but not least Michael Corleone, a gangster that would rather know that his sister is safe than make a buck.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
The horror genre of film captives the frightfulness of individual fear, horror is the only genre that is meant captive the terror of the audience. The horror- the genre has been around well over one hundred- years there has been an extension of different types of horror and how the audience perceives horror. Many would even argue that horror films often reflect the fear of society in that certain time period. The evolution of horror reflects the evolution of society’s fear.
Possibly, this demand for realistic interpretation of subject matter is a major cause of the differences between these films; however, as was shown in this paper, there are also other reasons for the variations. 1931 was a time of poverty for many Americans who needed escape into a film where traditional values were upheld: where God wins; where men and women's roles are well-defined; and where order reigns. Coppola's version has been released in a time where the patriarchal system has begun to break down; where prejudice is no longer acceptable (still practiced, but not acceptable); and where we require everything to be extreme.
When one thinks of a gangster they may think of speakeasies and classy cars or maybe drive-bys, but they will always imagine a man who is not afraid to get his hands dirty to grasp for a higher place on the social ladder. They will think of a man portrayed in a genre of cinema more American than any other, the gangster film. This genre began in the early thirties and has been re-adapted each decade to fit a new time. Although gangster films may mold themselves to fit into a certain cultural era, they still stay deeply tied to the foundations of the genre and its historical relevance to the american dream. This is apparent when comparing the differences and similarities between The Public Enemy and American Gangster. To better understand this comparison one needs to understand the origination of some of the classic conventions of the gangster film genre.
Every movie that is written has a certain attitude to it. Some of these are intended to be laughed at and others are meant to be heartfelt. Though each movie is written with its own voice, so to speak, many have similar plots or themes. The two movies Fools Rush In and My Big Fat Greek Wedding are two of these movies that have similarities in the themes, but not necessarily in the plots. Both of these romantic comedies have strong religious backgrounds on the woman’s side of the family and differences in culture. The main theme between these two movies is the quest for happiness and all the troubles that must be overcome to achieve it.
Like most things captured on film for the purpose of being marketed, the richness of gangster life, with sex, money, and power in surplus, is glorified, and thus embraced by the audience. And as a rule, if something works Hollywood repeats it, ala a genre. What Scarface and Little Caesar did was ultimately create a genre assigning powerful qualities to criminals. Such sensationalism started with the newspapers who maybe added a little more color here and there to sell a few more copies, which is portrayed in Scarface’s two newspaper office scenes. Leo Braudy denounces genres as offending “our most common definition of artistic excellence” by simply following a predetermined equation of repetition of character and plot. However, Thomas Schatz argues that many variations of plot can exist within the “arena” that the rules of the genre provide.
Friedman, L., Desser, D., Kozloff, S., Nichimson, M., & Prince, S. (2014). An introduction to film genres. New York, London: W.W. Norton & Company.
The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American Mafia in cinema?
To all intents and purposes, the directors did not make the Westerns; it was the Westerns that made the directors. Only John Ford and Sam Peckinpah had the excellence to rise above this material, and make something new of it.
Both films were huge contributors in the film industry in a way or another. Breathless was one of the earliest, most influential examples of French New Wave cinema, while The Godfather is a film that arguably defined a genre. The film generated numerous rave reviews as well as audiences that became fans instantly. What separates the film from others is the fact that it was the first movie in Hollywood to innovate and incorporate plot twists into the gangster genre. Apart from the thematic additions, the characters in the movie also were by far one of the more complex ones in the modernist era. Take Don Vito Corleone. He is the protagonist of the film. He is old and wise. And he sure is a most complicated gangster. In his own words, he is not
Film scholars around the world agree that all genres of film are part of the “genre cycle”. This cycle contains four different stages that a specific genre goes through. These stages are: primitive, classic, revisionist, and parody. Each stage that the genre goes through brings something different to that genre’s meaning and what the audience expects. I believe that looking at the horror genre will be the most beneficial since it has clearly gone through each stage.
...s we are given. Some displayed right on the screen, others shown through actors’ gestures. At the same time this film keeps us entertained with action and violence current the interested of the present generation. This shows “American Gangster” was made with the audience in mind and this is why it did so well in the box office. This film really does such a quality job of capturing the time period, but it still had all these other elements in it to try to make it perfect. “A perfect cast”, that become their character and still brings their own personification into the film. Setting that can not confuse you, as well as narrative economy that still again remind you were you are. Editing that flows nice and evenly. But is this all the makes for a perfect film or just a jack-of-all-trades, master of none. Are all these qualities too much and really their downfall?
The genre i have studied is musicals. A musical is a film which has musical performances from the actors to express their feelings. The films from this genre that i studied are 'Singin' In The Rain' (Gene Kelly and Stanley Donen, 1952), 'Grease' (Randall Kleiser, 1978) and 'Hairspray'(Adam Shankman, 2007). I studied two characteristics of the musical genre (Breaking Into Song And Dance and The Grande Finale) that are shown in the films studied. The identifying characteristics of 'Breaking Into Song And Dance' and 'The Grande Finale" are always seen in musicals. These characteristics are expected to be in a musical by the audience and ultimately make a musical what we predict it to be, a film that expresses characters feelings through song while
A genre is a type or category of film (or other work of art) that can be easily identified by specific elements of its plot, setting, mise en scène, character types, or style. (Goodykoontz, 2014) The gangster film is a sub-genre of the broader genre of crime film. A genre main objective is to classify the depiction of entertainment. The genre of my movie is a gangster film. My movie I chose was Scarface. Directed by Brian De Palma.An update of the 1932 film, Scarface (1983) follows gangster Tony Montana and his close friend Manny Ray from their trip on the Cuban Boat Lift for refugees to their arrival in Miami. (Scarface, 1983a)
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.