Analysis of Genre, Stardom, Authorship and Gender Theory.
“Apparently no strictly logical distinctions can capture the variety of factors which create the genres we have” (Nicholas and Price, 1998)
This quote demonstrates the complexity of allocating a particular genre to a film, as various aspects need to be considered. Although concrete groupings such as horror, science-fiction, crime and drama exist, the majority of movies contain more than one aspect which renders them difficult to categorise. For example, the difference between an ‘action’ and a ‘thriller’ film can be very fine. Should the length of footage of fight scenes determine them? Should the scale and intensity of adrenaline felt by the audience throughout the story line be considered?
Apart from the concrete distinctions between fiction and non-fiction, many subcategories are used. Some genres are based on literature, such as ‘melodrama’ and ‘comedy’; others on the plot, for example the ‘war film’; and still others on media such as ‘the musical’. Furthermore, some genres are categorised by their budgets, censorship rating, racial identities, location, status amongst many others (Stam, 2000).
Genres are a way of characterising a film in the simplest way, interpreting and judging without evaluating them. This allows viewers an easier choice when choosing which film to watch since the field has been narrowed down for them. Patterns such as in the plot, theme, and cinematographic technique and which branded star is used in the film are some of the ways the genres are often grouped. These are very commonly broadened because of the other forms of genre groups sometimes jumping in and out of a film are known as sub-genres.
In the second edition (Nathan Abrams, 2010) of ‘Studying Film’ it is pointed out that not only are repetitions a requirement in identifying particular film genres, but so are their differences. Viewers take into account not only similarities but also variances between previous films they have seen. Thus when comparing a few films of the
This quote demonstrates the complexity of allocating a particular genre to a film, as various aspects need to be considered. Although concrete groupings such as horror, science-fiction, crime and drama exist, the majority of movies contain more than one aspect which renders them difficult to categorise. For example, the difference between an ‘action’ and a ‘thriller’ film can be very fine. Should the length of footage of fight scenes determine them? Should the scale and intensity of adrenaline felt by the audience throughout the story line be considered?
Apart from the concrete distinctions between fiction and non-fiction, many subcategories are used. Some genres are based on literature, such as ‘melodrama’ and ‘comedy’; others on the plot, for example the ‘war film’; and still others on media such as ‘the musical’. Furthermore, some genres are categorised by their budgets, censorship rating, racial identities, location, status amongst many others (Stam, 2000).
Genres are a way of characterising a film in the simplest way, interpreting and judging without evaluating them. This allows viewers an easier choice when choosing which film to watch since the field has been narrowed down for them. Patterns such as in the plot, theme, and cinematographic technique and which branded star is used in the film are some of the ways the genres are often grouped. These are very commonly broadened because of the other forms of genre groups sometimes jumping in and out of a film are known as sub-genres.
In the second edition (Nathan Abrams, 2010) of ‘Studying Film’ it is pointed out that not only are repetitions a requirement in identifying particular film genres, but so are their differences. Viewers take into account not only similarities but also variances between previous films they have seen. Thus when comparing a few films of the