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Topic: Cinematic genre

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	Cinematic genre - Wikipedia, the free encyclopedia
		A "genre" generally refers to films that share similarities in the narrative elements from which they are constructed.
		Many historians debate whether film noir truly is a genre rather than a style of film-making often emulated in the period's heyday.
		As such, film genres are also useful in areas of marketing, criticism and consumption.
	en.wikipedia.org /wiki/Cinematic_genre (947 words)

	Genre - Wikipedia, the free encyclopedia
		A genre is a division of a particular form of art or utterance according to criteria particular to that form.
		Genres are formed by sets of conventions, and many works cross into multiple genres by way of borrowing and recombining these conventions.
		In genre studies the concept of genre is not compared to originality.
	en.wikipedia.org /wiki/Genre (628 words)

	film genres (Site not responding. Last check: 2007-10-09)
		Genre constrains the possible ways in which a text is interpreted.
		Genre is based on narrative form--how time and space are used to tell a story.
		A genre is as real as a language and exerts similar pressures through its network of codes, meeting similar instances of stolid conformity and playful challenge.
	myweb.wvnet.edu /~jelkins/film04/genre.html (1174 words)

	Film Genres
		By the end of the silent era, many of the main genres were established: the melodrama, the western, the horror film, comedies, and action-adventure films (from swashbucklers to war movies).
		Musical/dance films are cinematic forms that emphasize full-scale scores or song and dance routines in a significant way (usually with a musical or dance performance integrated as part of the film narrative), or they are films that are centered on combinations of music, dance, song or choreography.
		All films have at least one major genre, although there are a number of films that are considered crossbreeds or hybrids with three or four overlapping genre (or sub-genre) types that identify them.
	www.filmsite.org /genres.html (1456 words)

	ECHO V/1: Stilwell 1
		Feuer cites the sitcom as the “simplest and least cinematic” genre on television (“Narrative”; 107), while on the merits of its “excess” of design and music and the reliance upon a heightened suspension of disbelief (beyond that demanded by most other narrative genres), the musical might be deemed the most cinematic.
		In terms of the logic of genre, the sitcom and the musical might seem poles apart, except for two historical contingencies—the television sitcom arose as the Hollywood musical was reaching its peak of popularity and aesthetic achievement in the late 1940s and early 1950s; and there was a not-insignificant crossover of creative personnel.
		All her examples of genre crossings (in fact, the vast majority of the sitcoms she discusses in all her work) are from the late 1960s and 1970s.
	www.humnet.ucla.edu /echo/volume5-issue1/stilwell/stilwell1.html (3698 words)

	[No title]
		Regardless of one's position on current debates over cinematic classicism and whether or not Hollywood film was ever as homogeneous or rigidly rule-bound as is generally thought, the musical is a genre that is profoundly transgressive vis-a-vis orthodox modes of Hollywood textuality.
		To say that cinematic masculinity is not eroticized because there are few explicitly sexualized male filmic images is to displace both the conditions of male erotic representability (what criteria decides whether a given image is erotic or not) and the role of the viewer in determining those conditions.
		Nevertheless, I would still insist that the sorts of cinematic reception practices I identify and explore under the sign of a theoretical gay spectatorship are not outmoded historical artifacts but vital traditions of gay cinematic reading that continue to inform and help determine contemporary practices of gay and queer cultural consumption.
	www.genders.org /g33/g33_jagose.txt (4857 words)

	International Institute for Dream Research - Article
		This is the genre most likely to encounter drug-besotted characters wandering through its plots in dream-like states, barely in control of themselves, let alone their environment.
		The dramatic energy of stories in the genre is provided by the attempts of criminals and corrupt officials to cover-up their crimes from the prying eyes of the detective protagonist, who stands in for the audience.
		In the genre, the protagonist must frequently return to the source, the beautiful woman, for the nuances of truth that she has been telling all along.
	www.dreamresearch.ca /rem/features/filmnoir.html (3135 words)

	hc11: Rune Klevjer Genre Blindness — Digital Games Research Association (DiGRA)
		Research on genre covers approaches from a wide range of disciplines, and is concerned not just with media objects but with communicative practices of all kinds, from funerals and political speeches to the generic discourses of university campus parking-lot managers.
		Genre, as it can be observed in the ‘vocabulary, grammar and style’ of games, are rooted in ‘comparable situations’; that is relatively stable forms of activities.
		In studying genre, our point of departure could be game mechanics and style, technological and perceptual modalities, types of fictional or narrative engagement, forms of player discourses, or social and economical organisation.
	www.digra.org /hardcore/hc11 (1619 words)

	Peter Ohlin- Science-Fiction Film Criticism and the Debris of Postmodernism
		The significance of the genre, one of the reasons for its introduction into this context in the first place, disappears in the accretion of postmodernist theoretical debris.
		In addition, it's worth observing--though nowhere remarked on in the volumes under review--that if these two films constitute a renewal of a quintessentially American cinematic genre, the fact that they are both made by the same individual, and that one not an American, might be of some significance.
		The SF film, she continues, is "that genre which most visibly figures the grandest illusions of a capitalist and patriarchal cinema, and which spatially liberates powerful born-again male 'children' from social, political, and economic responsibility for the past and to the present" (27).
	www.depauw.edu /sfs/review_essays/ohlin55.htm (2926 words)

	Crisis Magazine
		Genre films are rule-bound and therefore predictable, which makes them safe—but the fact that their makers play by those rules can have the paradoxical effect of stimulating their creativity.
		Many of the earliest films noirs, including Abraham Polonsky’s Force of Evil and Edward Dmytryk’s Crossfire, were made by left-wing writers and directors (not a few of whom were card-carrying Communists) whose purpose was to suggest that in capitalist America, the deck was ever and always stacked against the regular guy.
		But the socially conscious films noirs are the weakest examples of the genre, painfully obvious in their political purpose and occasionally heavy-handed to the point of unintended comedy.
	www.crisismagazine.com /june2005/films.htm (1047 words)

	TF23220 - FILM GENRE STUDY
		Genre films are perennially popular, and often are one of the chief determinates of which movies we choose to go and see.
		Each of the major genres has generated its own significant body of theory, as well as more general theories of film genre study, and this module also introduces students to some of those discourses.
		Regardless of the genre chosen for examination, this module focuses on the major artistic movements which have influenced the genre, the key film texts, and some of the more dominant theoretical paradigms which have been used to explore film genres.
	www.aber.ac.uk /modules/2004/TF23220.html (423 words)

	Reconstruction 6.1 (Winter 2006)
		Video games from the survival horror genre satisfy this market by providing players with a gaming experience reminiscent of sitting in a darkened theater and watching a protagonist fight for her/his life amidst swarms of decaying zombies, mutated animals, and other unpleasant creatures of the night.
		Indeed, it is the prevailing linear trajectory of these video games, coupled with their often very cinematic "look" and "feel," that distinguishes them from conventional hyperfictions and reveals the limits of literary studies as a mode of analysis for this predominantly visual medium.
		Indeed, recent film criticism pertaining to the politics of spectatorship in genre cinema has focused extensively on the relationship between the "gaze" of film audiences and the heroes, heroines, and villains with which, to various extents, they are compelled to identify.
	reconstruction.eserver.org /061/mcroy.shtml (4319 words)

	Taipei Times - archives (Site not responding. Last check: 2007-10-09)
		Lee, though appearing never to repeat himself when it comes to cinematic genre and style, nevertheless constantly returns to this topic for his underlying subject matter.
		Lee's fellow script writer James Schamus credits the film with faithfully spanning two worlds as a result of this input when he notes that "it is one of the truly delicious ironies of this movie that although I co-wrote it, I'll never fully understand all of its meanings." There are other things.
		There is, for instance, a concise history of the genre, and of Chinese martial arts in general, from David Bordwell, professor of film studies at the University of Wisconsin.
	www.taipeitimes.com /News/feat/archives/2001/05/27/87550/print (1035 words)

	The Cinematic Evolution of Dystopia
		Fritz Lang's Metropolis, released in 1927, began a cinematic genre which has exploded into the world culture and altered the aesthetic of our modern society.
		The new genre Lang began is that of the technological dystopia.
		Even though the opening titles of Lang's Metropolis forewarn that the story of Metropolis does not necessarily occur in the future, the audience nevertheless assumes - thanks to the images of enormous skyscrapers, ribbonlike superhighways, and airborne vehicles - that this world is indeed yet to come.
	www.resnet.trinity.edu /dbourque/dystopia/index.htm (290 words)

	Welcome to Bitter Films
		Like many of his films, "Genre" was undertaken without a complete script, giving Don the freedom to make things up as he goes.
		Many of the genres were whipped up and improvised when he got to them for spontaneity's sake (also he was lazy).
		While on the road with "Genre" in 1996, Don met Chuck Jones, whose classic "Duck Amuck" was an obvious springboard for the cartoon-versus-animator thing.
	www.bitterfilms.com /genre.html (774 words)

	Film Noir as "Deferred Action"
		So central has the device remained to the genre that neo noir is still experimenting with its possibilities.
		On the most pragmatic level, this is inevitable and useful because the genre depends, to a considerable degree, on the willing suspension of disbelief.
		The totality of the discursive space of the genre is the cause of anxiety.
	www.kinema.uwaterloo.ca /hant042.htm (4972 words)

	Film Criticism Current Issue
		The article discusses the cinematic "imaging" of the Balkans, in the context of the region's recent socio-political and historical "imaginings," through an analysis of Macedonian director Milcho Manchevski's innovative films Before the Rain and Dust.
		This "exile of the genre" hints as well at a counter-hegemonic potential of creative reinterpretations and reconstructions of both Eastern and Western film traditions in a post-global cinema yet to come.
		This stylistic idiosyncrasy, which has the cinematic gaze linger rather than fluctuate between looking and looking-away, constructs the abject bodies in his films as objects of a sublime gaze.
	webpub.alleg.edu /group/filmcriticism/archives29_2.htm (558 words)

	NYU > Gallatin > Course Listings Summer 2005 > Arts Workshops
		Goodman SSII: MW 5:30-8:30 4 CR Rapid transformation of 20th-century technology and culture has engendered a new cinematic genre, sometimes called “future noir.” It includes utopias, dystopias, and documentaries on social and environmental change.
		The study of narrative tools will be coupled with exposure to cinematic techniques that allow for optimal creativity in the framework of independent film and television production.
		Rapid transformation of 20th-century technology and culture has engendered a new cinematic genre, sometimes called “future noir.” It includes utopias, dystopias, and documentaries on social and environmental change.
	www.nyu.edu /gallatin/current/ba/courses/2005/summer/arts.html (1022 words)

	The Austin Chronicle Screens: Holiday You-Wish List: Once around the Xbox 360
		The cinematic game genre, with its filmlike segments between player-controlled action sequences, gains ground on movies with Gun.
		Like most cinematic games, you can play three ways: follow the linear plot, earn money by taking on various side missions (bounty and game hunting, playing poker, ranching, etc.), or roam aimlessly and kill indiscriminately.
		The auto-aim function seems at first to be a built-in cheat, but as the villains approach in waves, you'll learn to embrace the WMD-caliber body counts.
	www.austinchronicle.com /gyrobase/Issue/story?oid=oid:321308 (291 words)

	Landscape of Hollywood Westerns Ecocriticism in an American Film Genre
		Films located in the American West and the Western as a cinematic genre have endured throughout the history of moviemaking.
		Today, this tradition of battles between good versus evil, populists versus profiteers, and man versus nature may have been largely assimilated and transformed into action adventures with car chases replacing mounted posses, yet the genre remains popular with audiences.
		Although many of the films closely fit the standard conventions of the Western, others demonstrate the fluidity of the genre.
	www.uofupress.com /store/product211.html (292 words)

	[beyondjazz.net] Reviews - The Kilimanjaro Darkjazz Ensemble - The Kilimanjaro Darkjazz
		The album is apparently heavily inspired by Philadelphia filmmakers and surrealist animators The Quay Brothers, and it is their second release as KDE after their remix for JMX's ’1.2.AB’ 12” released on Life Enhancing Audio in 2003.
		Track tree is pure cinematic jazz loveliness, and having a big soft spot for TCO, this is one of my favourites on the album.
		The imaginary motion picture soundtrack continues along a fine cinematic jazz red line until the next to last track ’Vegas’ stirs tings up again to Squarepusher-esque heights, before the epic grand finale that is ’March of the Swine’ sets in.
	www.beyondjazz.net /viewtopic.php?p=33319 (1016 words)

	The Bloodstained Shadow Movie Review at Hollywood Video
		For the uninitiated, the word giallo, which means "yellow," comes from the color of the covers of a series of cheap Italian horror/suspense novels.
		When some of these books were made into films, the term transferred over, and a cinematic genre was born.
		Though the most famous practitioner of the form is Dario Argento, his work isn't really representative of the genre, because he often spices things up with supernatural elements.
	www.hollywoodvideo.com /movies/movie.aspx?MID=135454 (952 words)

	Desicritics.org: The Slick Emotional Porn Genre Of Story Telling - Example - Raincoat
		GOTM of course is the story of a couple who love each other really but being deeply broke, each sell their most prized possession to buy a Christmas present for the other.
		Others of the same genre are Choker Bali and Devdas.
		His undoubted cinematic gifts can be salvaged if he immediately inoculates himself with the works of Saki, the only known antidote to the disease of Overly Sentimentalis.
	desicritics.org /2006/06/04/125138.php (1089 words)

	The DVD Journal \| Quick Reviews: Film Noir: Bringing Darkness to Light
		Both a movie genre and cinematic movement, film noir has one of the highest batting averages of any genre.
		Because of the core elements (duality, normal people being thrust into crime, moral grays), there are few noirs that aren't interesting, with the photography (influenced by German expressionism, but often done bare due to budget constraints) almost always fascinating.
		And that theme is: You're fucked." From there the interviewees range from commentators on other Warner DVDs (including DVD Savant Glenn Erickson), to filmmakers like Christopher Nolan, Paul Schrader, Brian Hegeland, Christopher McQuarrie, and many of the crew associated with both The Usual Suspects and Sin City (including Frank Miller and Michael Madsen).
	www.dvdjournal.com /quickreviews/f/filmnoir_bdtl.q.shtml (268 words)

	Jean-Pierre Melville
		It is this combination of direct engagement and distanced contemplation, of feeling character and observing actor, as well as the joining of real-time observation – which Colin McArthur describes as a “cinema of process” – and aesthetic abstraction (heightened or drained colours, self-consciously staged compositions) that defines Melville's cinema.
		The precise detail of action and composition is important to both Melville's rendition of popular genres (most often the gangster film) and to the peculiar way in which he treats time and space.
		For example, despite the head of the character of the niece being consistently framed in Le Silence de la mer (1949), she is never given a close-up until the penultimate point of the film.
	www.sensesofcinema.com /contents/directors/02/melville.html (5273 words)

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