brettI09: Film & Genre

posted on 23 Nov 2012 15:39 by uncommon-nonsense in brett

Brett 10: Film & Genre

Any film is always:

situated in & framed by pre-existing traditions of cinematic representation

constituted by relations of paradigmatic selections and syntagmatic combination

produced and consumed within relation of intertextuality

 

Intertextuality:

way any given text will reference, implicitly or explicitly, other text & will be understood through our experience and knowledge of those text

ถ้าเอามาโยงกับ academic writing = ALLUSION
คือการที่มันเหมือน คล้าย ซ้ำ กับอย่างอื่นที่เราเคยรู้จักดี

 

Julia Kristera (1941-)

    no text is original

    mosaic of quotation --> condition text's meaning

 

 

Intertextual Frame

Umberto Eco
no text is read independently of reader's experience of other texts

 

คือทุกอย่างที่เราเห็นที่เราอ่านเนี่ย เราไม่ได้ใช้แค่ความรู้ในเรื่องเฉพาะที่เรากำลังอ่าน แต่ในสมองก็นึก ระลึกถึงความรู้เก่าๆแล้วเอามาประสานกันทำให้สิ่งที่เราอ่านเกิดความหมายที่ถูกต้องขึ้นมา

 

example ง่ายๆคือ Scary Movies - ใช้ฉากดังๆของหนังดังๆเพื่อทำให้คนที่ดูหนังตัวเองสนุก


 

How does Genre set up semiotic system or structure for cinematic signification?

 

Genre

kind or sort

group of text categorized together on basis of shared similarities

Mainstream highly genericized; it is cinema of genre.

 

Range of hollywood film genre:

action, art, family, teen, romance, science fiction, disaster, animation, horror, spy, western

 

Genre are:

functional part of cinematic discourse a vital principle of organization in:

production

distribution/exhibition

reception

 

Production:

standardized and streamlined industrial operation

frame processes of selection & combination

 

Distribution:

organized film products into recognized categories

help market & promote - “brand”

 

Reception

articulating cinematic taste

  -generic identification

hermeneutic framework (interpretive)

-Eco: “intertextual frame”

-Hans R. Jauss: “horizon of expectation”

-Tony Bennett: Reading formation


 

Constitution of Film Genre

what makes a genre?

How do we recognize & read genre & generic distinction?

 

 

Generic Distinctions are largely produced & maintained through

cinematic form/style

in certain respects, textual form shapes content or subject matter


 

FORMAL CODES OF GENRE, 'SLASHER FILM':

iconography

setting: surburban

costumes & prop: contemporary

 

cinematography

shot scale: close up

sfx: subjective

movement: lunatic

 

editing

pace: accelerating

rhythm: collision montage

 

sound

dialogue: teenagers

music: discordant

sound effect: screaming

lighting

source: night shooting

degree: low key, shadow

 

narrative

structure: A-B-A

plot type: terror in home, post coital murder, final confrontation

 

Ideological Dynamic of Genre

reiterative conventions of genre films potentially act as barometer of sociohistorical concern

genre as “myth system” (Levi-strauss)

genre as “cultural ritual” (Thomas Schatz)

 

Ideology of Slasher Film

  • play out fear around sociosexual differences & transgression (binary rupture) [self/other]

  • teenager as liminoid (in between period):

    • violence --> teen anxiety: helplessness/rage

  • dissolution of bourgeouis space: private/public

      - suburb, school, violated homes, body, technical of spatial mediation

 

Genre Film:

perform social functions by playing out common desires, fear, anxiety & reaffirming collective social values

often work through binary opposition (narrative resolution of cultural tensions)

resolve the tension of social & cultural paradoxes

 

ex. Western Genre:

anarchy/order

individual/collective

nature/civilization

tradition/progress

masculine/feminine

garden/desert

 

Genre are processual; they are dynamic & constantly changing

Genre are not discrete absolutes

  • generic hybridity

  • polygenericity

Most films use more than 1 genre in order to gain money from as much audience as possible

 

ex. Titanic – historical drama, romance

 

edit @ 23 Nov 2012 15:43:59 by uncommon-nonsense

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