Genre Film

Definition

A cinema genre is a category for films that share stylistic or thematic features, such as narrative devices, artistic approaches, or audience reactions.

"Conventions, iconography, settings, narratives, characters, and actors" are typically used to distinguish between different cinema genres, with a strong influence from literary-genre criticism ideas. Films can also be categorized based on their budget, intended audience, tone, format, theme or topic, or mood. As commercial feature films through repetition and variation, tell familiar stories with familiar characters and familiar situations" in a certain genre, genre films are where these qualities are most noticeable.

The usage of certain styles and methods in filmmaking, such as tight framing in horror films, low-key lighting and flashbacks in film noir, or typefaces resembling rough-hewn logs for Western film titles, will depend on the genre of the film. Moreover, several film genres have specific film scoring standards that correspond with them, such as electronic music in science fiction movies or sumptuous string orchestras in romantic plays. The way movies are marketed, shown on television, and arranged in video rental stores is likewise influenced by their genre.

History of Genre Films

Throughout the 19th century, when cinema first opened, the term "genre" was employed to categorize different kinds of films. When André Bazin was debating the idea of "genre" in the 1950s, auteur theory was being debated against genre, and he used Western films as one example. The idea of genre entered cinema theory in a big way in the late 1960s.

Film genres borrow elements from other media; musical theater predated film musicals, while Western literature existed before Western film. A movie's perceived genre might shift with time. For instance, The Great Train Robbery (1903), which is considered a significant early Western in the twenty-first century, was marketed "for its relation to then-popular genres of the chase film, the railroad film, and the crime film" when it was first produced. A major factor in the early Hollywood industrial system's preference for genre films from the 1920s to the 1950s was that, in "Hollywood's industrial mode of film production, genre movies are dependable products" to market to audiences because they were simple to make and comprehend.

Pure And Fusion-Genre

Due to the cinema's varied and derived beginnings, which include a fusion of "vaudeville, music-hall, theater, photography," and books, films seldom belong to a single genre. According to American cinema historian Janet Staiger, there are four methods to identify a film's genre. The "idealist method" uses preset criteria to evaluate movies. The "empirical method" determines a movie's genre by comparing it to a list of movies that have already been classified as belonging to that particular genre. The a priori approach makes use of pre-identified common generic components.

The recognized cultural consensus within society serves as the foundation for the "social conventions" approach of determining a film's category. Because most Hollywood productions combine elements of other genres with the love-oriented storyline of the romance genre, Martin Loop argues that Hollywood movies are not pure genres. Since the 1980s, Jim Colins argues, Hollywood movies have been impacted by the "ironic hybridization" movement, in which filmmakers fuse components of several genres together, as in the case of Back to the Future Part III's fusion of science fiction and Western themes.

Many movies straddle several genres. Susan Hayward claims that thriller and spy movies frequently transcend genre lines. Some genre films incorporate aspects of one genre into the conventions of another, such in the case of The Band Wagon (1953), which incorporates elements of detective fiction and film noir into the ballet "The Girl Hunt". In the 1970s New Hollywood era, there was so much parodying of genres that it can be hard to assign genres to some films from this era, such as Mel Brooks' comedy-Western Blazing Saddles (1974) or the private eye parody The Long Goodbye (1973) . Other films from this era bend genres so much that it is challenging to put them in a genre category, such as Roman Polanski's Chinatown (1974) and William Friedkin's The French Connection (1971).

Robert Stam, a film theorist, questioned whether genres are genuine or just the creation of reviewers. According to Stam, "genres are really 'out there' in the world, or are they the construction of analysts?" Whether there is a "... finite taxonomy of genres or are they in principle infinite?" is another question he has posed. Are genres cross-cultural or culture-specific? ". Additionally, Stam has questioned whether the goal of genre analysis should be prescriptive or descriptive. Some genres, like the war picture, are based on story substance, while others, like comedy and melodrama, are adapted from other media or literature. Some are budget- or performer-related (think of the films of Fred Astaire and Ginger Rogers), while others are based on location (think of the Western), racial identity (think of the art film), artistic standing (think of the art film), or sexual orientation.

How Genre Films are Categorised?

Scholars concur that genres cannot be rigidly defined since they are more easily recognized than described. Moreover, the definition of a genre varies throughout nations and civilizations. The usual example would be a war film. In the United States, they are often associated with conflicts in which the United States was heavily involved, such as the Vietnam War and World War II, although in other nations, films about wars from earlier eras are classified as war films.

From the film's location, it may seem easy to categorize different genres. However, when various themes or moods are employed, movies set in the same locations might have completely distinct endings. For instance, The Battle of Midway and All Quiet on the Western Front are both set in a time of war and could be considered war films; however, while both focus on the agony and horror of war, The Battle of Midway explores themes of honor, sacrifice, and valor, while All Quiet on the Western Front is an anti-war film.

According to Linda Williams, horror, fantasy, and erotica are all considered "body genres" since they are meant to cause viewers to respond physically. The goal of horror films is to make the audience shiver in fear, while the goal of melodramas is to make them cry as they witness the unfortunate events of the people on screen, and the goal of pornography is to make the audience feel aroused sexually. This strategy may be expanded upon: comedies make people laugh, heartfelt movies make people weep, uplifting movies make people feel good, and inspirational movies give audiences hope.

Eleven "super genres" can be applied to every narrative feature-length film, according to Eric R. Williams: action film, crime film, fantasy film, horror film, romantic film, science fiction movie, slice of life, sports, thriller movie, war film, and Western. Drama and comedy, according to Williams, are subgenres that fall under a category he calls "film type" and are more inclusive than super categories. Similarly, Williams explains that musical and animated phrases relate more precisely to storytelling techniques and are hence under his "voice" category.

Whether or not it was deliberate at the time of production, a genre movie adheres to some or all of the rules of a specific genre.

Cinema about history:

We need to consider each film genre's appeal within the larger historical context of its formation to comprehend it. The Blaxploitation movies of the 1970s, for instance, have been described as an effort to "undermine the rise of Afro-American's Black consciousness movement" during that time. According to William Park's interpretation of film noir, for an audience to properly comprehend a picture, they must evaluate and analyze it for its meaning within the framework of history.

Westerns and film noir are two examples of genres that capture the ideals of their era. Film noir blends post-World War II values with German expressionist filmmaking techniques, whereas Western films prioritize the ideals of the early 20th century. During the Great Depression, movies like the musical were produced as a kind of entertainment to give audiences a way out of difficult circumstances. Therefore, in addition to its entertainment value, we must keep in mind the genuine purposes of each genre when viewing and evaluating films. A genre can go through several phases throughout time, including the classic film genre era, the classics parodied, the time when filmmakers refuse to acknowledge that their movies belong in a certain genre, and ultimately a critique of the genre as a whole. In the Western picture, this pattern is evident. There was a definite hero in the first classic Westerns who defended civilization against lawless bad guys who lived in the bush and entered civilization to perpetrate atrocities.

The popularity of neo-noir films in the early 2000s, such as Mulholland Drive (2001), The Man Who Wasn't There (2001), and Far from Heaven (2002), is another illustration of a genre developing through time. Are these films noir parodies, a reiteration of noir genre motifs, or a reexamination of the noir genre?

Conclusion

It is essential to bear this in mind the next time you see a movie. When watching a film, audiences are aware of how the movie itself influences society. We must determine who its target audience is, what story it tells about our current society, and how it makes historical observations about the present to comprehend its genuine purpose. This makes it possible for spectators to see how different cinema genres have changed over time as historical perspectives and entertainment business values have evolved.