Genre in film theory is bespoken from literary genre scrutiny as well as founded on a film’s organization and its sequential events. Similarly, films are more often than not categorized according to its mood that is an emotional tone, setting which is its locale, and theme topic that is the issues in the film. Likewise, all these fundamentals come into consideration for the appointment of the film to be properly categorized in a genre. The moment we look narrowly at a film genre, we typically ascertain intricacies that give an awareness of subtle shades of meaning or feeling, especially in artistic expression or performance. However, all along not losing sight of the fact that a genre convention, that is to say some type of common identity that reappears in the film that eventually contributes essentially. Conjunctionally these elements are influential to classify a film in a genre, which includes essentials such as iconography, plot, and thematic elements. An epitome of a genre drama is exemplified by the film, The Ice Storm (1997) and accordingly, with an analysis of its genre it demonstrates David Bordwell’s reflectionist approach that expounds on its social function, relatibility, during the time of its production.
The Ice Storm is classified as a drama genre in that it reflects an in-depth development of realistic characters dealing with poignant themes. The theme includes social class families with average incomes who find their lives out of control in consequence of their experimentation with alcohol, drugs, and casual sex. A drama genre is a broad category inasmuch as it is centered on characters that are in conflict at particular times in their lives. For instance, a character may undergo a personal conflict s...
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Fischoff, Stuart, Ph.D. Journal of Media Psychology. “Favorite Films and Film Genres As A Function of Race, Age, and Gender.” (1998). http://www.calstatela.edu/faculty/sfischo/media3.html. June 4, 2011.
Hardesty, Mary. Director’s Guild of America (DGA) Magazine.
“Ang Lee On Directing in an Ice Storm” (1997).
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Miller, Carolyn R. Quarterly Journal of Speech. “Genre as a Social Action.”
(http://www4.ncsu.edu/~crmiller/Publications/MillerQJS84.pdf). June 6, 2011.
Schamus, Kim. Interview of James Schamus, screenwriter of The Ice Storm. (May 31, 2011).
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
'The Storm' and 'The Story of an Hour' expresses the attitudes of two women's rebirth and liberation. These two stories are alike in several ways. Natures plays a major role in both of these women's lives. Calixta and Mrs. Louise Mallard struggle to find their independence and in doing so the endings are triumphant and tragic.
Many stories talk about relationships, especially the ones between man and woman as couple. In some of them, generally the most popular ones, these relationships are presented in a rosy, sentimental and cliché way. In others, they are presented using a much deeper, realistic and complicated tone; much more of how they are in real life. But not matter in what style the author presents its work, the base of every love story is the role each member of that relationship assumes in it. A role, that sometimes, internal forces will determinate them, such as: ideas, beliefs, interests, etc. or in order cases external, such as society. In the story “The Storm” by American writer Kate Chopin and the play A Doll’s house by Norwegian playwright Henrik Ibsen I am going to examine those roles, giving a special focus to the woman´s, because in both works, it is non-traditional, different and somewhat shocking, besides having a feminist point of view.
A storm can represent and symbolize many different meanings. The impact of the word can be brought about in many different views and aspects that arrange themselves to create and portray detailed information and great definition to the subject of the short story as a whole. By using the storm as a symbol, it gives way to a passage that will encounter the relationship and parallel aspect of both the fervent thunder that occurs and the sexual passion that is encountered throughout the story. Kate Chopin opens up an interesting view and tentative explanation of human sexuality and the strong point of view of regulations placed on human sexuality as well as the aspect of trying to control a storm. By tying up these two ideas with one word, Kate Chopin was able to provide a view that would symbolize the premise of desires through variations of the storm.
What is madness? Is madness a brain disorder or a chemical imbalance? On the other hand, is it an expressed behavior that is far different from what society would believe is "normal"? Lawrence Durrell addresses these questions when he explores society's response to madness in his short story pair "Zero and Asylum in the Snow," which resembles the nearly incoherent ramblings of a madman. In these stories, Durrell portrays how sane, or lucid, people cannot grasp and understand the concept of madness. This inability to understand madness leads society to fear behavior that is different from "normal," and subsequently, this fear dictates how they deal with it. These responses include putting a name to what they fear and locking it up in an effort to control it. Underlying all, however, Durrell repeatedly raises the question: who should define what is mad?
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.
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.
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
Storytelling has been a common pastime for centuries. Over the years it has evolved into different styles containing different themes. Kate Chopin, a well-known author of the 20th century, wrote stories about the secrets in women’s lives that no one dared to speak of. Her work was not always appreciated and even considered scandalous, but it opened up a world that others were too afraid to touch. In Chopin’s story “The Storm,” a woman has an affair that causes an unlikely effect. The story’s two themes are portrayed greatly through an abundance of imagery and symbolism, along with the two main characters themselves.
... imagination is sometimes more excessive than the action on the screen. After the application of Williams’ “theory” to David Creonenberg’s film Shivers, it is apparent that the spectator’s personal perception of the action (or inaction) is more the cause of the bodily reaction that Williams is referring to, rather than the objective excess on the screen. Ultimately, various characteristics of Williams’ arguments are true, but as a film theory in general, “Film Bodies: Gender, Genre and Excess” needs further research and flexibility in order to be both relative to all “body” genre films, and applicable to all unique spectators.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
The Genre theory are hooked on diverse factors such as flat direction, whom the director is, what are the spectators expectations et cetera. In using genre theory we create an insufficient lacerate in how we are to describe cloudy. Genre hypothesis, speculation through its interest is an order of shortening scholarly embroidery (Cope, 2014). Consider the Genre as a description of understanding what to expect in a move. For example, when watching a romantic movie the viewer is expecting an uncertainty,
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
The storm is the main metaphor in this story; it is seen as the lust that stomps through their lives like the storm rages through a single d...