Genre Films' Predictability and Formulaicity
This essay shall discuss whether 'Genre films are predictable and
formulaic', looking at the Western genre, and using the example films
of, 'The Searchers' and 'Unforgiven'. Genre is a fundamental means by
which we communicate especially in storytelling. If looking at genre
in terms of Thomas Shatz, he puts forward the theory of similarity and
overlap. He adopts a thematic and ideological approach, which
identifies only two genres; the genre of order and the genre of
integration. In this case the Western would be categorised into the
genre of order. This essay shall also look at how genre films change
over time, due to changes in society, as characters are represented
differently, for example, females are now allowed to do the same jobs
as men, but this would not have been allowed in the 1950's, and also
as sub genres within the film industry are created over time, as films
can now be categorised into more that one genre, for example, Alien,
can be placed both in the Horror and the Science Fiction genres.
If looking at the western genre in terms of iconography, then it would
have to be agreed that genre is predictable and formulaic to a certain
extent, as the western genre has to be predictable and formulaic
because the films depict a certain part of the west in American
history, so it therefore needs to show a realistic image of the west
within all western films, as it is a true time in American history.
In both 'The Searchers' and 'Unforgiven', there was examples of
similar iconography, such as guns, and a similar narrative, as they
both followed the revenge narrative, this therefore ...
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conventions to fit with society as it changes, but also to keep films
as predictable and formulaic as possible, because as Thomas Shatz
suggests, "Genres help spectators become orientated and help them
understand the film world by making references to familiar features.
The pleasure of a genre film offers the audience an experience which
is predictable and at the same time contains enough variation and
suspense to make it different from all the other films of the same
genre."
This all therefore suggests that "Genre films are predictable and
formulaic", as audiences have to have expectations of the films, which
make the codes and conventions for the film industries to follow. It
is only usually time that changes genres, as expectations change,
films become categorized into many genres, and sub-genres are created.
Hollows, J and Jancovich, M [eds]. (1995), Approaches to popular film, Manchester: Manchester University Press.
He talks about distinct variety of genres like the action genres, slasher movies, war films, western, Rambo movies, Bond movies and many others. He tells that the role-played by the superstar Arnold Schwarzenegger, Sylvester Stallone in the action movies was more fascinating than that of an everyday guy dealing with everyday botherations in an phenomenal way. Further he brings out about slasher movies also known as sub-genre of haunted movies and argues, “ In slasher movies, the woman’s entire body is the male psychopathic killer into the ‘bleeding wound’ that signifies castration, slashers concern male anxieties above all”. Another genre is the war films where the main focal point is on violence, action, and forcefully curbs its ability for homosexuality while western movies are mostly based
... and substitutes the common traits by the use of unique and innovative elements from a different medium. The style and the pop culture references (especially to video games) which the film is full of helps connect with the target audience, and also show the significant of how fantasy, video games and comic, can stylistically distribute a classical convention to the distinct overall formal system (pp. 56-58, 60-61). In other words, this film that incorporates stylistic elements of comic books and video games to tell a story which is already familiar fodder for movie audiences also makes it especially relevant to an audience demographic raised with video games and manga. Perhaps such prophetic in the integration of stylistic elements from different forms of popular entertainment media into film, can be something which audiences in the future may well come to expect.
Through the analysis of characteristics present within The Graduate this paper will express how it encompasses not only attributes from classical Hollywood cinema but also those of the Art film. These types of cinema have distinct and obvious styles and patterns that evoke different purposeful reactions independently, for instance the classical film tends to allow its viewer to understand completely what is happening throughout the film; this is archived by forming a logical plot, and applying repetition. In contrast the Art film takes on a very different style, which includes, non-closure, and episodic construction. The Graduate seemingly encompasses characteristics form each of these styles, through its use of an easy to follow plot; and because it has a final conclusion, it follows the stylistic characteristics of the classical film. However, extended shots of Ben floating, running and driving and the repetition of The Sound of Silence by Simon and Garfunkel suggests stylistic themes of Art film as well.
These days, more and more people are making the choice of going to the cinema to be scared out of their wits, and they actually find it thrilling. But why?
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.
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
Therefore, the genre has many components, such as a science fiction adventure, a western adventure, a jungle, fantasy and even a romantic adventure. Nineteenth century ideologies were present in these films; patriarchy, heterosexual romance, colonialism, racism were common components in the story plots. Nevertheless, throughout the 20Th century, factors changed enormously, and the adventure fantasy genre mutated to fit the changing times. Although the genre kept some of the main characteristics, it differed from its beginning. These types of films were mostly opened information system, since they were based upon the mood and the frame of knowledge of that époque.
In a world of continual violence and brutality, people simply seem to be unfazed by the horror films produced by directors all across the world. Stephen King, a horror author, would even go as far as to argue people crave horror. In Why We Crave Horror Movies, King explains why people cannot get enough of films that often evoke emotions of fear, disgust, and, oddly enough, happiness. Granted that these emotions may occur, the uncraveable is only craved when a life is not filled with with spirit of Jesus Christ.
Before the civil rights movement could begin, a few courageous individuals had to guide the way. Dr. Vernon Johns was one of those individuals. Dr. Vernon Johns was a pastor and civil rights activist in the 1920s. Johns became the pastor of Dexter Avenue Baptist Church in Montgomery, Alabama in the late 1940s. During his time as a pastor, Johns preached many sermons on how African American people were being treated not only in the community but in society. Johns on multiple occasions upset his community through his ideas on social change. Through a sociologist perspective, many sociological concepts were displayed in The Vernon Johns Story. Some of those concepts included: ascribed status, conflict theory, deviant behavior, alienation, and
Culture, from a sociological perspective, is everything humans creates in establishing our relationships to nature and with each other including language, behavior, and knowledge. An example of culture includes but not limited to: the way a person would talk if they grew up in a predominantly white neighborhood. vs a person who grew up in a predominantly black neighborhood or a criminal in prison has a code for no snitching, etc. From the video, we saw in class, culture is a subconscious of society. An example of this is “if horror films are nightmares of societal subconscious…” (quote from video), it seems that the villains in movies are victims of a traumatic experience that they went through. The Ring (2002) directed by Gore Verbinski was
The Fast and Furious franchise has been going on since 2001. Since then there have been seven movies to come out. Fast and Furious 7 may be the last movie in this series. With the actor Paul Walker, Bryan in the movie dead, there may not be any other way to produce another film. With that said, I thought the movie was very good and well thought of when coming to filming the rest of movie without Paul Walker and digitally having his face put in. In some scenes near the end of the movie you can tell that something is off and seems a little weird when looking at Paul’s character but aside from that it was a brilliant job done by the
Has anyone ever stopped and thought about why movie remakes exist? There is always a simple explanation to this conception, and it’s either that Hollywood directors are “lazy” or that Hollywood wants to destroy our childhood scares. For the most part, Hollywood isn’t literally attempting to become futile or destroy the integrity of films, but it’s much for the profit of recreating former popular movies. In addition to that, the revamp graphic quality allows for older movie plots to compete against their modern counterparts, but there still remains an issue. In order to reestablish an older horror film, a newer one has to take its place for the sake of pleasing the current technologically adept generation; however, alterations may completely
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