When it comes to understanding genre, it would be wise to have a look at the theories already formulated to have a concise feel for what goes on and around film production. An understanding of these theories can help one denote the structure implied and have the picture that the filmmaker has in mind while structuring it from the word go (Barwashi; 350: Bill & kalantzis). The considerations on the crowd of concern, the societal features, as well as, the economic portrayals should all be brought out within the genre. Major theorists that have contributed a lot in the film industry include Miller Carolyn in her assertion of the genre in social action. David Fishelov is another theorist who delves on explaining the role of generic conventions and the social action (Fishelov). Scholars of the Rhetoric Genre studies tend to look at genres as though they are typic social acts that would lead to actions that would be based on recurring societal situations. Carolyn Miller once wrote of a genre as a mode of social action (Miller, 158). In understanding the genre, it becomes easy to define the action that happens at one time in any setup. Our way of interpreting the reality in a movie or a film section (Barwashi; 348). In a way, we see makers of films putting a lot of effort into making people see the society in the film by all means. In fact, the first thing that comes up when someone delves into creating one is making people realize the setting. The genre …show more content…
She says that the reality, itself cannot delimit our social understanding but rather, our interpretation of the reality as it is. It is the society that can create a way that it acts together than the world around it creating the situation and people merely, robot-like, responding to the situation so created. The assertions so made contend the idea of
Jonathan Kozol revealed the early period’s situation of education in American schools in his article Savage Inequalities. It seems like during that period, the inequality existed everywhere and no one had the ability to change it; however, Kozol tried his best to turn around this situation and keep track of all he saw. In the article, he used rhetorical strategies effectively to describe what he saw in that situation, such as pathos, logos and ethos.
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.
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
Pollan’s article provides a solid base to the conversation, defining what to do in order to eat healthy. Holding this concept of eating healthy, Joe Pinsker in “Why So Many Rich Kids Come to Enjoy the Taste of Healthier Foods” enters into the conversation and questions the connection of difference in families’ income and how healthy children eat (129-132). He argues that how much families earn largely affect how healthy children eat — income is one of the most important factors preventing people from eating healthy (129-132). In his article, Pinsker utilizes a study done by Caitlin Daniel to illustrate that level of income does affect children’s diet (130). In Daniel’s research, among 75 Boston-area parents, those rich families value children’s healthy diet more than food wasted when children refused to accept those healthier but
In a quote by John Mill, “Does fining a criminal show want of respect for property, or imprisoning him, for personal freedom? Just as unreasonable is it to think that to take the life of a man who has taken that of another is to show want of regard for human life. We show, on the contrary, most emphatically our regard for it, by the adoption of a rule that he who violates that right in another forfeits it for himself, and that while no other crime that he can commit deprives him of his right to live, this shall.” Everyone’s life is precious, but at what price? Is it okay to let a murderer to do as they please? Reader, please take a moment and reflect on this issue. The issue will always be a conflict of beliefs and moral standards. The topic
Phillips, W. (2002). Thinking about film . In Film an introduction (pp. 403-438). Boston : Bedford/St.Martin's .
The movie trailer “Rio 2”, shows a great deal of pathos, ethos, and logos. These rhetorical appeals are hidden throughout the movie trailer; however, they can be recognized if paying attention to the details and montage of the video. I am attracted to this type of movies due to the positive life messages and the innocent, but funny personifications from the characters; therefore, the following rhetorical analysis will give a brief explanation of the scenes, point out the characteristics of persuasive appeals and how people can be easily persuaded by using this technique, and my own interpretation of the message presented in the trailer.
The Letter from Birmingham Jail was written by Dr. Martin Luther King Jr. in April of 1963. Dr. Martin Luther King Jr. was one of several civil rights activists who were arrested in Birmingham Alabama, after protesting against racial injustices in Alabama. Dr. King wrote this letter in response to a statement titled A Call for Unity, which was published on Good Friday by eight of his fellow clergymen from Alabama. Dr. King uses his letter to eloquently refute the article. In the letter dr. king uses many vivid logos, ethos, and pathos to get his point across. Dr. King writes things in his letter that if any other person even dared to write the people would consider them crazy.
Kracauer, Siegfried. “Basic Concepts,” from Theory of Film. In Film Theory and Criticism: Introductory Readings, Seventh Edition, edited by Leo Braudy and Marshall Cohen, 147–58. New York and Oxford: Oxford University Press, 2009.
In a persuasive essay, rhetorical appeals are a very important tool to influence the audience toward the author’s perspective. The three rhetorical appeals, which were first developed by Aristotle, are pathos, logos, and ethos. Pathos appeals to the emotions of the audience, logos appeals to the facts or evidence and ethos exhibits the credibility of the writer.
Works Cited Andrew, J. & Dudley, J. The Major Film Theories. New York: Oxford University Press, 1976. 11-26. The 'Standard' of the Print. The..
Hayward, Susan. A. Key Concepts in Cinema Studies. London: Routledge, 1996. http://www. Stokes, Lisa, and Michael Hoover.
Genres are ways of providing films with the intended associations. It is a convention in which people can refer to initially grasp the notion of a film, “for the vast publicity system that exists around filmmaking, genres are a simple way to characterize film. In fact, reviewers are often central in gathering and crystallizing notions about genres.” (Bordwell & Thompson, 2004: 110).
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.
“A Cultural Approach to Television Genre Theory” argues that the application of film and literary genre theory do not fully translate when analyzing television, because of “the specific industry and audience practices unique to television, or for the mixture of fictional and nonfictional programming that constitutes the lineup on nearly every TV channel. 2” The goal of media genre studies, Mittell asserts, is to understand how media is arranged within the contexts of production and reception, and how media work to create our vision of the world.