The Ice Storm written by James Schamus
Genre in film theory is adapted from literary genre analysis as well as founded on its structure as well as narrative elements. Moreover, films are usually categorized according to their mood (emotional tone), setting (locale), and theme topic (issues in the film). All these essentials come into consideration for the placement of the film in a genre convention. As soon as we look narrowly at a genre film, we typically ascertain intricacies that give an awareness of subtle shades of meaning or feeling, especially in artistic expression or performance. An epitome of a genre convention, whereby some type of common identity reappears thus may therefore classify the film as a drama, which would include its elements as iconography, plot, thematic elements and film techniques. A drama is exemplified by the film, The Ice Storm (1997) and consequently, with an analysis of its genre it demonstrates David Bordwell’s reflectionist approach that expounds on its social function, relevance, during the time of its production.
The Ice Storm is a drama genre that is more often than not an in-depth development of realistic characters dealing with poignant themes such as social class families with average incomes who find their lives uncontrollable due to their experimentation of alcohol, drugs, and casual sex. A drama, such as this film, is a broad genre due to the fact that it is centered on characters that are in conflict at particular instances in their lives. For instance, maybe this conflict is a divorce as in the movie Kramer v. Kramer (1979), its social function for its day in theatres held a social function as relatable to the mainstream populace in that many ascertain the way of divorce. ...
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...literally as well as symbolically, as to a personal storm that the characters encountered. Furthermore, according to the screenwriter, James Schamus, it was intended to make the audience laugh – that life doesn’t always produce downtrodden situations, and that truth is we have our bad days but we also have our good days. Lastly, the film ultimately gave a taste of reality, a reminder of life lessons, bad choice and thus experiences its consequence, but in addition a subtle reminder of the lightheartedness that life has to offer. These are the things that signified the social function of the film’s genre, merely reality, thus – relatibility.
Works Cited
Hardesty, Mary. DGA (Director’s Guild of America) Magazine
Interview title: “Ang Lee On Directing in an Ice Storm” (1997). June 1, 2011.
http://www.industrycentral.net/director_interviews/AL01.HTM
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
Debut novel by hip-hop rap artist Sister Souljah, whose No Disrespect (1994), which mixes sexual history with political
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,
In Kate Chopin’s “The Storm”, sin happens to make a bond stronger than before. The story illustrates a couple who seems to be similar to the nature surrounding them. Both Calixta and Bobinôt happen to be going through a stormy period in their marriage. Although they are going through this turbulent period, Bobinôt’s actions display his imperfect but unconditional love for his wife. Bobinôt may not be the husband Calixta dreams of but throughout the story he illustrates that it does not matter what happens, the storm will pass and he will love her no matter what.
Friedman, L., Desser, D., Kozloff, S., Nichimson, M., & Prince, S. (2014). An introduction to film genres. New York, London: W.W. Norton & Company.
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