Genre Theories

Genre Theories

Genre means ‘type’ or ‘category’. We organise films into these groups. There are certain conventions which make it easy for us to assign to a certain genre. Genres also have their own sub-genres.  There are many different theories on genre and what it means and how it is developing. Many theorists have different approaches and ideas based on genre. One theorist is Daniel Chandler. Chandlers theory on genre talks about ‘type’ and how each genre has its own conventions such as particular themes or settings. He says how it is impossible for a film not to belong to a genre. For example, typical settings for the horror genre are abandoned warehouses and basements.

When it comes to genre, Neale talks about how it is absolutely essential that there are differences and changes within the genre. If there is too much repetition Neale states that the audience will get bored and this is therefore why genre changes and develops over time. He claims that a film must conform to its conventions in order to be identified as that genre, however it almost must subvert to these typical conventions in order to be considered unique. For example the 2012 film ‘Cabin in the Woods’. It shows the typical conventions of a slasher where teen punishment is involved. The film follows these typical conventions using stock characters. The blonde slut is typically the first to die and the virgin survives. However, this film is different as this time there are two survivors, our usual final girl, however the audience are left surprised when we realise one of the boys also survives.

Another approach to genre is Mittell’s approach. Mittell argues that genres are cultural categories. He says that industries use genre to sell products to audiences. This is done by using familiar codes and conventions of a genre to make it recognisable, something that producers know audience members like.

Rick Altman has an approach which states that genre is denoted through semantics and/or syntactic. Therefore, through its typical conventions through things such as mise-en-scene. He talks about syntactic and how these conventions relate to the narrative and what we expect to see in a particular genre. Altman discusses how genre gives audiences emotional and visceral pleasures. Visceral pleasures are often associated with horror films, for some audience members, films such as Saw may cause tummy’s to turn due to the gore and pain that is being denoted. Furthermore, films such as the thriller sub-genre have intellectual puzzles where audience members get pleasure from trying to solve and understand what will happen.

From Abercrombie’s perspective, he discusses how genres are becoming more permeable and are constantly changing. He suggests that genres are not fixed and are becoming more hybrid where a film will consist of multiple genres. For example Shaun of The Dead features the sub genres of comedy and zombies. Typically many zombie based films feature another sub-genre with or romance or comedy or even both. Further examples are Warm Bodies and Zombieland. Therefore, films are no longer restricted to just featuring one genre. Multiple genres have been combined together to create a whole new sub-genre, within a sub-genre. This will therefore appeal to a wider audience and creates its own individual sub-genres such as ‘romantic comedy’.