Genre Theory
The main strength of genre theory is that everybody uses/understands it. The potential for the same concept to be understood by producers, audiences and scholars makes genre a useful, critical tool. It can be applied across a wide range of texts because it's accessible.
Genre Development & Transformation
Over years genre develops and changes as the wider society that produces them also change - Generic Transformation
Christian Metz - 1974
Genres go through a typical cycle.
- Experimental stage
- Classic stage
- Parody stage
- Deconstruction stage.
Music video
Medium intended to appeal directly to youth subcultures by reinforcing generic elements of musical genres. They're called pop-proms as they're used to promote a band or artist.
Music videos are post-modern texts whose main purpose is to promote a star persona - Dyer - 1975
They don't have to be literal representations of the song lyrics.
The label/name given to a historical era in society and culture, post-modern is the label that we're living in now.
David Bordwell - 1989
Horror films - modern fairy tales often act as morality plays in which people who break society's rules are punished.
Fear of the unknown - Monster - Anything is scary because it's alien.
Sex = Death - sex is immoral and must be punished. Ware wolf = Puberty & Vampire = STD or rape.
Breakdown of society - Post-modern movies are about our fear of this. Human kind reverts to their animal instincts.
Youthful Themes
Youthful Themes
- Teen angst
- Rebellion
- Romance
- Sex
- Nostalgia
- Nihilism
- Coming of Age
- Tribalism
- Bullying
- Juvenile delinquency: moral panics and the teenager as a folk devil
- The currency of coal
- Thedonism - living for pleasure
- Friendship
Other Themes
- War
- Crime
- Poverty
- Capitalism
- Racism
David Buckingham - 1993
Argues that genre isn't given by the culture it's a negotiation.
Post-modernist - Jaques Derrida states that the 'vow of the vow of genre is a principle of contamination'.
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