Relevant bibliographies by topics / Film genre theory

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film genre theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Film genre theory"

1

Grindon, Leger. "The Boxing Film and Genre Theory." Quarterly Review of Film and Video 24, no. 5 (2007): 403–10. http://dx.doi.org/10.1080/10509200500536066.

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Roggen, Sam. "Notions of Genre: Writings on Popular Film Before Genre Theory." Historical Journal of Film, Radio and Television 37, no. 3 (2017): 579–81. http://dx.doi.org/10.1080/01439685.2017.1308144.

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Lappin, Lou, and Barry Grant. "Film Genre Reader." Theatre Journal 39, no. 3 (1987): 407. http://dx.doi.org/10.2307/3208173.

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Kosachova, O. O. "Modern Historical Film: Genre and Dramaturgic Features." Culture of Ukraine, no. 71 (April 2, 2021): 41–48. http://dx.doi.org/10.31516/2410-5325.071.05.

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The aim of the article is to explore of genre and dramaturgic features of a modern historical film.
 The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out.
 The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Th
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Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (1998): 153–85. http://dx.doi.org/10.1017/s0261143000000581.

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When we become engaged with a music video, what draws us in? What constitutes craft or artistry in the genre? Theorists of music video have usually addressed these questions from the perspective of sociology, film theory or popular cultural studies. Film theory, in particular, has had a tremendous influence on the analysis of music video, because of the two genres' apparently similar structuring of sound and image. But by the criteria of film, music videos tend to come off as failed narratives; the genre's effectiveness eludes explanation.
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Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.

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What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and
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Wanderer, Jules J. "When Film Critics Agree: Does Film Genre Matter?" Empirical Studies of the Arts 29, no. 1 (2010): 39–50. http://dx.doi.org/10.2190/em.29.1.c.

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Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.

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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent
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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is
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Maras, Steven. "Notes on a Genre to Come: Screenwriting and the 'Thesis-film'." Cultural Studies Review 10, no. 2 (2013): 85–98. http://dx.doi.org/10.5130/csr.v10i2.3473.

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This piece draws together two areas: screenwriting and film or video works (to be jointly referred to as ‘films’) that explicitly try to undertake a conceptual practice. Conceptual practice is to be understood here not within the exclusive framework of conceptual or abstract art, but of acts and interventions in theory of the kind that crossover between the academy and the broader culture. Interventions of this kind have (especially in the form of the essay film, and films by humanities academics) been a part of Australian screen culture since at least the 1980s. While these interventions may
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Dissertations / Theses on the topic "Film genre theory"

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Blake, Eric Michael. "Genre, Justice & Quentin Tarantino." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5911.

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The films of Quentin Tarantino have held a significant influence on modern cinema, and therefore on cinema studies. As such, studies on the social and philosophical implications of his work have appeared over the years, mostly in regards to content. However, with the exception of references to his use of cinematic violence, studies of his technique—i.e., his cinematic style—have been rare, and rarer still have been studies of the social implications that arise from the patterns of his style as well as those his subject matter. The following thesis seeks to use the concept of Auteur Theory—spec
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Atterstig, Elin. "Att höra genre : Vad ljudet i filmens inledning berättar om genre." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9740.

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<p>This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.</p><p>The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it
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Christie, Elizabeth, and elizabeth christie@unisa edu au. "Explosions in the Narrative: Action films with Lacan." Flinders University. Screen Studies, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071121.092301.

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Since the late seventies, the violence, speed and spectacle associated with the genres of war films, Westerns and the spectacular melodramas of early cinema have developed into a distinct genre of its own – the action film. With the development of the stylistic language at the core of this generic universe came derogatory generalisations and a tendency to categorise simplistically. To overcome these simplifications, this thesis explores the shifts in generic language to distinguish its subtleties and complexities of logic. Overwhelmingly the genre is considered masculine, but the purpose of
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Sjöberg, Johannes E. "Ethnofiction : genre hybridity in theory and practice-based research." Thesis, University of Manchester, 2009. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:68172.

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The thesis and the two films form a practice PhD in drama exploring ethnofiction - an experimental ethnographic filmmaking approach pioneered by visual anthropologist Jean Rouch. In the mid-1950's Rouch started to experiment with fiction and 'projective improvisation' in ethnographic films such as Jaguar (1957-1967), Moi, unnoir (1957) and La pyramide humaine (1959). Film critics would call these films 'ethnofictions'. After agreeing a story outline, the camera simply follows the subjects' improvisations of their own, and others', lived experiences. The aim is to show aspects of ethnographic r
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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.

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Stifflemire, Brett Samuel. "Visions of after the End| A History and Theory of the Post-apocalyptic Genre in Literature and Film." Thesis, The University of Alabama, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10635886.

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<p> Textual genre criticism and close readings of novels and films reveal that, in addition to chronicling catastrophes&rsquo; aftermaths, the post-apocalyptic genre envisions a future world in which traditional apocalyptic ideology is inadequate and unsatisfactory. While the full apocalyptic trajectory traditionally includes an end met by a new beginning, moments of cultural crisis have questioned the efficacy of apocalyptic metanarratives, allowing for a divergent, post-apocalyptic imagination that has been reflected in various fictional forms. </p><p> The post-apocalyptic genre imagines a
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Hey, Jessica L. "A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.

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Wetherbee, Benjamin James. "Toward a Rhetoric of Film: Theory and Classroom Praxis." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1313119045.

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Hubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.

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In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values a
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Stjernström, Elsa, and Jenny Emanuelsson. "Dystopi och jordens undergång : En genreanalys av dystopiska inslag i fiktiv film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21167.

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This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman’s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research. By using
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Books on the topic "Film genre theory"

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Small, Edward S. Direct theory: Experimental film/video as major genre. Southern Illinois University Press, 1994.

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John, Mercer. Melodrama: Genre, style, sensibility. Wallflower, 2004.

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Martin, Adrian. Mysteries of Cinema. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986831.

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The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers indepth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre,
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Small, Edward S. Direct theory: Experimental motion pictures as major genre. Southern Illinois University Press, 2013.

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Moving pictures: A new theory of film genres, feelings, and cognition. Clarendon Press, 1997.

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Moving pictures: A new theory of film genres, feelings, and cognition. Clarendon Press, 2002.

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Grodal, Torben Kragh. Cognition, emotion, and visual fiction: Theory and typology of affective patterns and genres in film and television. University of Copenhagen, Dept. of Film and Media Studies, 1994.

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Auger, Emily E. The development of the tech-noir film: A theory of the development of popular genres in fiction and film (gothic, detective, scifi, and tech-noir). Intellect, 2010.

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Notions of Genre: Writings on Popular Film Before Genre Theory. University of Texas Press, 2016.

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Grant, Barry Keith, and Malisa Kurtz. Notions of Genre: Writings on Popular Film Before Genre Theory. University of Texas Press, 2016.

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Book chapters on the topic "Film genre theory"

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Etherington-Wright, Christine, and Ruth Doughty. "Genre Theory." In Understanding Film Theory. Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34392-4_3.

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Doughty, Ruth, and Christine Etherington-Wright. "Genre Theory." In Understanding Film Theory. Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-58796-1_3.

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Pagello, Federico. "Spectatorship, Genre and Violence." In Quentin Tarantino and Film Theory. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7_5.

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Fuery, Patrick. "Seduction: Gender, Genre and Power." In New Developments in Film Theory. Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-0-333-98569-4_9.

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Bondebjerg, Ib. "Film: Genres and Genre Theory." In International Encyclopedia of the Social & Behavioral Sciences. Elsevier, 2015. http://dx.doi.org/10.1016/b978-0-08-097086-8.95052-9.

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Bondebjerg, I. "Film: Genres and Genre Theory." In International Encyclopedia of the Social & Behavioral Sciences. Elsevier, 2001. http://dx.doi.org/10.1016/b0-08-043076-7/04327-8.

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"Key Approaches: Genre Theory." In Doing Film Studies. Routledge, 2012. http://dx.doi.org/10.4324/9780203080863-12.

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Walker, Elsie. "Genre Studies." In Understanding Sound Tracks Through Film Theory. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199896301.003.0001.

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Holliday, Christopher. "Falling with Style? The Computer-Animated Film and Genre." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0002.

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Chapter One maintains the genre narrative established in the book’s introduction, interrogating in greater depth the shape of contemporary film genre theory, and its relationship to the study of digital animation to understand how computer-animated films might be conceptualised in generic terms. The interrelationship between animation and genre is identified as a complex series of engagements and negotiations, and drawing on animation scholarship and theories of film genre, this chapter engages with the problem of generic classification when placed within the specific context of animation. Informed by Paul Wells’ work on animation’s generic “deep structures”, this chapter argues that it is in the process of ‘doing’ recognisable genres (similar to notions of genre parody) that computer-animated films both create and announce their own internal structures and attributes, which will be pursued across the book as a whole. Chapter One also works through technological considerations (including current software packages) to identify the computer-animated film genre as a significant attribute of textual structures that are underpinned by technological concerns. Questions of genealogy and the computer-animated film’s potential influence (live-action cinema; videogames) are therefore brought together in a discussion of the ‘computer-animated film’ as a viable critical label.
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Knight, Deborah. "Aristotelians on Speed: Paradoxes of Genre in the Context of Cinema." In Film Theory and Philosophy. Oxford University Press, 1997. http://dx.doi.org/10.1093/acprof:oso/9780198159216.003.0016.

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Conference papers on the topic "Film genre theory"

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Jiang, Chunheng, Jianxi Gao, and Malik Magdon-Ismail. "Inferring Degrees from Incomplete Networks and Nonlinear Dynamics." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/457.

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Inferring topological characteristics of complex networks from observed data is critical to understand the dynamical behavior of networked systems, ranging from the Internet and the World Wide Web to biological networks and social networks. Prior studies usually focus on the structure-based estimation to infer network sizes, degree distributions, average degrees, and more. Little effort attempted to estimate the specific degree of each vertex from a sampled induced graph, which prevents us from measuring the lethality of nodes in protein networks and influencers in social networks. The current
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Ren, Z. F. "Nano Materials and Physics." In ASME 4th Integrated Nanosystems Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/nano2005-87045.

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Aligning carbon nanotubes in any way desired is very important for many fundamental and applied research projects. In this talk, I will first discuss how to grow them with controlled diameter, length, spacing, and periodicity using catalyst prepared by magnetron sputtering, electron beam (e-beam) lithography, electrochemical deposition, and nanosphere self-assembly. Then I will present our results of field emission property of both the aligned carbon nanotubes grown on flat substrates and random carbon nanotubes grown on carbon cloth. For the aligned carbon nanotubes arrays, I will present the
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