genre

“The genre may be considered as a practical device for helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers.”

Genre is a style or category of a piece of art, literature, a song or film etc.

genre should be predicable and expected, but also unpredictable and unexpected. different people see genres differently

saddled with conventions and stereotypes, formulas and
clichés and all of these limitations were codified in specific genres. This was the very foundation of the studio system and audiences love genre pictures .

Steve Neale:

The work of Steve Neale is often referred to when discussing genre. One area he looks at, is the relationship between genre and audiences. For example, the idea of genre as an enabling mechanism to attract audiences based around predictable expectations. He argues that definitions and formations of genres are developed by media organisations (he specifically discusses the film industry), which are then reinforced through various agencies and platforms, such as the press, marketing, advertising companies, which amplify generic characteristics and thereby set-up generic expectations.

For example, he suggests that genres are structured around a repertoire of elements which creates a corpus or body of similar texts, which could all belong to the same category (ie genre). Expectations are based not only on key textual elements (as highlighted above) but also around overarching generic structures such as the idea of verisimilitude which involves a clear understanding and knowledge of’various systems of plausibility motivation, justification and belief'(1990 p.46) This brings up quite an important point in relation to the way in which cultural production – in this instance, the generic mass production of film – is able to structure our understanding around realism or how we understand and recognise the construction of reality.

GENRE

Predictable expectationsFilms often include conventions that can be seen in many products of the same genre. As the audience becomes familiar with them, they become predictable and typical of the genre.
Reinforced
Amplify
Repertoire of elements Key elements of a film that are consistently repeated throughout a genre.
CorpusThe main body of a narrative or genre.
VerisimilitudeThe appearance of being real and true.
Realism Representation that is true to real life.
Construction of reality Genre is a way in which reality can be constructed under a particular theme/category.
Historically specific
Sub-genresA sub division of a certain genre. For example, a thriller film is a sub section of the horror genre.
Hybrid-genresA combination of themes and elements from two or more different types of genres
Different
Familiar

Paul Gilroy NOtes

Racial otherness- black communities are referred to as the ‘other’ race in white terms and see them as the people who commit crimes and incompatible with white british values.

Post-colonial melancholia- the deep rooted shame felt as a result of the loss of the British empire. In media the loss is deflected through nostalgia and anxieties surrounding british identity.

The story of UK race relations post W.W. 2- talks about the worries of immigrant behaviour in the post-war wave of immigration from the West Indies. Public associated these immigrants with the substandard living conditions.

Legacy of the empire- Gilroy suggests we live in “morbid culture of a once-imperial nation that has not been able to accept it’s inevitable loss of prestige”. British are undergoing a crisis of national identity. Empire immigrants and their descendants, is argued to be a visible representation of British power as it once was.

The search for Albion-

CSP 6: Ghost town

Ghost town was performed by The Specials, written by Jerry Dammers, produced by John Collins.

The song spent three weeks at number one and 10 weeks in total in the top 40 of the UK Singles Chart. Song released in 1981

Key Concepts:
● Cultural resistance
● Cultural hegemony- Antonio Gramsci, framing the ideologies of the dominant social group as the only legitimate ideology.
● Subcultural theory- The Birmingham School (1970s), looked at working class cultures like the teddy-boys, mods, skinheads, and punks – subcultures. Unified by shared tastes in fashion, music and ideology. They argued argued that the formation of subcultures offered young working class people a solution
to the problems they were collectively experiencing in society


Context:
● Race Relations
● Thatcher’s Britain- British Nationality Act of 1981: introduced a
series of increasingly tough immigration
procedures and excluded Asian people from
entering Britain.
● Rock Against Racism- RAR’s fusion of youth culture and politics has been widely celebrated for making politics fun. This fusion of politics and culture engaged disaffected white youth in the face of profound political and economic insecurity, class tensions and escalating racism.
● Rock Against Sexism- used punk as a vehicle to challenge sexism, promoting female musicians while challenging discrimination in the music industry between 1979 and 1982. 1970s saw a plethora of sexist song lyrics, record covers and band advertisements, many depicting violence towards women.
●2 Tone- a genre of British popular music, that fused punk with Jamaican reggae and ska music. Attracted the attention of right-wing youth. The bands had to tackle their own prejudices towards each other, highlighting the challenges of
mixing different class, racial and educational backgrounds

Social, historical and cultural background

The video and song are part of a tradition of protest in popular music, in this case reflecting concern about the increased social tensions in the UK at the beginning of the 1980s.

Linked to the politics of Thatcherism

Racially diverse representations

Musical genre of ska

Representation of Britain’s emerging multiculturalism, is reinforced through the eclectic mix of stylistic influences

mix of black and white members, The Specials, too, encapsulated Britain’s burgeoning multiculturalism. The band’s 2 Tone record label gave its name to a genre which fused ska, reggae and new wave and, in turn, inspired a crisply attired youth movement.

uneasy mood of the general music

Caribbean immigrants brought ska to England, where it attracted a cult following. The factory town of Coventry in the British Midlands was a hot spot for ska activity, as large numbers of blacks settled there to work in the British auto industry.

 lurking just beneath the “happy,” infectious dance beat were often chilling stories of the racial divisiveness and economic deprivation that characterized the dawning of the Thatcher era.

music video was directed by Barney Bubbles

a cry out against injustice, against closed off opportunities by those who have pulled the ladder up and robbed the young, the poor, the white and black of their songs and their dancing, their futures. Drive round an empty city at dawn. Look at the empty flats.

See the streets before the bankers get there and after the cleaning ladies have gone. And put young, poor, disadvantaged people in that car. See how “Ghost Town” makes sense. Now.

Radio stations didnt want to play reggae music so the only way it would get heard is through handmade sound system

Musicians escaped Jamica as they just introduced guns and brought their music to england which became poular

Levi Strauss- Binary oppositions

This theory suggests that NARRATIVES (=myths) are STRUCTURED around BINARY OPPOSITIONS eg: good v evil

creates a dominant message (ideology) of a film, audiences are encouraged to make a judgements about characters, groups, places, history, society etc.

ConceptStrongly
agree
AgreeNeutralAgreeStrongly
Agree
Opposite
Concept
MaleXFemale
BlackXWhite
ProtestXAcquiesce
UrbanXRural
OldXYoung
AggressiveXCalm

Genre

A practical device for helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers. It can also be considered as a mechanism, for ordering the relations between the two main parties to mass communication.

 It helps identify how media texts are classified, organised and understood, essentially around SIMILARITIES and DIFFERENCE. Media texts hold similar patterns, codes and conventions that are both PREDICTABLE and EXPECTED, but are also INNOVATIVE (different) and UNEXPECTED.

. . . saddled with conventions and stereotypes, formulas and
clichés and all of these limitations were codified in specific genres. This was the very foundation of the studio system and audiences love genre pictures . . .
– this means that vertically integrations are massive factories that produce movies.

predictable expectations – When you know something is going happen or you are predicting it before it happens because it is very obvious

reinforced – which are done a certain way

amplify

repertoire of elements

verisimilitude

corpus

realism – looks very real

construction of reality. –

historically specific

sub-genres

hybrid genres

Genre

Genre is a way of organizing products into different categories, for example films can be ordered into the genres of horror, comedy etc. These categories all have similarities that run through a specific genre and differences between each genre, making them PREDICTABLE AND EXPECTED but also INNOVATIVE AND UNEXPECTED.
Genre is applied to all forms of media, including radio, TV, music etc.

. . . saddled with conventions and stereotypes, formulas and
clichés and all of these limitations were codified in specific genres. This was the very foundation of the studio system and audiences love genre pictures . . .
” – Scorcese, A personal Journey through American Cinema (1995) This quote shows that studios have specific genres that they stick to, creating the foundation for how films are made in each studio. Each of these genres have specific elements that the studios follow to create their films.

genre

The genre may be considered as a practical device for helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers. Since it is also a practical device for enabling individual media users to plan their choices, it can be considered as a mechanism for ordering the relations between the two main parties to mass communication.Dennis McQuail 1987, p. 200

In some ways it hold conventions of other genres, as such it could be considered as a SUB-GENRE film (a genre within a genre) or a HYBRID GENRE (a combination of two genres). However, overall, it could be said that “genre is a system of codes, conventions and visual styles which enables an audience to determine rapidly and with some complexity the kind of narrative they are viewing” (Turner p.97 Film as Social Practice)

A key theoretical area that underpins Media Language is the study of GENRE. Genre is a way of thinking about media production (INSTITUTIONS) and media reception (AUDIENCES). Overall, genre study helps students to think about how media texts are classified, organised and understood, essentially around SIMILARITIES and DIFFERENCE. In that media texts hold similar patterns, codes and conventions that are both PREDICTABLE and EXPECTED, but are also INNOVATIVE and UNEXPECTED. The ideas of codes and conventions are the starting point to think about MEDIA LANGUAGE and has been discussed in earlier posts, remember each MEDIA FORM has its’ own language.

. . . saddled with conventions and stereotypes, formulas and
clichés and all of these limitations were codified in specific genres. This was the very foundation of the studio system and audiences love genre pictures 
. . .Scorcese, A personal Journey through American Cinema (1995)

genre

The genre may be considered as a practical device for helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers. Since it is also a practical device for enabling individual media users to plan their choices, it can be considered as a mechanism for ordering the relations between the two main parties to mass communication.

Dennis McQuail 1987, p. 200

 In that media texts hold similar patterns, codes and conventions that are both PREDICTABLE and EXPECTED, but are also INNOVATIVE and UNEXPECTED

. . . saddled with conventions and stereotypes, formulas and
clichés and all of these limitations were codified in specific genres. This was the very foundation of the studio system and audiences love genre pictures 
. . .Scorcese, A personal Journey through American Cinema (1995)

Key words:

predictable expectations

einforced

amplify

 repertoire of elements –

 corpus

verisimilitude

construction of reality

 historically specific

sub-genres

hybrid genres,

genre

The genre may be considered as a practical device for helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers. Since it is also a practical device for enabling individual media users to plan their choices, it can be considered as a mechanism for ordering the relations between the two main parties to mass communication.

As an example, Martin Scorcese, in his 1995 documentary ‘A personal Journey through American Cinema’ talks about the way Hollywood was organised around large corporations who could be defined by recognisable styles. This shows the extent to which institutions can become genres in themselves – think for example, of Disney, Pixar, Working Title, Momentum, etc etc. While Scorcese recognises the innovation and creativity of many of the ‘tudio directors’, for others, it illustrates the extent to which ‘genres are dependent upon profitability and exemplify the standardisation associated with Hollywood cinema’