By Barry Keith Grant
It is a concise assessment of movie style, discussing style concept and pattern analyses of the western, technology fiction, the musical, horror, comedy, and the mystery. It introduces the subject in an obtainable approach and comprises sections at the ideas of learning and realizing "the suggestion of genre"; style and pop culture; the narrative and stylistic conventions of particular genres; the family of genres to tradition and heritage, race, gender, sexuality, classification and nationwide identification; and the complicated family members among style and authorship. Case reviews comprise: forty second highway, Pennies from Heaven, pink River, All That Heaven permits, evening of the residing useless, Die not easy, Little significant guy, Blue metal, and Posse.
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Additional resources for Film Genre: From Iconography to Ideology (Short Cuts)
Most obviously, characters sing male and female parts regardless of their gender. The songs are all actual recordings of 1930s popular vocalists like Connie Boswell, Bing Crosby and Rudy Vallee, with the actors lip-synching. This postmodern juxtaposition, which shatters the illusion of the musical's Utopian plentitude, is central to the film's theme, the influence of pop culture on our individual and collective consciousness. The film's plot involves Arthur (Steve Martin), a sheet music salesman who believes fervently in the American Dream.
The visual conventions of film noir include such expressionist elements of mlse-en-scene as chiaroscuro lighting, contrasts of dark and light in the image, imbalanced compositions that suggest powerlessness and geometric compositions that imply entrapment and doom. Most noirs are set in the city, its impersonal and alienating qualities reflecting the decadent and cynical world they depict. In noirs such as The Naked City (1948), the city is a palpable presence, taking on a menacing quality that threatens to overwhelm the individuals who dwell in it.
Some actors become icons because of their performances in genre films, their faces and bodies instantly recognisable in the culture. John Wayne had such a strong iconographic presence as the rugged American individualist and western hero that the death of his character, Will Anderson, at the hands of villainous Bruce Dern in The Cowboys (1972) is as shockingly unexpected as Marion Crane's death in Psycho. Also, since Anderson is killed in full view of the group of adolescent boys in his charge without sacrificing his dignity, his death becomes a statement about the death of the classic western hero.
Film Genre: From Iconography to Ideology (Short Cuts) by Barry Keith Grant