By Thomas Schatz
The primary thesis of this e-book is style method presents the best skill for realizing, interpreting and appreciating the Hollywood cinema. taking into consideration not just the formal and aesthetic facets of function filmmaking, yet a variety of different cultural facets in addition, the style procedure treats motion picture construction as a dynamic means of trade among the movie and its viewers. This technique, embodied through the Hollywood studio approach, has been sustained basically via genres, these well known narrative formulation just like the Western, musical and gangster movie, that have ruled the monitor arts all through this century.
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Extra resources for Hollywood Genres: Formulas, Filmmaking, and the Studio System
Thus a form passes through an experimental stage, during which its conventions are isolated and established, a classic stage, in which the conventions reach their"equilibrium" and are mutually understood by artist and audience, an age of refinement, during which certain formal and stylistic details embellish the 38 HOLLYWOOD GENRES form, and finally a baroque (or "mannerist" or "self-reflexive") stage, when the form and its embellishments are accented to the point where they themselves become the "substance" or "content" of the work.
In contrast, genres of indeterminate space generally involve a doubled (and thus dynamic) hero in the guise of a romantic couple who inhabit a "civilized" setting, as in the musical, screwball comedy, and social melodrama. The physical and ideological "contest" which determines the arena of action in the Western, gangster, and detective genres is not an issue here. Instead, genres of indeterminate Similarity and difference: the distinctive narrative contexts of the screwball comedy (It Happened One Night, above) and the gangster film (The Public Enemy, below) dearly overwhelm the apparent similarities between these two scenes.
For the purposes of clarity and simplicity, the following chart maybe useful. FILM GENRE AND THE GENRE FILM 35 CHARACTERISTICS OF GENRES OF ORDER AND GENRES OF INTEGRATION hero setting conflict resolution thematics ORDER (Western, gangster, detective) INTEGRATION (musical, screwball comedy, family melodrama) individual (male dominant) contested space (ideologically unstable) externalized-violent elimination (death) mediation-redemption macho code isolated self-reliance utopia-as-promise couple/collective (female dominant) civilized space (ideologically stable) internalized---emotional embrace (love) integration-domestication maternal-familial code community cooperation utopia-as-reality In examining both types of genres, one of our concerns must be the relationship between narrative strategy and social function.