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Film genres: features, functions, evolution

This Interactive workshop aims at exploring the origin of genres, their functions in cinema and their evolution, with particular emphasis on the latest developments. We first ask why we need genres at all and examine the variety of classification criteria that can be used. Then we focus on the specific features of genre films, analysing their conventions and their narrative structures. We then explore how different agents (from producers to audiences, from critics to film scholars) have used and still use genres, and highlight their economic, sociocultural and communicative functions. Finally, by taking a historical perspective, we explore how genres have evolved in the course of time and how modern cinema extensively use genre mixing and hybridization, thus pointing to the future of this important but complex category of film analysis. Part of the www.cinemafocus.eu research materials.

This Interactive workshop aims at exploring the origin of genres, their functions in cinema and their evolution, with particular emphasis on the latest developments. We first ask why we need genres at all and examine the variety of classification criteria that can be used. Then we focus on the specific features of genre films, analysing their conventions and their narrative structures. We then explore how different agents (from producers to audiences, from critics to film scholars) have used and still use genres, and highlight their economic, sociocultural and communicative functions. Finally, by taking a historical perspective, we explore how genres have evolved in the course of time and how modern cinema extensively use genre mixing and hybridization, thus pointing to the future of this important but complex category of film analysis. Part of the www.cinemafocus.eu research materials.

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cinemafocus.eu

I generi cinematografici: caratteristiche, funzioni, evoluzione

Film genres: features, functions, evolution

qualche tempo in Francia per riferirsi a romanzi

che avevano connotazioni "da giallo" (piuttosto

che semplicemente "nere"). Quando l'etichetta

"film noir" ha iniziato ad essere utilizzata e ha

rapidamente acquisito lo "status" di genere, è

stata adottata dall'industria come un modo

conveniente per descrivere (e commercializzare)

determinati tipi di film - e il genere ha quindi

raggiunto nel tempo un'identità coerente,

specialmente nella "New Hollywood" e, in

seguito, con la tendenza "neo-noir" degli anni

'80.

Il ruolo della critica è alquanto mutato nel

tempo, ed è ora integrato dal lavoro svolto dagli

utenti di Internet che, in siti web, blog, chat

online, social network, ecc., definiscono e

ridefiniscono continuamente i generi

cinematografici, mostrando come il pubblico è

ora, in un certo senso, molto più attivo di un

tempo, poiché contribuisce al discorso corrente

sui film, con elevati livelli di popolarità,

influenzando le scelte, le opinioni e i giudizi

degli spettatori in aggiunta e al di là del lavoro

svolto da critici e giornalisti cinematografici.

Più in generale, anche i movimenti culturali

hanno contribuito in modo significativo al

riconoscimento dei film come "generi" specifici:

il movimento LGBTQ+ è un ovvio esempio, ma

lo stesso si può dire dei movimenti femministi,

nel contribuire a stabilire la categoria piuttosto

ampia dei "film al femminile", e dei movimenti

per i diritti civili, nell'introdurre la

"blaxploitation", termine che acquista

periodicamente nuova risonanza, come mostra

chiaramente il recente movimento "Black Lives

Matter".

Abbiamo già accennato alle classificazioni che i

film danno da istituzioni come lo Stato, la

Chiesa e altri organismi, ovvero i risultati della

censura, che ha implicazioni molto diverse per i

diversi paesi e nel tempo. Il modo in cui i film

sono etichettati in relazione ai limiti di età ha

ovviamente implicazioni per il genere a cui

dovrebbero appartenere, specialmente se sono

qualificati come film "per adulti". I produttori di

solito sminuiscono l'importanza delle

valutazioni nei loro materiali pubblicitari, fatta

describing (and marketing) certain kinds of

movies - and the genre then achieved quite a

consistent nature, in time too, with the "New

Hollywood" and, later the "neo-noir" trend of the

1980s using it repeatedly.

The role of critics has somewhat changed over

time, and is now complemented by the work

carried out by Internet users who, in web sites,

blogs, online chats, social networks, etc.,

continually define and re-define film genres,

showing how audiences are now, in a way, far

more active than they used to be, since they

contribute to the on-going discourse about films

and are often very popular, influencing viewers'

choices, opinions and judgments in addition to

and beyond the work carried out by critics and

film journalists.

More generally speaking, cultural movements

have also contributed in a significan way to the

recognition of films as specific "genres":

LGBTQ+ is an obvious example for gay movies,

but the same could be said of feminist movements

in helping to establish the (rather broad)

category of "women's films" and civil rights

movements in introducing "blaxploitation", a

term which periodically gains new resonance, as

the recent "Black Lives Matter" movement

clearly shows.

We have already mentioned the ratings films are

given by institutions like the State, the Church

and other bodies, i.e. the results of censorship,

which has vastly different implications for

different countries and across time. The way

films are labelled in relation to age restrictions

obviously has implications for the genre they are

supposed to belong, especially if they are

qualified as "adult" movies. Producers usually

downplay the importance of ratings in their

publicity materials, except, of course, for

exclusively adult movies (e.g. the XXX films),

which benefit fror their rating being clearly

displayed, as a sign of belonging to a particular,

well-defined genre.

Genre significance also varies across time, and

as new genres come to the fore, old labels fade

away, or, perhaps even worse, assume a sort of

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