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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I generi cinematografici: caratteristiche, funzioni, evoluzione
Film genres: features, functions, evolution
solo se danno risposte corrette a domande sui film
horror... quasi un gioco da cinefili. Ancora una
volta, il tocco ironico aggiunge un'altra
dimensione di significato e intrattenimento
all'intera miscela.
Thelma & Louise è la storia di due casalinghe
(Susan Sarandon e Geena Davis) che decidono di
prendersi una pausa dalla routine quotidiana e
intraprendono un viaggio durante il quale
incontreranno sia la violenza di una società
maschilista sia l'eccitazione di "liberarsi" dalle
regole e dalle convenzioni della stessa società -
anche se questo trasformerà il loro viaggio in una
tragedia. Al momento della sua uscita, il film
suscitò scalpore e proteste, con movimenti
reazionari che lo definirono un esempio di
"femminismo criminale". Questo film, infatti, un
road movie interamente nelle mani di due donne, è
stato probabilmente il primo esempio di "buddy
movie" al femminile, genere che mette insieme
due personaggi molto diversi (per età, classe, etnia
e genere) ma che condividono un lavoro o uno
scopo comune nella vita. Hollywood aveva fornito
molti esempi di tali "compagni", a cominciare, per
esempio, dalle prime apparizioni di Stanlio e Ollio
o di Gianni e Pinotto, e proseguendo con
accoppiamenti musicali/comici come Bing Crosby
e Bob Hope o Dean Martin e Jerry Lewis; più
recentemente, Paul Newman e Robert Redford
avevano recitato in un western (Butch Cassidy, di
George Roy Hill, USA 1969) e Nick Nolte e Eddie
Murphy in un film d'azione poliziesco (48 ore, di
Walter Hill, USA 1982). Thelma & Louise,
invece, mescola progressivamente commedia e
dramma, raggiungendo nel finale una dimensione
quasi epica.
Un altro blockbuster che ha generato diversi
sequel, Die hard mescola ancora una volta
brillantemente le imprese adrenaliniche dei film
d'azione con i tocchi tipicamente comici degli
anni '80, fornendo una nuova dimensione a
entrambi i generi. Tuttavia, il film fa anche
riferimento ad altri generi, come il thriller, il "film
catastrofico" e persino il melodramma, e mostra
un alto livello di autoreferenzialità e di coscienza
cinefila, con un uso magistrale della suspense e un
attento equilibrio tra violenza e ironia.
81
through constant self-awareness of the
elements that make up (and made up) a
classical horror. Reflexivity is here at a
maximum level, since the the young people who
are the victim of the monster can find a way to
save themselves only if they give correct
answers to questions about horror movies ...
almost a cinephile's game. Again, the ironical
touch adds another dimension of meaning and
entertainment to the whole mixture.
Thelma & Louise is the story of two housewives
(Susan Sarandon and Geena Davis) who decide
to take a break from their daily routine and
embark on a trip during which they will
encounter both the violence of a man-centred
society and the excitement of "breaking free"
from the rules and conventions of the same
society - even if this will turn their trip into a
tragedy. At the time of its release, the movie
caused sensation and protests, with reactionary
movements calling it an example of "criminal
feminism". As a matter of fact, this film, a road
movie entirely in the hands of two women, was
probably the first example of a female "buddy
movie", a genre which pairs together two
characters who are quite different (in terms of
age, class, ethnic background and gender) but
share a common job or purpose in life.
Hollywood had provided many examples of
such "buddies", starting, for example, with the
early appearances of Laurel and Hardy or
Abbot and Costello, and going on with
musical/comic pairings like Bing Crosby and
Bob Hope or Dean Martin and Jerry Lewis;
more recently, Paul Newman and Robert
Redford had starred in a western (Butch
Cassidy and the Sundance Kid, by George Roy
Hill, USA 1969) and Nick Nolte and Eddie
Murphy in a police action/drama (48 hours, by
Walter Hill, USA 1982). Thelma & Louise,
however, progressively mixes comedy and
drama, reaching an almost epic dimension at
the end.
Another blockbuster which spawned several
sequels, Die hard once again brillliantly mixes
the adrenaline-packed exploits of action movies
with the typically comic touches of the '80s,
providing a new dimension to both genres.