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
cinemafocus.eu
come "melodrammi". Guarda gli esempi nei video
qui sotto e leggi le brevi note sulle loro trame.
* Applicheresti la stessa etichetta di
"melodramma" a tutti questi film? In che modo
sono simili (cioè quali caratteristiche di questo
genere - temi/argomenti, stile e convenzioni -
pensi che condividano?) In che modo sono diversi
(cioè quali caratteristiche particolari differenziano
i melodrammi americani da quelli italiani?).
Poi leggi i miei commenti qui sotto.
(and are still largely) identified as
"melodramas". Watch the examples in the
videos below and read the short notes about
their plots.
* Would you apply the same label of
"melodrama" to all these films? How are they
similar (i.e. what features of this genre -
themes/topics, style and conventions - do you
think they share?) How are they different (i.e.
what particular features differentiate American
from Italian melodramas?).
Then read my comments below.
In Secondo amore, una vedova ricca e ancora
giovane (Jane Wyman) si innamora del figlio del
suo giardiniere (Rock Hudson), un uomo molto
più giovane. La sua relazione incontra la feroce
ostilità sia della famiglia che degli amici, per cui
decide di porvi fine. Tuttavia, quando il suo
amante ha un incidente e ha bisogno di aiuto,
corre da lui e alla fine si rende conto che le
convenzioni sociali non le impediranno di
sposarlo.
In All that heaven allows, a rich, still young
widow (Jane Wyman) falls in love with her
gardener's son (Rock Hudson), a much
younger man. Her relationship meets the fierce
hostility of both family and friends, and she
decides to put an end to it. However, when her
lover has an accident and needs help, she runs
to him and eventually realizes that social
conventions will not stop her from marrying
him.
Italiano
English
Secondo amore/All that heaven allows (di/by Douglas Sirk, USA 1955)
In I figli di nessuno (si veda il video in basso a
sinistra), Guido (Amedeo Nazzari), proprietario
di una cava di marmo, si innamora di Luisa
(Yvonne Sanson), figlia di un suo dipendente, e
insieme hanno un bambino. Tuttavia la madre di
lui rapisce il bimbo e Luisa si fa suora. Guido,
credendo che Luisa sia morta, si sposa. I due
innamorati si ritroveranno sul letto di morte del
loro bambino, dopo che questi ha avuto un
incidente nella cava.
In Nobody's children (watch the video below
left), Guido (Amedeo Nazzari), the owner of
a marble quarry, falls in love with Luisa
(Yvonne Sanson), the daughter of one of his
employees, and they have a baby together.
However his mother kidnaps the baby and
Luisa becomes a nun. Guido, believing that
Luisa is dead, gets married. The two lovers
will meet again at their child's deathbed, after
he has had an accident in the quarry.
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