Chandler_genre_theoryDFAnn-1

An Introduction to Genre Theory

1. The Problem of Definition

Key Issues: Genre theory is fraught with definitions and classifications that pose significant challenges for scholars and practitioners alike:

Existence: Are genres real entities that reflect shared characteristics among texts, or are they merely constructs fabricated by analysts and critics? This debate affects how genres are taught and understood in literary and media studies.
Taxonomy: Is there a finite number of genres, or can they be seen as virtually infinite, evolving with cultural production? This question reflects ongoing shifts in language, form, and audience expectations.
Timelessness: Are genres fixed, timeless forms that maintain their identity over time, or are they ephemeral, subject to change with social and artistic trends?
Culture: Are genres tied to specific cultures, reflecting localized aesthetics and values, or can they be classified as transcultural phenomena that cross national and linguistic boundaries?
Origins: The term ‘genre’ originates from the French and Latin words for ‘kind’ or ‘class,’ denoting its importance across disciplines such as rhetoric, literary theory, film studies, and media theory.
Historical Context: For centuries, the study of genres has been primarily focused on categorizing literature based on type, which mirrors the botanical classification of plants (e.g., species, varieties).
Literary Classification: Classical literature divides into three broad categories: poetry, prose, and drama, with further subdivisions within these categories, such as tragedy and comedy in drama. Notably, playwright William Shakespeare humorously highlighted the complexities and sometimes absurdity of such classifications in his works.
Contemporary Media: Modern media genres (such as film and television) are often categorized by specific forms, such as ‘thrillers’ or ‘sitcoms,’ contrasting with historical classifications that often centered on universal themes like tragedy and heroism.
Multiplicity: The number of genres present in any given society may depend on its complexity and diversity, as theorized by Miller (1984).

2. Classifying Genres

Taxonomy: There is no universal consensus regarding genre classification; different theorists may offer conflicting definitions based on their analytical frameworks and priorities.
Abstract Nature: Genres are often viewed as abstract conceptions, lacking stable characteristics, rather than empirical entities that can be easily categorized (Feuer, 1992).
Difficulties in Definition: Themes may not provide a suitable basis for defining genres because similar themes can appear across multiple genres, complicating attempts at strict classification (Bordwell, 1989).
Categories in Film Criticism: Film theorists propose various bases for classification, such as:
- By period or country (e.g., American films of the 1930s)
- By creators (directors, stars)
- By technical processes (e.g., Cinemascope)
- By audience or purpose (e.g., teen films)

3. Definitional Challenges in Genre

Key Problems: Stam (2000) identifies several issues surrounding genre labeling that complicate understanding:

Extension: The breadth of genre labels may be too broad or narrow, limiting clarity.
Normativism: Preconceived criteria may skew perceptions of what constitutes genre membership, introducing bias.
Monolithic Definitions: Genres are not always distinct and can overlap, creating categorization difficulties.
Biologism: Essentialist views that assume genres evolve through fixed life cycles may oversimplify their dynamic nature.
Content and Form: Traditional definitions often rely on a film's shared thematic and structural properties; however, films may align differently in terms of content and style, challenging conventional categorizations.
Empiricist Dilemma: The requirement to identify a genre necessitates prior knowledge of the films categorized under it, leading to a paradox (Tudor, 1985).

4. Nature of Genres

Fluidity: Genres are not static systems but are characterized by overlaps and hybrids, allowing for changes as new texts are produced (Neale, 1980).
Genre Evolution: Each new work can catalyze changes in a genre, prompting differentiation and possible emergence of new sub-genres, according to theorists like Todorov.
Cultural and Economic Factors: Genre evolution is heavily influenced by socio-economic contexts and audience preferences, shaping genre conventions over time (Fiske, 1987).

5. Genre and Audience

Audience Construction: Genres are instrumental in shaping audience expectations and attitudes regarding what narratives and stylistic elements they will encounter (Fiske, 1987; Gledhill, 1985).
Negotiated Reading: Audiences actively interpret texts, often navigating and resisting the preferred meanings that genres construct, reflecting the complexity of viewer engagement (Buckingham, 1993).
Cultural and Social Dynamics: Genres reflect and sometimes reproduce ideological narratives, acting as a medium for negotiating societal norms and expectations.

6. Advantages of Genre Analysis

Contextual Understanding: Genre analysis situates texts within broader cultural contexts, revealing significant trends across various media.
Historical Perspective: It provides valuable insights into how genres evolve over time, highlighting both continuity and change in genre conventions and their relevance to cultural production.