The Shifting Definitions of Genre : Essays on Labeling Films, Television Shows and Media

Histories of science fiction often dicuss Fritz Lang's Metropolis as a classic work within the genre--yet the term "science fiction" had not been invented at the time of the film's release. If the genre did not have a name, did it exist? Does retroactive assignment to a genre change our understanding of a film? Do films shift in meaning and status as the name of a genre changes meaning over time? These provocative questions are at the heart of this book, whose thirteen essays examine the varying constructions of genre within film, television, and other entertainment media. Collectively, the authors argue that generic labels are largely irrelevant or even detrimental to the works to which they are applied. Part One examines the meanings of genre and reveals how the media is involved in the production and dissemination of generic definitions. Part Two considers specific films (or groups of films) and their relationships within various categorizations. Part Three focuses on the closely tied concepts of history and memory as they relate to the perceptions of genre. Dedication 6 Acknowledgments 7 Contents 8 Introduction: Generic Canons • Lincoln Geraghty and Mark Jancovich 10 Part One: Institutions of Genre 22 1. Pale Shadows: Narrative Hierarchies in the Historiography of 1940s Horror • Mark Jancovich 24 2. The Independent Film Channel: Creating a Genre and Brand Across Small Screens, Big Screens, and the Virtual World • Liza Treviño 42 3. “Off-Beat” as a Generic Designation in Variety Reviews • Jason Scott 61 Part Two: Textual Negotiations 78 4. Film Noir as Male Melodrama: The Politics of Film Genre Labeling • Janet Staiger 80 5. Beyond the Valley of the Classical Hollywood Cinema: Rethinking the “Loathsome Film” of 1970 • Harry M. Benshoff 101 6. Rethinking the History of European Horror: Television, La porta sul buio and Historias para no dormir • Andrew Willis 119 7. Can Rock Movies Be Musicals? The Case of This Is Spinal Tap • Andrew Caine 133 8. “A Most Historic Period of Change”: The Western, the Epic and Dances with Wolves • James Russell 151 9. “A Term Rather Too General to Be Helpful”: Struggling with Genre in Reality TV • Su Holmes 168 Part Three: Heritage, History and Memory 188 10. Repackaging Generation One: Genre, Fandom, and The Transformers as Adult/Children’s Television • Lincoln Geraghty 190 11. Subcultural Tastes, Genre Boundaries and Fan Canons • Brigid Cherry 210 12. Monster Legacies: Memory, Technology and Horror History • Peter Hutchings 225 13. “Just Men in Tights”: Rewriting Silver Age Comics in an Era of Multiplicity • Henry Jenkins 238 Notes on Contributors 254 Index 258

histories Of Science Fiction Often Dicuss Fritz Lang's Metropolis As A Classic Text Within The Genre-yet The Term Science Fiction Had Not Been Invented At The Time Of The Film's Release. If The Genre Did Not Have A Name, Did It Exist? Does Retroactive Assignment To A Genre Change Our Understanding Of A Film? Do Films Shift In Meaning And Status As The Name Of A Genre Changes Meaning Over Time?
These Provocative Questions Are At The Heart Of This Book, Whose Thirteen Essays Examine The Varying Constructions Of Genre Within Film, Television, And Other Entertainment Media. Collectively, The Authors Argue That Generic Labels Are Largely Irrelevant Or Even Detrimental To The Works To Which They Are Applied.
Part One Examines The Meanings Of Genre Reveals How The Media Are Involved In The Production And Dissemination Of Generic Definitions. Part Two Considers Specific Films (or Groups Of Films) And Their Relationships Within Various Categorizations. Part Three Focuses On The Closely Tied Concepts Of History And Memory As They Relate To The Perceptions Of Genre.

"Histories of science fiction often discuss Fritz Lang's Metropolis as a classic text within the genre--yet the term "science fiction" had not been invented at the time of the film's release. Does retroactive assignment to a genre change our understanding of a film? These provocative questions are at the heart of this book"--Provided by publisher.