Genres And Genre Films After Reviewing The Discussion
Genres And Genre Filmafter Reviewing The Discussion Of Genre In Chapte
After reviewing the discussion of genre in Chapter 4 of Film: From Watching to Seeing, this paper explores the concept of genre theory, its conventions, and attributes by analyzing a selected genre through a feature-length film. The goal is to demonstrate an understanding of how genre operates within film, both in terms of conventions that define the genre and how individual films can expand or challenge these boundaries. The discussion begins with a definition of genre theory, elaborates on typical genre conventions, and then applies these concepts to a specific film, illustrating how it aligns with and innovates within its genre.
Understanding Genre Theory and Conventions
Genre theory in film provides a framework for classifying movies based on shared conventions, stylistic elements, and thematic traits. As discussed in Chapter 4, genres serve not only as categorization tools but also as recognizable codes that shape audience expectations and influence filmmaking practices (Kawin, 2018). Genres are dynamic; they evolve over time as filmmakers reinterpret and subvert traditional conventions, expanding the boundaries of established categories (Neale, 2000). A film’s story and plot are crucial in genre classification, with story constituting the narrative content and plot comprising the specific sequence of events that construct that story, often reflecting genre-specific patterns (Bordwell & Thompson, 2010).
Common conventions include recurring visual styles, character archetypes, narrative structures, themes, and setting choices. For example, in the action genre, conventions might involve high-octane chases, fight scenes, and hero archetypes, whereas horror films often contain suspenseful atmospheres, supernatural or terrifying elements, and specific jump-scare cues (Altman, 1999). Identifying these conventions helps classify and analyze films, revealing how they adhere to or innovate within their genres.
Selected Genre and Film
For this analysis, I select the horror genre. Horror is characterized by its intent to evoke fear, suspense, and dread in audiences (Meir, 2010). Several films in Chapter 4 exemplify horror, such as The Exorcist and Halloween, both of which set standards for the genre’s conventions. However, I will focus on the 2017 film Get Out, directed by Jordan Peele, which uniquely combines horror with social commentary while expanding the genre’s boundaries.
Synopsis of Get Out
Get Out follows Chris, a young Black man, who visits his white girlfriend’s family estate for a weekend. As the story unfolds, Chris uncovers disturbing truths about the family’s sinister plans involving hypnotism and transferring consciousness, which culminates in a shocking revolt. The film blends horror tropes with themes of racial identity, systemic racism, and psychological manipulation, making it a provocative entry in the horror genre.
Analysis of Genre Conventions in Get Out
One key horror convention exemplified in Get Out is the use of suspense and the creation of a claustrophobic atmosphere. A specific scene illustrating this is when Chris is hypnotized by the family’s groundskeeper, hypnotic suggestions leading him into a trance. The lighting is dim, with tight camera angles on Chris’s face, emphasizing his vulnerability and heightening tension—hallmarks of horror's suspenseful style (Neale, 2000). This scene adheres to the genre’s convention of creating psychological unease through visual and auditory cues.
Another convention is the use of anomaly or supernatural-like elements to evoke fear. In Get Out, hypnotism acts as a supernatural device, controlling the victims’ minds—similar to possession in supernatural horror. The film’s depiction of hypnotism as a near-miraculous power aligns with horror conventions where the supernatural often underscores fear of loss of control (Altman, 1999). The scene where Chris is under hypnosis and the subsequent control exhibited over him embody this convention effectively.
A third convention that Get Out expands upon is the horror genre’s traditional focus on individual heroism and external threats. Instead, the film introduces systemic and societal threats, framing the horror within the context of racial exploitation. The “monster” or threat is not solely a supernatural creature but a social structure that perpetuates racism, cleverly expanding the genre’s scope (Kawin, 2018). This innovation broadens horror’s boundaries from individual adversaries to systemic issues, making the genre more relevant to contemporary social concerns.
Thesis Statement and Conclusion
In conclusion, Get Out exemplifies foundational horror conventions—such as suspense and supernatural-like control—while simultaneously expanding the genre by incorporating social critique and systemic horror. This film demonstrates how genre boundaries can be both adhered to and challenged, creating a more complex and reflective horror narrative. It confirms that genre classifications are not fixed but adaptable, allowing filmmakers to explore new thematic territories within familiar structural frameworks, ultimately enriching the evolution of genre cinema.
References
- Altman, R. (1999). Film/Genre. Indiana University Press.
- Bordwell, D., & Thompson, K. (2010). Film Art: An Introduction (9th ed.). McGraw-Hill Education.
- Kawin, J. (2018). How Movies Work. University of California Press.
- Meir, H. (2010). The Genre of Horror: An Introduction. New York: Routledge.
- Neale, S. (2000). Genre and Hollywood. Routledge.