1. Genre  Action-Adventure  Comedy  Contemporary Crime  Costume Drama (no coverage)  Exploitation Cinema (no coverage)  Film Noir  Melodrama  The Musical  Science Fiction and Horror  Teenpics  The Western Tim Dirks Filmsite.org: Genres Film Studies

2. Dictionary genre | ˈ zh änrə| Noun a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter. ORIGIN early 19th cent.: French, literally ‘a kind’ (see gender ). Thesaurus Noun historical fiction is my favorite genre of literature category, class, classification, group, set, list; type, sort, kind, breed, variety, style, model, school, stamp, cast, ilk. Genre Film Studies

3. Megagenre: A large, all encompassing, umbrella genre, having no distinct subject matter or style or iconography or formulae. The megagenres of the movies might be thought of as non-fiction (documentary) film, fiction film, animated film, and experimental / underground film. Genre Film Studies

4. Action Adventure Comedy Crime/Gangster Drama Epics/Historical Musicals Science Fiction War Westerns Major Movie Genres (according to Tim Dirks [filmsite.org]) Genre Film Studies

5. Biopics Chick Flicks Detective/Mystery Disaster Fantasy Film Noir Guy Films Melodrama Road Films Romance Sports Supernatural Thrillers/Suspense Major Movie Sub-Genres (according to Tim Dirks [filmsite.org]) Genre Film Studies

6. Aviation Buddy Caper Chase Espionage Fallen Woman Jungle Legal Martial Arts Medical Parody Police Minor Movie Sub-Genres (according to Tim Dirks [filmsite.org]) Political Prison Religious Slasher Swashbucklers Genre Film Studies

7. Movie Genres/Subgenres  Action Adventure—Jungle | Martial Arts | Mountain | Spy | Swashbuckler  Art—Any genre or subgenre may be an "art" film  Comedy—Buddy | Black Comedy | Mocumentary | Parody | Road | Romantic Comedy | Satire | Screwball Comedy | Slacker  Crime—Blaxploitation | Caper | Film Noir | Gangster | Hardboiled Detective | Police Procedural | Prison | Private-Eye | Trial Films  Cult—Any genre or subgenre may be a "cult" film  Drama—Domestic | Education | Historical | Political  Epic--Biblical | Greek Myth | Historicak  Gender—Gay and Lesbian | Rape-Revenge | Women’s Pictures  Horror—Demonic Possession | Haunted House | Monster | Serial Killer | Slasher | Vampire  Life Story—Autobiography | Biopic | Diary Film  Melodrama—Disease/Disability | Ethnic Family Saga | Weepie | Yuppie Redemption  Music—Concert Films | Musicals | Rocumentary  Science Fiction and Fantasy—Cyber Punk | Disaster | Dystopia | Fantasy | Post-Apocalypse | Prehistorical | Space Opera | Supermen and Other Mutants | Time Travel  Sports—Auto Racing | Baseball | Basketball | Boxing | Football | Horse Racing | Track | Wrestling  Teen Films—Pre-Teen Comedy | Teen Sex Comedy | Coming of Age  War—Aerial Combat | Civil War | Korean | Prisoner of War | Submarine | Viet Nam | World War I | World War II  Western—Cattle Drive | Indian War | Gunfighter Genre Film Studies

8. “The classification of texts is not just the province of academic specialists, it is a fundamental aspect of the way texts of all kinds are understood.” (Neale in Creeber p. 1) Genre Film Studies

9. “In many cases, of course, it is likely that audiences will have some idea in advance of the kind of film (or play or programme) they are going to watch. They will have made an active choice either to watch or, if their preferences dictate, to avoid it. They will have done so on the basis of information supplied by advertising, by reviews, and previews, perhaps by a title (such as Singin’ in the Rain) or by the presence of particular performers. They are therefore likely to bring with them a set of expectations, and to anticipate that these expectations will be met in one way or another.” (Neale in Creeber 1) Genre Film Studies

10. Relevant Terms for Genre from Hans Robert Jauss, German Reception Theorist/Reader-Response Critic “generic audience” “generic frustration” “generic tension” Genre Film Studies

11. “In English-speaking countries, the term ‘genre’ came to be applied to literary works during the nineteenth century, at a point in history at which art of all kinds began to be industrialized, mass-produced for a popular public (Cohen, 1986, 120).”--Neale in Creeber 2) Genre Film Studies

12. The “repertoire of elements” that identify genres (Lacey [2000], cited by Neale in Creeber 3): Character Types Setting Iconography Narrative Style Genre Film Studies

13. Institutional Aspects of Genre: Scheduling Modes of Production Demands of Advertisers Demands of Audiences Developments in Adjacent Entertainment Institutions/Media (Neale in Creeber 4) Genre Film Studies

14. Complaints Against Genre Criticism: 1)Circularity--critics dismiss texts for failing to meet criteria they have themselves established. 2)Prescriptiveness--critics dismiss genre shows/series for departing from Platonic “ideal” versions. (Turner in Creeber 6) Genre Film Studies

15. Hybridity: The now common tendency to “splice” together different genres. Genre Film Studies

16. “Genres came to be identified with impersonal, formulaic, commercial forms and distinguished from individualized art. Ironically, this represented a reversal of previous characterizations, which saw ‘high art’ as rule- bound and ordered (as evident in genres lke the sonnet and tragedy) and ‘low art’ as unconstrained by the rules of decorum (Cohen, 1986, 120).”--Neale in Creeber 2 Genre Film Studies

17. “Some important new critical theories have challenged the primacy of genre as a basic critical concept. The next important task of genre theory is to examine these objections in order to discover to what extent they require revision of the theory of popular genres and to what extent they may require us to go ‘beyond genre’” (John Cawelti, “The Question of Popular Genres Revisited” [1997]). Genre Film Studies

18. Genre films essentially ask the audience, "Do you still want to believe this?" Popularity is the audience answering, "Yes." Change in genre occurs when the audience says, "That's too infantile a form of what we believe. Show us something more complicated." And genres turn to self-parody to say, "Well, at least if we make fun of it for being infantile, it will show how far we've come." Films and television have in this way speeded up cultural history. Leo Braudy, American film scholar Genre Film Studies

19. Thomas Schatz's life history of a genre (from Hollywood Genres) : an experimental stage, during which its conventions are isolated and established, a classic stage, in which the conventions reach their “equilibrium” and are mutually understood by artist and audience, an age of refinement, during which certain formal and stylistic details embellish the form, and finally a baroque (or “mannerist,” or “self-reflexive”) stage, when the form and its establishments are accented to the point where they “themselves become the “substance” or “content” of the work. (37-38) Thomas Schatz, American film scholar Genre Film Studies