Date: 12/10/15
In today’s session we looked over genre. Our lecturer Daniel Thomas went over all the different types of genre, whilst pointing out that genre doesn’t necessarily just apply to film, it can apply to music too etc.
Within this session we also looked at hybrid genres. This is where two or more genres are mixed together. For example the TV show “Desperate Housewives (2004-12)” fitted into having a hybrid genre considering it was a comedy-drama.
Article on hybridity:
Hybridity regarding genre(s)
We also looked at two film trailers (notes below). The picture placed after this was what Daniel Thomas introduced us too first.
There was also a powerpoint on screen which he went through. The power point included some mini tasks and information on genres (which we had read about before the lectures from our ‘Media Students Book, Branston, Textbook’. Whilst the session was in a play there was a task to formulate Disney Pixar’s ‘Inside Out’ (regarding its plot) to make sense to a 10-year-old. This can be viewed on my previous post titled ‘105MC Genre Worksheet’.
After the session was over my group then stayed behind to do the worksheet set. This worksheet can also be found on my previous post regarding ‘105MC Genre’. We then all went to the 5pm lecture where we were talked too about documentaries and Genre.
Reflection of Nicholls’ six modes of documentary:
Source: http://www.godnose.co.uk/downloads/alevel/documentary/Doc%20Modes%20nichols.pdf
Modes of Documentary – Bill Nichols Bill Nichols in Introduction to Documentary notes six types of modes of documentary Expository , Poetic, Observational , Participatory, Performative , Reflexive Nichols 2001 looked at history of documentary and identified 6 distinct modes From Expository to Performative (see below). In a linear progression. With distinct styles.
Nichol’s modes is not the only theory of documentary and is not definitive, see Bruzzi below and also look at Grierson’s theories as well as Bazin’s views on realism. Criticism of Nichols Stella Bruzzi 2000 criticised Nichols for suggesting that Doc. makers have aimed for the ‘perfect representation of the real’ and would fail in this impossible aim, thus undermining the documentary form. Quotes She said that ‘all types of documentary have existed at different times’ And have often, mixed styles. ‘What is the point of worrying about authenticity’ She sees documentary as contributing to meaning about real world events.
THE EXPOSITORY MODE (voice of god):
This mode is what we most identify with the documentary – it “emphasizes verbal commentary and argumentative logic” often using a narrator. Assumes a logical argument and a “right” and “proper” answer using direct address + offering preferred meaning. Most associated with Television News programming. Key Examples of Expository tradition in documentary include: Work of John Grierson Many nature Documentaries.
THE POETIC MODE – subjective, artistic expression The poetic mode of documentary moves away from the “objective” reality of a given situation or people to grasp at an inner “truth” that can only be grasped by poetical manipulation Codes emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization favours mood, tone and texture.
Key Examples of Poetic tradition in documentary include: Robert Flaherty’s Man of Aran (1934) – dramatic framing of material presents mythic image of man in harmony with nature Leni Riefenstahl’s Olympia (1938) presents a glorified view of (Aryan) athletes during the 1936 Olympic Games – celebrating power and beauty of the (Aryan) human form + Triumph of the Will (1935) + Baraka (1981) also Powaqqatsi (2003).
THE OBSERVATIONAL MODE – window on the world Observational (objective) mode is best exemplified by the Cinema Verite or Direct Cinema movement which emerged in the late 1950s/early 1960s – it attempted to capture (as accurately as possibly) objective reality with filmmaker as neutral observer. See Fly on the Wall. Codes/conventions The filmmaker remains hidden behind the camera, ignored by the surrounding environment he/she neither changes nor influences the actions/events being captured. Since nothing is staged for the camera, the camera rushes about to keep up with the action resulting in rough, shaky, often amateur-looking footage.
Key Examples of the Cinema Verite/Direct cinema Movement: . Frederick Wiseman, Hospital (1970) – fly on the wall, American hospital Richard Pennebacker’s Don’t Look Back (1967) – records Bob Dylan’s 1965 tour of Britain Also Soho Stories (1996), Geri (1999).
THE PARTICIPATORY MODE:
Unlike the observational mode, the participatory mode welcomes direct engagement between filmmaker and subject(s) – the filmmaker becomes part of the events being recorded The filmmakers impact on the events being recorded is acknowledged, indeed, it is often celebrated.
Key Examples of the Participatory Mode include: The films of Michael Moore – here the filmmaker directly engages with the material being address, he becomes a character in the documentary – an essential part of the subject Nick Broomfield’s work, such as Kurt and Courtney (1998) Living with Michael Jackson (2004) Bashir
THE REFLEXIVE MODE – awareness of the process The Reflexive Mode acknowledges the constructed nature of documentary and flaunts it – conveying to people that this is not necessarily “truth” but a reconstruction of it – “a” truth, not “the” truth Codes/conventions The artifice of the documentary is exposed – the audience are made aware of the editing, sound recording, etc.
Key Examples of the Reflexive Mode include: Dziga Vertov’s Man with a Movie Camera (1929) – documents the mechanization of Soviet life in late twenties – the mechanical camera and cameraman become part of the subject The art of making pictures is part of this “new” mechanical work and it to is part of the film – we literally at points in the film see the film being constructed.
THE PERFORMATIVE MODE – filmmaker as participant This mode of documentary emphasizes the subjective nature of the documentarian as well as acknowledging the subjective reading of the audience – notions of objectivity are replaced by “evocation and affect” Codes /conventions This mode emphasizes the emotional and social impact on the audience Key Examples of the Performative Mode include: Supersize me Morgan Spurlock 2004 Arguably, films by Michael Moore
In reflecting briefly upon this model I can see how a documentary can fit into each category. Thus for a documentary one mode cannot be applied to all of them, as there are various elements included in the modes which are evident in the documentary themselves.
Key definitions learnt from this week:
Genre: Meaning type or kind.
Code and conventions: elements to significant features included in the Genre. For example one code may be technical codes (i.e sound and lighting). Whilst conventions may include: props, costumes etc. specific to the particular genre being displayed.
iDoc (example): http://i-docs.org/about-idocs/
“A term coined by Sandra Gaudenzi who was one of the co-founders of the i-Docs project. The website is a space for news, analysis and dialogue between practitioners, researchers, students and enthusiasts – a place where we hope you can learn, reflect and expand your understanding of the field. The website is run on a community model. If you would like to contribute a post on the aesthetic, ethical, political or business aspects of i-docs then we would like to hear from you…..”
Interactivity: This is where an individual can participate in the media text, making them an active user.
Sub-genre: This is a sub category with a genre. For example the genre of a film may be comedy but may include some romantic elements within it. Thus the sub genre of the comedy film would be romance.
Extended research (Outside reading, done by myself):
Note: All links have been found from various websites, which have been linked below (in green).
Frankfurt School: Information on F.S
Marxism: Information on Marxism
Verisimilitude: Understanding ‘Verisimilitude’
Postmodernity: Postmodernity (Florida University)
Postmodernism: Postmodernism and Film ‘What is..’
Genre hybridity:
Example: Desperate Housewives Season 8 episode 1
In this episode their is the usual combination of comedy and drama. Each desperate housewives episodes also includes secrets, gossip, relationships etc.
See what things you can pick up on in this episode of series 8:
Desperate Housewives Series 8 ep. 1
The reason I feel Genre hybridity works here is because this programme includes various elements within the two genres it fits into. Considering that it merges comedy with drama, whilst also including sex, lies, scandal, gossip as themes within the genre(s). For me what stands out is the characters. This is because they adapt to the comedy and the drama taking place. Thus the audience see them facing various situations in various ways.
Source (below information) Quizlet: D.H and Genre (flashcards)
- Information on hybridization plus genre too.
What Genre is Desperate Housewives…
– Desperate Housewives is an American television comedy-drama (or “Dramedy”) series. This is a hybrid genre that combines elements of comedy and drama, having both humorous and serious content.
How is Desperate Housewives conventional of the Drama genre…
– It features a continuous narrative.
– There is a small group of key characters (the housewives) in which the narrative is focused.
– Episodes often begin with a “hook” in which one or more of the narratives from a previous episode are continued to keep the viewers interested (“previously on Desperate Housewives…”)
– Each episode usually has a “cliff hanger” ending. (In terms of the pilot episode, this is the blackmailing note the housewives find)
– Involves real life situations and realistic characters, settings and stories.
– Involves a lot of conflict (heart of the drama)
– Characters are designed to create intense social interaction (uses & grats)
– Each character has a “journey”
Why is Desperate Housewives conventional of the Comedy genre…
– Situations are exaggerated for comical effect
– In serious situations there is often comic relief to ease the tension
– There is conflict between characters
– It contains highly stereotypical characters
Situations are exaggerated for comical effect…
– When Susan goes to Edie’s house to spy on her and ends up accidentally setting fire to the curtains, which results in her house being burnt down. (Also creates dramatic irony throughout the series e.g. when Mrs. Huber finds the new measuring cup.)
– When Carlos notices the lawn has been mowed and tells Gabrielle that they are getting a “real gardener”, she rushes home from the party and mows the lawn herself.
In serious situations there is often comic relief in order to ease the tension…
– Mrs Martha Huber’s reaction to the death of Mary Alice Young, who is shocked and sad at first, but moments later is seen as happy as she doesn’t have to return the blender she borrowed from her (this is signified by her peeling off the “Property of Mary Alice Young” sticker.)
– When Bree goes to the bathroom to cry after receiving negative comments from her husband, she emerges moments later smiling in order to be seen as “perfect.”
Conflict between characters…
– Conflict between Susan and Edie competing for the plumber. Susan always thinks of ways to interact with him, and then Edie is usually one step ahead of her. (E.g. When they are both invited to dinner, Susan goes round early to help prepare it and find Edie is already there.)
– Conflict between Bree and Rex is humorous, as they go to a marriage counsellor Dr.Goldfine to try and fix their marriage. Rex makes clear complaints about his wife getting his issues out in the open, while Bree just makes small talk the whole time and ends up focussing on a torn button on Dr.Goldfine’s suit.
– Conflict between Lynette and her children. Lynette can’t get her children to behave in the car, so she takes Mrs.Huber’s advice of making them get out and driving away when they misbehave. She tries this method, but with unsuccessful results as a local woman “saw everything” and has the children in her kitchen refusing to let Lynette have her children back because she thinks she’s a bad mother. Lynette then convinces the kids to run and they all get in the car and quickly drive away.
Highly stereotypical characters…
– Bree: Domestic goddess
– Edie: Neighbourhood “slut”
– Gabrielle: Materialistic trophy wife
– Susan: Lonely divorcee
– Lynette: Overwhelmed mother
What else can be said about the genre of Desperate Housewives…
– It also features aspects of the Mystery genre in the narrative of the first series. As Mike Delfino is secretly attempting to locate his ex-girlfriend and Paul Young attempts to dispose of a toy chest containing the remains of a dead body.
Mary Alice who dies at the beginning of the programme, is the programme’s narrator…
– She is seen as an omniscient narrator, as she knows what is happening in the lives of every character.
– The idea of an omniscient narrator wasn’t seen as conventional of a drama narrative before Desperate Housewives, but many recent programme’s have imitated this idea such as Pushing Daises and Gossip Girl.
Namaste Media Minions! 