Genre Theory

Genre, by definition, is a way of categorising media texts so it allows us to study them based on common elements. The word 'genre' may come from the French/Latin word for 'class', as argued by Daniel Chandler (2001).

Every genre is divided into sub-genres, which break sup a genre into smaller, more specific categories with specific common elements. Barry Keith Grant (1995) suggested that this allows the audience to identify them by these specific elements and they become recognisable characteristics.

Such characteristics are generally variations of the following elements:

• Mise-en-scene (iconography, props, set design, lighting, location, costume, visual effects)
• Narrative (plot, historical setting, set pieces)
• Generic types (typical characters, stereotypes)

David Buckingham (1993)

Genre is not fixed, rather it adapts and changes over time to suit society's needs. "Genre is not simply given by the culture: rather, it is in a constant process of negotiation and change".

Steve Neale (1995)

In a similar way to Buckingham's theory on genre, Neale stated that "genres are not 'systems', they are processes of systematisation", meaning that genre is dynamic and tends to evolve over time in order to suit the views and needs of a wider audience.

Rick Altman (1999)

Argues that genre offers the audience 'a set of pleasures': emotional, visceral and intellectual

Intellectual pleasures are often derived from certain genres of film, for example, mystery or 'whodunit' films give the audience a sense of pleasure from figuring out the plot and/or solving a puzzle.

The word 'Visceral' refers to internal organs, and so visceral pleasures are 'gut' responses to how a media text will elicit a physical reaction from the audience such as revulsion, kinetic speed or a 'roller coaster ride'.
Emotional pleasures are quite self-explanatory in that the media text will generate an emotional response from the audience.

Jason Mittell (2001)

Industries use genre to sell products to an audience through common codes and conventions that often make cultural references. It surpasses the boundaries of media texts to operate within industry, audience and cultural practices.