Genre Theory

Daniel Chandler: Conventional definitions of "Genre" tend to be based on the notion that they constitute particular conventions of content (Such as themes or settings) and/or form (Including structure and style) which are shared by the texts which are regarded as belonging to them

It is easy to underplay the differences within a genre. 

• Steve Neale declares that "Genres are instances of repetition and difference"
• He adds that "Difference is absolutely essential to the economy of genre" = Mere repetition would not attract an audience.

Texts often exhibit the conventions of more than one genre. 

• John Hartley notes that "The same text can belong to different genres in different countries or times" (O'Sullivan et al. 1994)

Traditionally, genres (Particularly literary genres) tended to be regarded as fixed forms, but contemporary theory emphasizes that both their forms and functions are dynamic

• David Buckingham argues that "Genre is not... simply "given" by the culture: rather, it is in a constant process of negotiation and change" (Buckingham 1993)

Daniel Chandler 

"Every genre positions those who participate in a text of that kind: as interviewer or interviewee, as listener or storyteller, as a reader or a writer, as a person interested in political matters, as someone to be instructed or as someone who instructs; each of these positionings implies different possibilities for response and for action. Each written text provides a 'reading position' for readers, a position constructed by the writer for the 'ideal reader' of the text." (Kress 1988)

• Thus, embedded within texts are assumptions about the "Ideal reader", including their attitudes towards the subject matter and often their class, age, gender and ethnicity

"Users and Gratification" Theory

Research has identified many potential pleasures of genre, including the following:

• One pleasure may simply be the recognition of the features of a particular genre because of our familiarity with it. Recognition of what is likely to be important (And what is not), derived from our knowledge of the genre, is necessary in order to follow a plot
• Genres may offer various emotional pleasures such as empathy and escapism - A feature which some theoretical commentaries seem to lose sight of. Aristotle acknowledged the special emotional responses which were linked to different genres
• Deborah Knight notes that "Satisfaction is guaranteed with genre; the deferral of the inevitable provides the additional pleasure of prolonged anticipation" (Knight 1994)

"Repetition and Difference" Theory

• Steve Neale argues that pleasure is derived from "Repetition and Difference"; there would be no pleasure without difference. 
• We may derive pleasure from observing how the conventions of the genre are manipulated (Abercrombie 1996). 
• We may also enjoy the stretching of a genre in new directions and the consequent shifting of our expectations.
• Other pleasures can be derived from sharing our experience of a genre with others within an "Interpretive community" which can be characterized by its familiarity with certain genres (Daniel Chandler). 

Theorists

Tom Ryall - Genre provides a framework of structuring rules, in the shape of patterns/forms/styles/structures, which act as a form of ‘Supervision’ over the work of production of film-makers and the work of reading by the audience.

John Fiske - Defines genres as "Attempts to structure some order into the wide range of texts and meanings that circulate in our culture for the convenience of both producers and audiences."

Steve Neale - Argues that Hollywood’s generic regime performs two inter-related functions:

1. To guarantee meanings and pleasures for audiences
2. To offset the considerable economic risks of industrial film production by  providing cognitive collateral against innovation and difference

Neale - Much of the pleasure of popular cinema lies in the process of “Difference in Repetition”, E.g. Recognition of familiar elements and in the way those elements might be orchestrated in an unfamiliar fashion or in the way that unfamiliar elements might be introduced

Rick Altman - Argues that genres are usually defined in terms of media language (SEMANTIC elements) and codes (In the Western, for example: Guns, horses, landscape, characters or even stars, like John Wayne or Clint Eastwood) or certain ideologies and narratives (SYNTACTIC elements)


SEMANTIC
This is concerned with the conventions of the genre that communicate to the audience such as character, locations, props, music, shooting style and other signifiers

SYNTACTIC
This concerned with the relation between these elements and the structure of narratives in genres, E.g. In a Romantic-Comedy, we expect the potential lovers to begin by not liking one another. There are then a series of events, meetings/problems, (Enigmas), which culminate in their successful relationship