Frankenstein and Dracula represent two different genres in print but only one in film. The emergence of science fiction from the Gothic exemplifies normal public genre development. The translation of the written Frankenstein and Dracula into film exemplifies genre development as an adaptation both to historical moment and to medium. In both the print and film cases, we can see the same mechanisms by which a genre is not only established in the public sphere but in the mind of a reader or viewer, a dialectic process in which the genre forms and informs reading and viewing and potentially, as a genre, is reformed by reading and viewing. Consideration of cognitive mechanisms involved in verbal and visual cognition shows both the interaction and the typical dominance of the visual, although genre, and hence individual works, can be modified by increasing our focus on the verbal.
Eric S. Rabkin
Shelley Jackson’s Patchwork Girl (1995), one of the earliest hypertext fictions and a classic work of the emerging canon of this genre, remains a notable example of the kind of conceptual negotiations that occur at the meeting point between
Adapting Feature Films into French-Language Comics Serials during the Post-war Years
Other (Filmic) Genres in L’Intrépide In the late 1930s in France, weekly magazines such as Le Journal de Mickey, Jumbo and Hurrah! had a sizeable print run of about three to four hundred thousand copies. The need to offer new stories to young
films complicate formal patterning and thwart audience expectations. They do so by combining classical narrative, stylistic, ideological, and genre properties with some fairly bold (by Hollywood standards) deviations from normative practices
European Travel Writers and the Making of a Genre—Comment
Steven D. Spalding
-writing genre in preference for a kind of free-associative experimentation. Herder’s text is meant to prove his theories about the connection between movement of the body and movement of the mind, and the sojourn is a way for him to liberate the mind of
Charlotte Sun Jensen
This article investigates the film trailer in a cognitive film analytic perspective. More specifically, the focus is on how it circumvents its ontological tension between both giving and holding back its product—the film—at the same time. The hypothesis is that trailers that follow a classic genre convention seek to sell their products by condensing a range of genre traits, which arouses a specific, intense emotional experience. Most particularly, the trailer chooses to activate the main genre of the film and the corresponding range of emotions by reducing and reordering its often complex narrative. On this basis, compared to the film, the trailer may be viewed as an alternative narrative.
. This management of his thesis appears throughout his argument but particularly comes to the fore in his fourth section, which is on genre. He splits the audience to try to understand why Star Wars (George Lucas, 1977) was so successful in terms of box
James E. Cutting and Ayse Candan
This article investigates historical trends of mean shot durations in 9,400 English-language and 1,550 non-English-language movies released between 1912 and 2013. For the sound-era movies of both sets there is little evidence indicating anything other than a linear decline plotted on a logarithmic scale, with the English-language set providing stronger results. In a subsample of 24 English-language movies from 1940 to 2010 the decline in shot duration is uniform across 15 shot classes, a result that supports a broad “evolutionary” account of film change. The article also explores the proportions of these shot classes across years and genres, with the results showing that 25 percent of the decline in shot duration is due to a shift away from shot classes with longer-than-average shot durations towards those with shorter-than-average durations, and 8 percent of the decline is due to the increased use of shot scales in which characters appear larger.
Club is a feature-length film (117 minutes) classified as a “Biography/Drama/History” on the Internet Movie Database ( IMDb 2013a ). It relies on traditional Hollywood genre conventions, fictional narrative structures, and filming styles to convey the
In the French polemics over the Islamic headscarf, the relationship betweensecularism and sexual equality has sometimes been made out to be an artificialone. The articulation between politics, religion, secularism, and women'srights is examined here over the longue durée. Since the beginning of the secularizationprocess during the French Revolution, a minority has championedan egalitarian conception of secularization. Rivalries between or convergencesof political and religious authorities have driven an ambivalent and not veryequal secularization, creating secular pacts that rely on gender pacts to thedetriment of equality. This dynamic reversed itself beginning in the 1960swith the battle for legal contraception and abortion, which shook one of thevery bases of French Catholicism to its foundation. The headscarf affairsrevealed the egalitarian effects of secularism and favored the elaboration ofthought about secularism in conjunction with sexual equality, which, whateverthe various interpretations of that thought may be, could prove to be anon-negligible benefit.