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
Textbooks as Discourse and Genre
This article examines textbooks, especially history textbooks, seeking to contribute to an emerging body of scholarship that endeavors to understand the nature, specific properties, and characteristics of this medium. Using systemic functional linguistics and a context-based perspective of language as its theoretical point of departure, it argues for a dual imagining of the textbook as discourse and genre. In imagining the textbook, the article calls for a rethinking of comparative textbook research in the future, based on a novel cluster of conceptual priorities deriving from postmodern thought.
Grace Helbig’s Affective Aesthetics
YouTube tutorial, or how-to video, and explore how she affectively deflates the fantasy of fun-loving confident femininity constructed by postfeminist genres. Through an analysis of Helbig’s affective aesthetics, I explore the ways in which how-to videos
Emerging Conversations on Girls’ Literature and Girlhood
Dawn Sardella-Ayres and Ashley N. Reese
’ literature as a distinct genre. A number of critics ( Auerbach 1978 ; Baym 1993 ; Showalter 1991 ; Tompkins 1985 ) discuss texts featuring girl protagonists in the context of women's literature. Similarly, children's literature scholars ( Griswold 1992
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
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
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
Films for young audiences today, particularly those deemed multicultural such as Whale Rider or Up, combine two journeys or quests, those of an elderly person and those of a young child. These films and others, such as The Secret of Roan Inish, represent a new genre called Kid Quests. This article examines the history, defining features, and cultural worth of kid quests and discusses their value and relevance to topics current in diversity studies such as age.
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.