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
Genre differentiation is possible by external factors (function, communicative situation) and internal factors (grammar, theme). As the external factors for all 18 texts of the corpus are the same, the article relies on internal factors. The cohesive means of genre identification in this corpus are recurrence, time structure, connectivity, grounding, and lexis. The peculiarity of Koriak genre differentiation consists in a preponderance of narrative structures, which are characterized by a sequential time line with passages in scenic present tense and structures of a theme with a following exemplification.
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.
Entre méfiances et défis
Mara Viveros Vigoya
*Full forum is in French
This article presents the dilemmas faced in Colombian feminist and gender studies within the framework of the contemporary socio-political context in Colombia, which is characterized by the recognition of the multicultural nature of Latin American societies. The author first examines the process that Colombian feminism has gone through since the 1970s, developing its paradigms of action and refl ection, which have become increasingly diverse. Second, the author examines the current position of the social movements of autochthonous and Afro-descendant women in the Colombian feminist debates on the dilemmas and new perspectives that globalization has imposed on social movements.
Este artículo se trata de una exposición de los dilemas que se enfrentan a los estudios femeninos colombianos y los que se centran en el género, en el contexto sociopolítico contemporáneo caracterizado por el reconocimiento de la multiculturalidad de las sociedades latinoamericanas. Para ello, primero examinaré el proceso que ha seguido el feminismo colombiano desde los años setenta, desarrollando sus paradigmas de acción y refl exión, cada vez más diversos. En segundo lugar, examinaré la posición actual de los movimientos sociales de mujeres indígenas y afrodescendientes en los debates feministas colombianos sobre los dilemas y las nuevas perspectivas que la globalización ha impuesto a los movimientos sociales.
Dans cet article, il s’agira d’exposer les dilemmes auxquels sont confrontées les études féministes colombiennes et celles portant sur le genre dans le contexte socio-politique contemporain caractérisé par la reconnaissance de la multiculturalité des sociétés latino-américaines. Pour ce faire, nous évoquerons d’abord les évolutions que le féminisme colombien a connues depuis les années 1970, en développant ses paradigmes d’action et de réflexion qui sont devenus de plus en plus diversifiés. Nous examinerons ensuite la position actuellement adoptée par les mouvements de femmes autochtones et afrodescendantes dans les débats féministes colombiens à propos des dilemmes et des nouvelles perspectives que la mondialisation a imposés aux mouvements sociaux.
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 article revisits questions of the embodiment (screen and otherwise) with regard to the most representative first generation hypertext fictions—Shelley Jackson’s Patchwork Girl—in order to show how this new genre’s search for identity takes the form of a programmatic inversion of the principles underlying the Romantic poetics and imagery and of a conscious identification with the forms that established views of literature exiled from its realm. The analysis follows the train of metaphorical oppositions deriving from the contrast that Patchwork Girl sets up between book and hypertext by presenting itself as a derivative of Mary Shelley’s novel embodied in a monster (re)born from discarded pieces (of prose or flesh) as opposed to the beautiful and harmonious body that is the book.
Temporal Topology in the Post-Ottoman World
Post-Ottoman temporal topologies—cases where the past, present, and future may be bent around one another rather than ordered linearly—may produce uncanny histories. The uncanny is activated, as Freud noted, when something secret comes to light, but also when the expectations of a given genre are exceeded. In these cases, the genre of historicism has been violated. Rather than contending that the post-Ottoman world is entirely different from Western Europe, the examples here alert one to the presence of uncanny histories in many other places since historicism has nowhere managed to eradicate its alternatives. Unsettled pasts of violence and displacement and presents beset by ongoing tensions (political, economic, religious/ethnic) do contribute, however, to a particular vitality and saliency of uncanny histories in the post-Ottoman sphere.
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.
Adapting Feature Films into French-Language Comics Serials during the Post-war Years
This article focuses on the relatively little-known editorial context of children’s French-language comics serials at a time when they constituted the main distribution channel of the bande dessinée medium (before the album became the dominant format), from the immediate post-war years to the mid-1950s. I examine the importance given to the adaptation of films into bande dessinée by studying the editorial strategy to which this practice of adaptation contributes (focusing on the magazine L’Intrépide [The daredevil], which, at the time, specialised in adaptation) and the narrative and figurative aspects of the adapters’ approaches. I show in particular how bandes dessinées are inscribed in genres that structure the periodical publications, where these were previously established in the cinematographic domain such as the swashbuckler and the western. The processes of condensation or amplification of the narrative, as well as the use of the feuilleton, are at the centre of the case studies.