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Brian McFarlane and Deane Williams

in it’. 1 In Michael Winterbottom’s case, either he has never been given that advice or he has ignored it. The diversity of his output raises the issue of genre in British filmmaking in unusually vivid terms. He has made literary adaptations strikingly at odds with the prevailing British mode of dealing with classic authors; there is in some of his work a strong sense of the documentary influence at work, when he has been

in Michael Winterbottom
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Le Salaire de la peur
Christopher Lloyd

4 Beyond genre: Le Salaire de la peur Following Rick Altman’s argument (1999: 20) that genre is not merely ‘a hollow commercial formula’ but ‘a culturally functional category’, the main purpose of this discussion is to study Henri-Georges Clouzot’s Le Salaire de la peur and ‘the particular ratio it exhibits between convention and invention, between the requirements of genre and the ingenuity and world view of an auteur working with that genre’ (Andrew 1984: 116). Although there may be some initial hesitation about what genre Le Salaire belongs to (for example

in Henri-Georges Clouzot
Film and television

Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides an interdisciplinary account of performance in film and television and examines a much neglected area in people's understanding of how popular genres and performance intersect on screen. The advent of star studies certainly challenged the traditional notion of the director as the single or most important creative force in a film. Genre theory emerged as an academic area in the 1960s and 1970s, partly as a reaction to the auteurism of the period and partly as a way of addressing popular cinematic forms. Television studies have also developed catalogues of genres, some specific to the medium and some that refer to familiar cinematic genres. The book describes certain acting patterns in the classic noirs Maltese Falcon, The Big Sleep, Out of the Past and the neo-noirs Chinatown. British television drama in the 1970s had a special interest in the genre of horror. There is no film genre to which performance is as crucial as it is to the biopic. To explore comedy performance is to acknowledge that there is something that defines a performance as 'comic'. The book also examines drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.

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Andrew Dix

the protagonist’s agitation. How do you begin to make sense of, or place , this film? What kind of film is it? Rather than defining it minutely, you might choose to assign it to one of three broader categories proposed by Alan Williams in an influential article, ‘Is a Radical Genre Criticism Possible?’ ( 1984 : 121–5). Having to select from Williams’s classes of narrative film, experimental or avant-garde film, and documentary, you might cautiously judge the sequence playing out on screen to belong to the first of these. There is no evidence in this scene

in Beginning film studies (second edition)
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Diana Holmes and Robert Ingram

A first statement: Les Mistons Truffaut’s attitude to genre and the questions it posed for French film-makers is neatly summed up at a very early point of his career in the juxtapositioning of two short sequences in Les Mistons. Unobtrusive and understated, these sequences nevertheless eloquently express the views of the Nouvelle Vague directors on the subject of the future

in François Truffaut
Steven Peacock

1 NATION, GENRE, INSTITUTION What makes these fictions’ involvement in the ‘borderless world’ of the global era most fascinating is their nationality. On a broad level, this relationship often demands attention; as Jonas Frykman notes, ‘The more Europe is integrated and the world is globalised, the quicker the dissolution of sedimented practices, routines and traditions proceeds, then all the more national identity is discussed, given a sharper profile and challenged.’47 As well as existing within the collective group of Europe and Scandinavia, Sweden is also a

in Swedish crime fiction

A generation ago, Spain was emerging from a nearly forty-year dictatorship. This book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book addresses a particular production unit, the Barcelona-based Fantastic Factory as part of the increasingly important Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. It explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. Melodrama and political thriller films have been a narrative and representational form tied to the imagining of the nation. The book also examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It looks briefly at the ways in which the letter acts as one of the central melodramatic gestures in Isabel Coixet's films. After an analysis of the Spanish musical from the 1990s until today, the book discusses Spanish immigration films and some Spanish-Cuban co-productions on tourism and transnational romance.

Kathrina Glitre

Genre, cycles and critical traditions 9 1 Genre, cycles and critical traditions How do we know a romantic comedy when we see one? According to Brian Henderson, ‘definition, even delimitation, is difficult or impossible because all Hollywood films (except some war films) have romance and all have comedy’ (2001: 312). While the pervasive presence of romance and comedy is undeniable, Henderson is conflating different levels of representational convention. All Hollywood genres implicitly belong to the broader traditions of American narrative film (Pye 1975: 31

in Hollywood romantic comedy States of the union, 1934–65
Mary Elizabeth Braddon and the Penny Blood
Mark Bennett

This article considers the exploration of Gothic genericity within two of Mary Elizabeth Braddon‘s neglected penny blood fictions. It observes the way in which genericity comes to be associated with the Gothic as the supposedly disruptive influence of popular literatures is countered by Victorian reviewers. These emphasise such texts’ genericity in order to contain their influence and separate them from superior readerships and literature which is held to transcend generic limitations. Braddon‘s bloods explore this implicit association between the Gothic and genericity and suggest that the latter – identified in terms of the Gothic‘s status as an ephemeral commodity in the penny blood genre – actually enhances rather than limits, the Gothic‘s agency.

Gothic Studies
¡Átame!, Tacones lejanos, and Kika
Ana María Sánchez-Arce

, at best, unconscious male chauvinist. Reactions to Kika were particularly harsh. Of the three films, the most palatable to mainstream audiences, Tacones , has received the most critical attention, with the other two being relatively overlooked. The underlying reason for the critical and commercial blip in Almodóvar’s trajectory at this point may well be due to his increased experimental playfulness with genre and tone. ¡Átame! is a case in point. Critically well received in Spain, the film raised numerous eyebrows abroad because of its depiction of violence

in The cinema of Pedro Almodóvar