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From reviews of the third edition: “Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology’s consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview.” —Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film’s most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.
Chiefly reprints of articles originally published 1970-1984.
This is a concise evaluation of film genre, discussing genre theory and sample analyses of the western, science fiction, the musical, horror, comedy, and the thriller. It introduces the topic in an accessible way and includes sections on the principles of studying and understanding "the idea of genre"; genre and popular culture; the narrative and stylistic conventions of specific genres; the relations of genres to culture and history, race, gender, sexuality, class and national identity; and the complex relations between genre and authorship. Case studies include: 42nd Street, Pennies from Heaven, Red River, All That Heaven Allows, Night of the Living Dead, Die Hard, Little Big Man, Blue Steel, and Posse.
From reviews of the third edition: “Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology’s consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview.” —Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film’s most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.
A comprehensive introduction to film history, The Film Genre Book allows the reader to create their own narrative of film through history by focusing on seven genres, highlighting a key film from each genre over a ninety-year period--sixty-three films discussed in detail. The reader can trace the developments in a particular genre over time or compare films in a particular decade from the different genres. Each case-study considers issues of historical context, representation and the close textual analysis of significant scenes. Analysing films as diverse as Bambi and Pan's Labyrinth, the book immerses its reader into the full range of film experience. Its breadth of study, and the way in which it bridges the gap between commercial film guides and academic studies, makes it invaluable to teacher, student, and cineaste alike.
"An invaluable collection for anyone researching or teaching cult cinema ... The Cult Film Reader is an authoritative text that should be of value to any student or researcher interested in challenging and transgressive cinema that pushes the boundaries of conventional cinema and film studies." Science Fiction Film and Television "A really impressive and comprehensive collection of the key writings in the field. The editors have done a terrific job in drawing together the various traditions and providing a clear sense of this rich and rewarding scholarly terrain. This collection is as wild and diverse as the films that it covers. Fascinating." Mark Jancovich, Professor of Film and Television Studies, University of East Anglia, UK "It's about time the lunatic fans and loyal theorists of cult movies were treated to a book they can call their own. The effort and knowledge contained in The Cult Film Reader will satisfy even the most ravenous zombie's desire for detail and insight. This book will gnaw, scratch and infect you just like the cult films themselves." Brett Sullivan, Director of Ginger Snaps Unleashed and The Chair "The Cult Film Reader is a great film text book and a fun read." John Landis, Director of The Blues Brothers, An American Werewolf in London and Michael Jackson's Thriller "Excellent overview of the subject, and a comprehensive collection of significant scholarship in the field of cult film. Very impressive and long overdue." Steven Rawle, York St John University, UK Whether defined by horror, kung-fu, sci-fi, sexploitation, kitsch musical or ‘weird world cinema’, cult movies and their global followings are emerging as a distinct subject of film and media theory, dedicated to dissecting the world’s unruliest images. This book is the world’s first reader on cult film. It brings together key works in the field on the structure, form, status, and reception of cult cinema traditions. Including work from key established scholars in the field such as Umberto Eco, Janet Staiger, Jeffrey Sconce, Henry Jenkins, and Barry Keith Grant, as well as new perspectives on the gradually developing canon of cult cinema, the book not only presents an overview of ways in which cult cinema can be approached, it also re-assesses the methods used to study the cult text and its audiences. With editors’ introductions to the volume and to each section, the book is divided into four clear thematic areas of study – The Conceptions of Cult; Cult Case Studies; National and International Cults; and Cult Consumption – to provide an accessible overview of the topic. It also contains an extensive bibliography for further related readings. Written in a lively and accessible style, The Cult Film Reader dissects some of biggest trends, icons, auteurs and periods of global cult film production. Films discussed include Casablanca, The Rocky Horror Picture Show, Eraserhead, The Texas Chainsaw Massacre, Showgirls and Ginger Snaps. Essays by: Jinsoo An; Jane Arthurs; Bruce Austin; Martin Barker; Walter Benjamin; Harry Benshoff; Pierre Bourdieu; Noel Carroll; Steve Chibnall; Umberto Eco; Nezih Erdogan; Welch Everman; John Fiske; Barry Keith Grant ; Joan Hawkins; Gary Hentzi; Matt Hills; Ramaswami Harindranath; J.Hoberman; Leon Hunt; I.Q. Hunter; Mark Jancovich; Henry Jenkins; Anne Jerslev; Siegfried Kracauer; Gina Marchetti; Tom Mes; Gary Needham; Sheila J. Nayar; Annalee Newitz; Lawrence O’Toole; Harry Allan Potamkin; Jonathan Rosenbaum; Andrew Ross; David Sanjek; Eric Schaefer; Steven Jay Schneider; Jeffrey Sconce; Janet Staiger; J.P. Telotte; Parker Tyler; Jean Vigo; Harmony Wu
This revealing history of the American film musical synthesizes the critical literature on the genre and provides a series of close analytical readings of iconic musical films, focusing on their cultural relationship to other aspects of American popular music. Offers a depth of scholarship that will appeal to students and scholars Leads a crucial analysis of the cultural context of musicals, particularly the influence of popular music on the genre Delves into critical issues behind these films such as race, gender, ideology, and authorship Features close readings of canonical and neglected film musicals from the 1930s to the present including: Top Hat, Singin' in the Rain, Woodstock, Gimme Shelter, West Side Story, and Across the Universe
An Introduction to Film Genres, written by leading film scholars specifically for undergraduates who are new to the study of film, provides an introduction that helps students see thirteen film genres in a new light---to help them identify the themes, iconography, and distinctive stylistic traits of each genre.
Genre and Hollywood provides a comprehensive introduction to the study of genre. In this important new book, Steve Neale discusses all the major concepts, theories and accounts of Hollywood and genre, as well as the key genres which theorists have written about, from horror to the Western. He also puts forward new arguments about the importance of genre in understanding Hollywood cinema. Neale takes issue with much genre criticism and genre theory, which has provided only a partial and misleading account of Hollywood's output. He calls for broader and more flexible conceptions of genre and genres, for more attention to be paid to the discourses and practices of Hollywood itself, for the nature and range of Hollywood's films to be looked at in more detail, and for any assessment of the social and cultural significance of Hollywood's genres to take account of industrial factors. In detailed, revisionist accounts of two major genres - film noir and melodrama - Neale argues that genre remains an important and productive means of thinking about both New and old Hollywood, its history, its audiences and its films.
This book provides a detailed account of genre history and contemporary trends in film genre, alongside the critical debates they have provoked.