Module7Film/televisiongenres

Objectives:Incompletingthismodule,youwillbeableto:
- understandandapplydifferentapproachesforanalyzinggenre:formalist,audience
analysis,andideological.
- understandthehistoryandevolutionofadvertisingandtheforcesshapingthathistory
- devisedifferentgenreanalysisactivitiesforuseintheclassroom
- understandandanalysischaracteristicsofdifferenttypesofgenresforthegenres
describedinthismodule
- presentspecificcharacteristicsofspecificgenresnotnecessarilyincludedinthismodule
toyourpeers.
Thereareawiderangeofdifferenttypesoffilmgenres:detective,action/adventure,
mystery,sciencefiction,horror,gangster,romance,comedy,musical,comedy,animation,
detective,spythriller,aswellasspecifictelevisiongenres:gameshow,primetimedrama,sports
broadcast,soapopera,musical,medicaldrama,news,prowrestling,realitytelevision,talk
show.Itisoftendifficulttoidentifyaparticularmovieortelevisionshowasaprimaryexample
ofaparticulargenrebecauseamovieorshowmaycontainelementsreflectingdifferentgenres.
ThetelevisionshowBuffytheVampireSlayercontainselementsofsciencefiction,horror,
actionadventure,andcomedy.(Forlinkstodifferentgenresoftelevisionshows:
http://www.specialweb.com/tv/shows.html
Agenremayalsohaveitsownoriginalformatinventedforororiginaltoamovieor
show(Creeber,2001).Whilegenresarenotoriginal,formatisaproductioncategorywith
relativelyrigidboundariesthataredifficulttotransgresswithoutcomingupwithanewformat
(p.7).Forexample,certaintalkshowssuchasTheJerrySpringerShoworwrestlingshows
exploittheformatoflivetelevisionthespontaneityofunpredictableactionthatoccurswhen
ashowisbroadcastlive.
Google:filmgenres
http://directory.google.com/Top/Arts/Movies/Genres/
JahSonic.com:filmgenres
http://www.jahsonic.com/FilmGenre.html
ScienceDailyEncyclopedia:filmgenres
http://www.sciencedaily.com/encyclopedia/list_of_movie_genres
TheFreeDictionary:filmgenres
http://encyclopedia.thefreedictionary.com/Film%20Genres
Moviegoods:filmgenres

http://www.moviegoods.com/dyn_browseCategory.asp?
mgaid=goto+film+genre&OVRAW=Film%20Genres&OVKEY=film
%20genre&OVMTC=standard
Forafilmgenrecurriculum:FilmEducation:Genres:
http://www.filmeducation.org/secondary/concept/filmandgenre/docs/frameset.html
DanChandler:anoverviewofgenreapproachestomedia
http://www.aber.ac.uk/media/Documents/intgenre/intgenre.html

DifferentPerspectivesonGenreStudy
Thereareseveraldifferentperspectivesonstudyingfilm/televisiongenres,perspectives
thatdrawonthedifferentcriticalapproachesdescribedinModule4.Eachofthesecritical
approachesprovidesadifferentwayofstudyinggenres.

Formalist/structuralistApproach
Aformalist/structuralistperspectivefocusesprimarilyonidentifyingboththe
prototypicalsemanticbuildingblocksofatextandsyntaxofhowaparticulartextinteracts
withaparticularculturalcontext(Altman,1995).
SemanticComponents.Thesemanticcomponentsofaparticulargenre(roles,settings,
imagery,plot,themes/valuesassumptions)arewhatfilmmakersdrawonto
constructagenretext:
roles:rolesofhero,heroine,sidekick,alien,monster,criminal,cowboy,mentor,detective,
femmefatale,villain,talkshowhost.,etc.Aspartoftheseroles,genderrolesareoften
portrayedinstereotypicalways,asparodiedintheshortfilm,BattleoftheSexes.
http://www.ifilm.com/ifilm/media/player2/1,4566,123756,00.html?
fid=123756&lid=&refsite=3641&rcid=&prn=&it=&pop=&sid=
settings:theprototypicalsettingorworldassociatedwithagenre,forexample:
western:wideopenvistasoftheWesternplains/dessert;thesmalltown
gangster:dark,urban,backstreetsettings
soapopera:indoor,uppermiddleclasssetting
spythriller:exotic,oftenurbaninternationalsetting
sciencefiction:futuristicworlds
gameshows:largestudioswithlavishprizesdisplayed
imagery:certainprototypical,archetypalimages(black=evil,vs.white=good)orsymbols
(thesheriffsbadge,waterasinitiation)associatedwithasettingorworld.
plot/storyline:predictablenarrativesequencesofevents,forexample,inacrimedrama,the
problem/solutionstructure:(
Whatisthetypicalproblem?crime
Whosolvestheproblem?thetoughcop
Withwhatmeans?violence
Towardswhatend?showthatcrimedoesn'tpay
themes/valueassumptionsreflectedinthetext:
What'stheproblem?Weliveinacrimeriddenworld
Whosolvestheproblem?Cops,whoneedtobetough.

Bywhatmeans/toolsdotheysolvetheproblem?Eyeforaneye,
toothforatooth")
Forwhatlargerthematicreason?Criminalsneedtobelockedup.
Syntacticcomponents.Thesyntacticperspectiveexaminestheparticulararrangementsbetween
thesebuildingblocksthewaysinwhichafilmmakerhasstructuredatext
(Altman,1995).Altmancitestheexampleofsemanticcomponentsofthe
westernasconsistingoftheopen,naturalsetting;thecowboy/sheriffandthe
valuesofthewildwest.Asyntacticperspectivefocusesmoreonthe
relationshipsbetweentheelementsofcultureversusnature,frontierversus
civilization,communityversusindividual,andfutureversuspast.Thesemantic
perspectiveismoreapplicabletogeneralizationsaboutlargenumberoffilms
thatsharesimilarcomponents.Thesyntacticperspectiveismoreapplicableto
explaininghowthesecomponentsworktocreatemeaning.
FocusingonbothperspectiveshelpsAltmandealwiththerangeofdifferentexamples
thatcouldbelooselyassociatedwithaparticulargenreandthechallengeofgeneralizingabouta
particulargenretext.Drawingonbothperspectivealsohelpsrecognizethatthesemantic
componentsofdifferentgenresoftenoverlapastheyevolve.Heillustratesthiswiththescience
fictiongenre:
Atfirstdefinedonlybyarelativelystablesciencefictionsemantics,thegenrefirstbegan
borrowingthesyntacticrelationshipspreviouslyestablishedbythehorrorfilm,onlyto
moveinrecentyearsincreasinglytowardthesyntaxofthewestern.Bymaintaining
simultaneousdescriptionsaccordingtobothparameters,wearenotlikelytofallintothe
trapofequatingStarWars(GeorgeLucus,1977)withthewestern(asnumerousrecent
criticshavedone),eventhoughitsharescertainsyntacticpatternswiththatgenre(p.35).
Thereisalsoamajortensioningenreanalysisbetweentheconventional,familiar,
formulaictexts,andnewformsofgenrethatchallengetheold.AsHenryJenkins
http://web.mit.edu/21fms/www/faculty/henry3/genre.html
notes,genretextscontainbothinventionnovelexperimentationwiththeformandconvention
thefamiliaraspectsoftheform:
Agenreisa"kind"ofwork,suggestinganexerciseinclassification,butgenresarealso
formulasthatartistsdrawuponfortheproductionofartworksandconventionsthat
enableconsumerstomakesenseofnewworksbasedontheirknowledgeofprevious
worksinthesamecategory.Genresshouldnotbeunderstoodasrulesorrestrictionsso
muchasenablingmechanismsthatallowpopularculturetobeeasilyconsumedand
broadlyappreciated.Allworksarebornfromamixtureofinventionandconvention.A
workthatispureinventionisunlikelytobefullyunderstoodorappreciated;aworkthat
ispureconventionislikelytobeboringanduninteresting.Popularaestheticscenters
aroundthiseffortthentoreachtherightbalancebetweeninventionandconvention.

AudiencebasedApproaches.Anaudiencebasedapproachassumesthatthemeaningofagenre
liesintheaudiencesapplicationoftheirownknowledgeoftheconventionsofgenre
construction.Ratherthanassumingthatamovieorprogrammustbeacertaintype,this
approachpositsthatamovieorprogramisacertaintypedependingontheparticular
conventionsaudiencesapplytoatext.
Giventheirbackgroundknowledgeandattitudes,oneaudiencemayperceiveamovieas
anaction/adventurefilm,whileanotheraudiencemayperceiveitasahorrorfilm.This
approachemphasizestheprocessesofapplyinggenreknowledgeconventionsascentralto
constructingthemeaningofagenre.Itassumesthataudiencesacquiremoresophisticated
knowledgeoftheseconventionsthroughincreasedexperienceinviewingagenre.These
conventionsincludeaudiencesuseoftheirgenreknowhowto:
predictstoryoutcomesbasedonapplyingknowledgeofprototypicalstorylinesforexample,
predictingthatattheendofaromanticcomedy,differencesplaguingacouplesrelationshipwill
beresolved,orpredictingthatadetectivewillsortthroughconflictingcluestosolveamurder.
identifythesymbolicmeaningofimages,techniques,orcharacterspracticesforexample,
knowingthatimagesofblackordarknessinfilmnoiroragangsterfilmrepresentsevil;that
suddenlybreakingintosonginthemusicalisafamiliar,ifnotunrealistictechnique;orthatthe
sidekickfigureisoftenattunedtothelocalenvironmentorworldinwaysthatassistthehero.
inferthefunctionorroleofthesettingorcontexttoexplaincharactersactionsforexample,
knowingthattheeerienoiseormusicinahorrormovieissignalingthepotentialforsomething
direwilloccur,orknowingthattheliveaudiencesettingforthetalkshowservestoenhance
thetalkshowhostssenseofperformingforbothaliveandatelevisionaudience.
Audiencesalsoenjoycomplexvariationsoftraditionalgenreswhichinvitethemtoapply
theirknowhowtointerpretafilmorprogram,particularlywhentheyarefacedwithdeviations
fromtheprototypicalgenre.Thedegreetowhichaudiencesconstructtheirownmeaningof
genretextsisevidentintelevisionprogramfanclubswhosemembersdemonstratetheirexpertise
andknowledgeabouttheconventionsofaprogramthroughonlineexchanges.
http://www.fandom.tv/
Moreover,theexperienceofgenretextsisakintoarituallikeexperienceassociatedwith
folkloreandmyththatfunctionsinwaysthatreifyaudiencesownculturalbeliefsandattitudes
(Schatz,1995).RatherthansimplyfocusingonthecomponentsoftheWestern,inadoptingan
audiencebasedperspective,studentswouldexaminetheWesternmoreasaculturalandsocial
myththatservedtodefineandperpetuateHollywoodrepresentationsoftheAmericanWest.At
thesametime,novelvariationsofagenrechallengeaudiencespresuppositionsabout
prototypicalgenredevelopmentandroles.Inthefollowingfourminuteclip,professor/director
BetteGordonarguesthatcontemporaryfilmsattempttodomorethansimplyentertainthey
alsoseektochallengeaudiencestograpplewiththeirownvalues:
http://www.columbia.edu/cu/news/media/00/betteGordon/index.html

Anaudiencebasedapproachalsoattemptstoexaminehowandwhycertaingenreshave
anappealforcertainaudiencesincertainculturalperiods.Forexample,intheearlyseventies,
theoutlawcouplegangsterfilmsBonnieandClyde,Badlands,ThievesLikeUs,andThe
SugarlandExpressheldanappealtoayoungaudiencedisenchantedwithwhattheytermed
theestablishment(Grant,1995).
Critical/IdeologicalAnalysisofGenres
Giventheirprototypicalnature,genrefilmsandtelevisionprogramsareideologically
traditionaltheyreflectvaluesconstitutingstatusquo,dominantinstitutionalforces.This
suggeststheneedforanotherapproachinconductinggenreanalysis:analyzingthewaysin
whichgenresnotonlyreflectideologicalvalues,butalsohowtheyservetopositionaudiencesin
waysthatareassociatedwiththeinterestsandagendasofdominantinstitutionalforcescreating
genretexts.Thisentailsanalyzing,asHenryGiroux(1996)argues,howprivileged,dominant
readingsofsuchtextsconstructtheirpowersensitivemeaningstogenerateparticularsubject
positionsthatdefineforchildrenspecificnotionsofagencyanditspossibilitiesinsociety(p.
100).
Forexample,usingtheproblem/solutionstructure(seeabove),analysisofthelawand
orderurbanpolicedetectivecandemonstratethataudiencesareoftenpositionedtobelievethat
crimeisbestsolvedbyviolentcontrolasadeterrent,asopposedtoalternativeapproaches
reducingpoverty,providingjobs,institutingdrugpreventionprograms,orenhancingeducation.
Moreover,suchshowsofteninviteaudiencestopositionpeopleofcolorastheurbancriminal
whoneedstobecontrolled.Suchreadingsshouldnotentailpoliticalorpedagogical
indoctrination,butshouldinvitestudentstoexaminemultiple,alternativeinterpretationsthat
mayormaynotcoincidewiththeinstitutionallydesiredsubjectpositions.
Specificgenresconstructdesiredstancesforcertaintargetedaudiences.Thesocalled
familyfilmhttp://www.startribune.com/stories/1553/2911104.html
removesmuchoftheviolenceandsexualcontentsothatchildrenandparentscanviewthefilm
together.Theteenfilmromanticcomedies,slasherhorror,orcomingofagefilms,aswell
astelevisiondramaseriessuchasDawsonsCreekisdesignedtoappealtoapotentiallylarge
adolescentaudience.Andvarioustelevisionshowspositionthemselvestoappealtoparticular
audienceswithparticularinterestsinfishing,homerepair,travel,cooking,sports,music,art,
religion,technology,etc.,andconstructtheirprogramsaroundaudiencesfamiliaritywiththe
conventionsanddiscoursesassociatedwithexaminingandsharinginformationaboutthattopic.
Forexample,theevangelicaltelevisionshowmimicsachurchlikesetting,oftenwithachoir,a
minister,andvariousguestswhosharetestimonialsaboutreligiousconversions.
Inrespondingtothedesiredinstitutionalstances,audiencesevoketheirowncounter
stances.Whilefemalesinsoapoperafanclubsmayorganizethemselvesaroundabeliefinthe
valueofromanticattachmenttomalesasbeingthemostimportantvalueinlife,theymayalso
challengethetraditionalnormsofgenresbycreatingtheirownalternativeversions,reflecting

theircountervalues(seealsomoduleonmediaethnography).AsHenryJenkinsargues,
http://web.mit.edu/21fms/www/faculty/henry3/collective%20intelligence.html
audiencesnowoperateinanewdigitallymediatedparticipatorycultureinwhichmembersoffan
clubsandactiveInternetuserswithreadyaccesstomediatextscancollect,archive,alter,and
sharemediatextswithothersaspartoftheirsubculturalparticipationandidentityasactive
audiences.Forexample,membersofStarTrekfanclubscreatetheirownversionsofStarTrek
programsintheformofeditedvideosorfanzinestories(Jenkins,1992).Theseeditedvideosor
fanzinesmight,forexample,introducehomoeroticthemesintothestories,suchasSpockand
Kirkengaginginahomosexualrelationship.Inconstructingthesevirtualworlds,theInternet
usersandfanclubmembersareresistingorrejectingthediscoursesofbureaucraticmanagement
ortraditionalmiddleclassvaluestoadoptalternativediscoursesofsexualdesireandexpression.
Or,audiencesmayroleplayperformancesofTheRockyHorrorPictureShow,inwhichthey
mimicandparodyculturallydominantdiscourses.
Inastudyofagroupofcommunicationstudiesgraduatestudentswhometweeklyto
watchtelevisionasasocialevent,JohnFiske(1994)examinedthegroup'sresponsestothe
situationcomedy,Married...WithChildren,aFoxNetworkparodyoffamilyvalueswithafocus
onsexuality.Thesegraduatestudentsmadeintertextualreferencestoanumberofdifferent
groupscompetingdiscourses.Oneofthesediscourseswasthenetworksowndiscourseof
merchandising.Theprogram'sadvertisementsforMcDonald'sorNikeweretypicallygearedfor
anadolescentmarketwhosememberswouldenjoywatchingacomedyaboutparentscoping
withadolescentproblems.ThestudentsoftenpurchasedMcDonald'shamburgerstoeatduring
theviewingoftheprogram,therebycommentingaboutorparodyingtheseads'discourseof
merchandising.Thestudentsalsomadereferencestoa"familyvalues"discourseofreligion
employedbyaconservativegroupwhoseobjectionstotheimmoralportrayalofsexualityon
theprogramledthemtolaunchacampaigntoboycottcompanieswhoadvertiseontheprogram,
creatingatensionbetweenadiscourseofreligionandadiscourseofmerchandising.Members
ofthegroupwouldnoteaspectsoftheprogramdeemedtobepotentiallyobjectionablebythis
andotherconservativeorganizations.Thegroupalsorespondedtotheprogram'sparodyof
discoursesregardingromanceandsexbyreferringtotheirownromanticandsexual
relationships.
Studentscouldalsoanalyzehowinstitutionalforcesusegenrestocreatefantasy,
idealizedversionsofhowproblemsaresolved,whosolvestheprogram,andthetypesoftools
employedtosolvetheproblem.Forexample,filmsabouttheVietnamWar
http://members.aol.com/warlib/10viet.htm
http://www.vietnamwar.net/vwfilms/vwfilms.htm
portraytheproblemeitherasalackofmilitaryeffort,determination,orpatriotisminwanting
towinthewar(asinTheGreenBeretswithJohnWayne,aversionofrealityconsistentwith
thewesterngenresofgoodversusevilpromotedbyconservative,militaryinstitutional
forces)orasafailuretounderstandthecomplexitiesoftheVietnamcultureandcivilwarasin
ApocalypseNow,BornontheFourthofJuly,FullMetalJacket,Platoon,andTheDeerHunter.
Thesealternativeversionsofthesameproblemreflectnotonlydifferentideologicalpositions,
butalsodifferentinstitutionalagendas.

TheHistoryandEvolutionofGenres
Genreanalysisalsoincludesunderstandingtheevolutionofagenreovertime.Genres
changeanddevelopbecauseofchangesinthecultureorhistoricalperiodinwhichthegenreis
beingproduced.TheWesternsoloherowhowaspopularinthe1940sand1950sevolvedinto
thegroupofheroesinthe1960sand1970swithRawhideandBonanzashowsthatreflecteda
shiftintheworkplacetothatofthegroupinthecorporationorcompanyduringthattime.And,
withtheincreasinginterestinurbancrimeandinternationalespionageinthe1970sand1980s,
theWesternwasreplacedbythepolice/detectiveandthespy/thrillergenres.
Genresalsogainpopularitywithcertainaudienceswhoseekoutthesegenresgiventhe
historicalorculturalforcesoperatinginacertainperiod.DuringtheGreatDepression,
audiencesflockedtomoviehousestoviewHollywoodromanticcomediesasawayofescaping
thegrimrealitiesofeverydaylivescharacterizedbypovertyanddeprivation.Thenatureofthe
threatinsciencefictionmoviesalsoshiftstoreflectchangesinfearsorthreatsfacingsocieties.
Duringthe1930sand1940s,Americansexpressedracialfears,asmanifestedintheriseofthe
KluKluxKlan,andinthefilm,KingKong.
Duringthe1990s,withtheincreasedproductionoffilmsandthecontrolofmedia
conglomeratesoverthetypesoffilmsbeingmade,anincreasingnumberofformulaicgenre
filmswereproduced.Filmstudiosneededtoattractlargeaudiencesinordertomakeareturn
profitonthemillionstheyinvestedinhighproduction,specialeffectsfilms,sotheyturnedto
safe,familiargenresandsequels.AsWheelerDixon(2000)argues:
Whataudiencestodaydesiremorethaneverbeforeismoreofthesame,andstudios,
scaredtodeathbyrisingproductionanddistributioncosts,areequallyloathetostrikeout
innewgenericdirections.Keepaudiencessatisfied,strivetomaintainnarrativeclosure
atallcosts,andkeepwithintheboundsofheterotopicromance,nomatterwhatgenreone
isostensiblyworkingin.Yet,atthesametime,thestudiosmustpresenttheseoldfables
inseductivenewclothing,withhighbudgets,majorstars,lavishsets,and(ifthegenre
demandsit)unremittingactiontodisguisethesecondhandnatureofthecontemporary
genrefilm(p.8).
Filmversustelevisiongenres.Therearesomeimportantdifferencesbetweenfilmand
televisiongenres.Filmgenres(seelistbelow)tendtobemoregeneral,forexample,the
western,action/adventure,comedy,horror,sciencefiction,etc.,whiletelevisiongenres(seelist
below)areoftenspecialized,forexample,cookingshows,sportstalkshows,childrens
animation,etc.Afilmthatisrepresentativeofacertainfilmgenrealsotendstobeselfenclosed
theconflictsareoftenresolvedwithinthefilm,evenwithfilmsequels.Incontrast,a
televisiongenreprogramtendstobepartofaserial,inwhichastorylinemaycontinueand
developorcharactersmayevolveacrossdifferentprograms.
Listoffilmgenres:
http://dir.yahoo.com/Entertainment/Movies_and_Film/Genres/

http://www.angelfire.com/al/icia/genres.html
http://www.moviegoods.com/dyn_browseCategory.asp?mgaid=goto+film+genre
http://www.imdb.com/Sections/Genres/types_all
http://www.filmsite.org/
Listoftelevisiongenres:
http://uk.dir.yahoo.com/News_and_Media/Television/Genres/
http://dmoz.org/Arts/Television/Programs/
http://news.siteseek.com/dir/News/Television/Genres/
Resources/readingsonfilm/televisiongenres:
http://www.ryerson.ca/mgroup/tvcrit.html
http://www.ameliethemovie.com/Genres/index.html
Forfurtherreadingonfilm/televisiongenres:
Altman,R.(1999).Film/genre.London:BritishFilmInstitute
Browne,N.(Ed.)(1998).RefiguringAmericanfilmgenres:Historyandtheory.Berkeley,CA:
UniversityofCaliforniaPress.
Creeber,G.,Miller,T.,&Tulloch,J.(Eds.).(2001).TheTelevisionGenreBook.London:
BritishFilmInstitute.
Dixon,W.(2000).Filmgenre2000:Newcriticalessays.Albany:StateUniversityofNew
YorkPress,
Elsaesser,T.,&Buckland,W.(2002).StudyingcontemporaryAmericanfilms:Aguideto
movieanalysis.London:Arnold.
Fischer,L.(1996).Cinematernity:Film,motherhood,genre.Princeton,N.J.:Princeton
UniversityPress.
Grodal,T.(1997).Movingpictures:Anewtheoryoffilmgenres,feelings,andcognition.New
York:OxfordUniversityPress.
Grant,B.K.(Ed.).(2003).FilmgenrereaderIII.Austin,TX:UniversityofTexasPress.
Mittell,J.(2004).Genreandtelevision:FromcopshowstocartoonsinAmericanculture.New
York:Routledge.
Neale,S.(2000).GenreandHollywood.NewYork:Routledge.
Neale,S.(Ed.).(2002).GenreandcontemporaryHollywood.London:BritishFilmInstitute.
Strong,J.,Dowd,G.,&Stevenson,L.(2003).Genre:Media,meaninganddefinitions.Bristol,
UK:Intellect.
DevisingGenreanalysisActivities
Foroneormoreofthedifferentgenretypes,createyourowngenreanalysisactivities,
webquests,orunits.Indoingso,youneedtoworkbothdeductivelyandinductively.Youneed
toprovidestudentswithsomebackgroundtheoryintermsoftheroles,settings,storylines,
themes,andvalueassumptionsuniquetoeachgenre.Atthesametime,youneedtodrawon
theirpriorknowledgeofandexperiencewithfilmsorprogramsassociatedwithaspecificgenre
sothattheyareconnectingthetheorytotheirownexperiences.And,onceyouhavemodeled

yourownanalysisofgenrefeaturesacrossdifferentfilmsorprograms,youcanthenturntothem
tohavethemconstructtheirownconnections.
Indevisingactivities,webquests,orunitsongenres,considerincludingthefollowing:
illustrativeexamplesofthedifferentcomponentsofagenreusingURLlinkstoclipsofthe
differentcomponents.Forasitewithclipsfromdifferentgenres:
http://www.ifilm.com/ifilm/all_movies/0,4229,,00.html
strategiesforinductivelydefiningsimilaritiesorpatternsacrossthesedifferentexamplessothat
studentsaremakingvalidgeneralizationsaboutgenrecomponents.
analysisoftherepresentationsofgender,class,race,age,region,cultures,andsocialpractices
typicallyfoundingenres,forexample,howNativeAmericanswererepresentedintheWestern
(seemoduleonmediarepresentations).
analysisoftheproblem/solutionstructureintermsofthenatureoftheproblem,whosolvesthe
problem,howtheproblemissolved,andthefinalresolutionoftheproblem.
awarenessofhowstudentsdrawontheirownbeliefsandattitudestoconstructthemeaningof
genres.Youcansurfacethesebeliefsandattitudesbyhavingthemreflectonthevalue
assumptionsassociatedwiththeproblem/solutionstructure.Forexample,inthepolice/detective
genre,theheromustoftenresorttoviolencetocopewithviolentcrimeaneyeforaneye,
toothforatoothmorality.Dostudentssubscribetosuchavalueassumption?Whatare
reasonswhytheydoordonotsubscribetothisvalueassumptiongiventheirbeliefsand
attitudes?
understandingthehistoryandevolutionofagenre,particularlyintermsofhowchangesinthe
genrereflectedchangesinaudiencesbeliefsandattitudesacrossdifferentdecades.
creationofstudentsownabstractsofgenresthatonemightfindinaTVguide,genrestory
scripts,parodiesofagenre,oravideo/Imovieproduction.Doingthisactivityallowsstudentsto
demonstratetheirfamiliaritywithcertaingenreconventions.

DIFFERENTGENRETYPES
Therearenumerouswebbasedresourcesforstudyingaboutdifferentfilm/television
genres.OneofthebestisTimDirkswebsite:http://www.filmsite.org/
whichprovidesextensiveinformationaboutawiderangeofdifferentgenres.
Action/adventure
Action/adventurefilmstypicallyinvolvehighbudgetportrayalsofmaincharacters
engagedinaseriesofdramatic,dangerouseventsinvolvingnarrowescapes,fights,orrescues,
allfilmedinafacepacedstylethatkeepsaudienceswonderingiftheheroorheroinewillmake
itoutaliveattheendofthefilm.InfilmssuchasTwister,Titanic,JurassicPark,Tomorrow
NeverDies,Armageddon,theDieHardseries,LethalWeaponseries,Terminator2,thereisalot
ofhyperbolic,sensationalizedviolencethatmirrorstheviolencefoundincomputergames.
Duringthe1990s,filmswithinthisgenresuchasLastActionHero,Face/Off,ConAir,and
SnakeEyes,reflectedamorepostmoderndirectiontowardsinterrogatingtheoftenmindless
actionofthegenreitself(Welsh,2000).
Action/adventurefilms:
http://www.filmsite.org/actionfilms.html
http://www.filmsite.org/adventurefilms.html
http://www.imdb.com/Sections/Genres/Action/
50topadventurefilms
http://www.imdb.com/Charts/Votes/adventure
Copactionfilms
http://www.crimeculture.com/Contents/80sCopFilms.html
Action/adventureTVshows:
http://dmoz.org/Arts/Television/Programs/Action/
http://entertainment.lycos.com/television/guide/action_index.asp
Actionfilmstendtobegearedmoreforadolescentsandadultsandadventurefilmstend
tobegearedmoreforchildren,buttherearealotofexceptions.Therearealsoanumberof
subgenresinthiscategory,forexample,disaster,spythriller/espionage,historical
episodes/military,jungle/wildernessexploration,martialarts,treasurehunters,vigilante,and
mythicadventure.
http://dir.yahoo.com/Entertainment/Movies_and_Film/Titles/Action_and_Adventure/
OneofthemostimportantsubgenresistheroadmovieasinBonnie&Clyde,Thieves
LikeUs,EasyRider,TheWildOnes,BadLands,GrapesofWrath,TheWizardofOz,True

Romance,TwoLaneBlacktop,Convoy,WildatHeart,TwofortheRoad,GrapesofWrath,
Kalifornia,PowWowHighway,SugarlandExpress,NaturalBornKillers,RainMan,Smoke
Signals,andOBrother,WhereArtThou?
http://www.hackwriters.com/roadone.htm
http://www.lib.berkeley.edu/MRC/roadmovies.html
http://directory.google.com/Top/Arts/Movies/Genres/Road_Movies/
Inthesemovies,charactersattempttoescapewhattheybelievearetheconstraintsand
limitsofsocietytoattempttodiscoverandexperiencenewformsoffreedomontheroad.In
somecases,theyareattemptingtoescapethelaworareonacrimespree.Thelaunchoutona
questinwhichtheyencounter,asdidtheheroesoffantasyquests,variouschallengesand
adventures.Theyalsobegintodiscoverthingsaboutthemselves.Theappealoftheroadmovie
reflectsthelargerculturalneedtoexploreuncharted,newterritoriesasawayofredefiningones
identitytheideaoftheWestasaplaceinwhichonecouldstartoverasanewperson.
ThelmaandLouisewasanimportantfilminthatitchallengedthemaledominatednatureofthe
genrebyportrayingtheroadquestoftwofemaleheroines.
Thesesubgenresreflectanddrawonothergenres,includingpolice/detective,adventure
fantasy,sciencefiction,videoanimation/games.Forexample,themartialartsfilmsofBruce
Lee/JackieChan,aswellasTheKarateKidfilms,Sidekicks,TeenageMutantNinjaTurtles,
MortalKombat,TheMatrix,CrouchingTigerHiddenDragon,containelementsofathese
differentsubgenres(Desser,2000).
Insomecases,certainactorshavebecomeassociatedwiththisgenre,creatingtheirown
actionheroroleprototype:inadditiontoLeeandChan,actorsArnoldSchwarzenegger,Clint
Eastwood,HarrisonFord,MelGibson,Dwayne"TheRock"Johnson,ChuckNorris,Steve
McQueen,SylvesterStallone,JeanClaudeVanDamme,JohnWayne,BruceWillis,Charles
Bronson,CharltonHeston,andactresses,SandraBullock,AshleyJudd,andMichelleYeoh.
Action/adventurefilmsalsotendtospawnsequelssuchastheseriesthatbeganwith
RaidersoftheLostArk,leadingtoIndianaJonesandtheTempleofDoomandIndianaJones
andtheLastCrusade,ortheTarzanadventurefilms:Tarzan,theApeMan,TarzanandHis
Mate,TarzanEscapes,TarzanFindsaSon,Tarzan'sSecretTreasure,andTarzan'sNewYork
Adventure.
MediaAwarenessNetwork:TheBlockbusterMovie
http://www.media
awareness.ca/english/resources/educational/lessons/secondary/movies/blockbuster_movie.cfm
DisasterOnline:disasterfilms
http://disasteronline.tripod.com/
AboutActionAdventurefilms
http://actionadventure.about.com/

TheActionKings
http://www.geocities.com/theactionkings/
Webquest:Titanic:AnUnsinkableDisaster
http://www.vordingbggym.dk/km/titanic/assignments.htm
Forfurtherreading:
Inness,S.(2004).Actionchicks:Newimagesoftoughwomeninpopularculture.NewYork:
Palgrave.
King,G.(2001).Spectacularnarratives:Hollywoodintheageoftheblockbuster.NewYork:
I.B.Tauris
Osgerby,B.,&GoughYates,G.(Eds.).(2001).ActionTV:Toughguys,smoothoperatorsand
foxychicks.NewYork:Routledge.
Tasker,Y.(1993).Spectacularbodies:Gender,genreandtheactioncinema.NewYork:
Routledge.
TheWestern
Western
http://dir.yahoo.com/Entertainment/Movies_and_Film/Genres/Westerns/
http://www.filmsite.org/westernfilms.html
http://www.imdb.com/Sections/Genres/Western/
http://www.lewestern.com/
filmssuchasHighNoon,Stagecoach,RedRiver,TheMagnificentSeven,orUnforgiven,and
televisionshowssuchasBonanza,Gunsmoke,HaveGunWillTravel,JohnnyRingo,The
LoneRanger,TheAnnieOakleyShow,TheRoyRogers/DaleEvansShow,Dr.Quinn,
MedicineWoman,Rawhide,SkyKing,orTheYoungRiders,isnolongeraspopularasitwas
inthe1940sto1960s.However,itisperhapsoneofthemostdefinitiveofallgenresin
termsofconsistentadherencetothecowboyheroroleandthevalueassumptionsassociated
withthesmallwesterntownsettingofthelasthalfofthe19thcentury.Thecowboyhero
wastypicallyanoutsiderwhowasnottieddowntothetownorwomen/family.He
(rarelyshe)wouldbebroughtintodealwiththeproblembankrobbery,cattlerustling,
murder,etc.,becausethelocalsheriffand/ortownspeoplewerenotabletoorlackedthe
expertisetodealwiththeproblem.Thisportrayaloftheoutsiderwhowasnotpartofthe
systemastheagentbestabletocopewiththeproblemreflectedanideologyof
individualismthatRonaldReagan,himselfaformeractorinWesterns,evokedinrunning
forPresidentastheoutsiderwhowouldcleanupandreducetheWashington
bureaucracy.ThesettingsfortheWesternwereoftenwideopenvistasandlandscapes
thatconveyedtheideaoftheAmericanWestasfreeandwithoutconstraintsforindividual
developmentandexploitation,againreflectingtheideologyofindividualism
http://www.imagesjournal.com/issue06/infocus/western.htm

ThisAmericanculturalemphasisontheindividualwhitemaleherowhoexpresseshis
powerthroughhisskillswithgunscontrastswiththeJapaneseSamuraifilmsinwhichtheherois
madeupofacollectivegroupdesignedtoprotectsocietywithouttheuseofguns,areflectionof
theJapaneseculturalvalueoncollectiveasopposedtoindividualaction.TheHollywood
versionoftheJapanesefilm,TheSevenSamurai,TheMagnificentSeven,emphasizesthe
individualcharactersrolestoagreaterdegreethanintheJapanesefilm:forexample,portraying
thepsychologicaldifficultiesofacharacterwhonolongercandrawhisgunasquicklyashe
couldinthepastdramatizedbyhisinabilitytokillaflycrawlingacrossatable.
WhiletherewereafewfemalewesternheroesDaleEvans,AnnieOakleymostofthe
westernheroesweremale;femaleswerestereotypedastheranchersdaughterwithwhomthe
herohadafleetingrelationshipbeforeherodeoffintothesunset,thesophisticatedwomanfrom
theEast,orthelocalsaloonproprietor,KittyinGunsmoke.Aswiththehelplesstownspeople,
theherowasperceivedasthepowerfulmalewhocouldsavethefemalewhenfacedwith
difficultiesfora12minutefilm,seeTheCowboyandtheBallerina
http://www.readthewest.com/WesternFilms/interviewIsham.html
NativeAmericansweretypicallystereotypedassavageenemieswhoneededtobe
conqueredordestroyedasimpedimentstowhitewesternexpansion.Whilethefilm,Dances
withWolves,portraysNativeAmericansinamorecomplexlight,thefilmstillprivilegesawhite
maleperspectiveonNativeAmericantribalculture.
LaterWesternfilmsofthe1960sbySamPeckinpahandspaghetti(i.e.,WesternItalian)
directorSergioLeoneemphasizedmoreviolent,actionpackedstoryelements.Duringthe
1970s,morecomplexportrayalsofthewesternherooccurredinfilmssuchasRobertAltman's
McCabeandMrs.Miller,inwhichtheseeminglypowerfulmaleischallengedbyaneven
strongerandsmarterfemale.MorerecentWesterns,suchasUnforgiven,haveintroduced
heroeswhoaremoreconflictedabouttheeyeforaneyevaluesofthetraditionalWestern,
perhapsreflectingPostColdWarambiguities.
Webquest:Western
http://curry.edschool.virginia.edu/go/edis771/fall98webquests/student/smelvillekrebs/home.html
Forfurtherreading:
Buscombe,E.,&Pearson,R.(Eds.).(1999).Backinthesaddleagain:Newessaysonthe
western.London:BritishFilmInstitute.
Cawelti,J.(1999).Thesixgunmystiquesequel.NewYork:PopularPress.
Sauders,J.(2001).Thewesterngenre.NewYork:WallflowerPress.
Slotkin,B.(1999).Gunfighternation:ThemythofthefrontierintwentiethcenturyAmerica.
Norman,OK:UniversityofOklahomaPress.
Walker,J.(Ed.)(2001).Westerns:Filmsthroughhistory.NewYork:Routledge.

Gangster/Crime
Thegangster/crimefilmportrayingtheriseand(usually)fallofthegangster/criminal
becamepopularduringthe1930sand1940swithfilmssuchasLittleCaesarandScarface,
reflectingaudiencesfascinationwithfigureswho,suchasGatsbyinTheGreatGatsby,
achievedfinancialsuccessconsistentwiththeAmericandream,butdidsothroughillegalmeans.
http://www.geocities.com/~mikemckiernan/
http://www.filmsite.org/crimefilms.html
http://www.imdb.com/Sections/Genres/Crime/
http://www.stungunresources.com/1920s_crime_gangster.html
Audiencesadoptedanambiguousstancetowardsthesecharacterstheyadmiredtheir
willingnesstoworkhardtoachievesuccessconsistentwitharagstorichesscenario,often
throughdefeatingrivalgangmembers,butwererepulsedbytheiruseofviolenceandcrimeto
achievetheirgoals.Theaudiencealsoknowstheheroisultimatelyfatedtodieorgotoprison,
giventheprevailingvaluethatcrimedoesntpay.Thisambiguousstancereflectssomeofthe
basiccontradictionsinAmericancultureregardingwhatconstitutessuccessasdefinedin
termsoffinancialsuccessandpowerorasdefinedintermsofethicalormoralintegrity.
Duringthe1930s,aftertheHaysProductionCodeOfficeobjectedtotheglorificationof
crime,gangsterfilmsfocusedmoreonthedestructionofthegangsterbydetective,gang
fighterheroes.Thegangster/criminalactivityfromthe1930sto1950swasassociatedwith
bootlegging,racketeering,theft,andbankrobbery,asportrayedinBonnieandClydein1968.
Then,duringthe1970stothe1990s,thegangsterfilmportrayedthewaysinwhichthe
gangsteroperatedthroughalternative,moreinstitutionalizedcriminalactivitiesassociatedwith
drugs,extortion,prostitution,andgamblingoperations,asportrayedinGodfatherI,II,III,
Goodfellas,MillersCrossing,BillyBathgate,Bugsy,Casino,Prizzi'sHonor,DonnieBrasco,
andReservoirDogs.Morerecently,filmssuchasPulpFiction,Miller'sCrossing,TheUsual
Suspects,Fargo,andJackieBrown,andthetelevisionseries,TheSopranos,reflectamore
ironic,postmodernstancetowardscrime,combiningcomicandpsychologicalelementswith
portrayalofcrime.
Thesettingforthegangsterfilmhastypicallybeendark,urbanworlds.OneofMartin
Scorsesesearlyfilms,MeanStreets,portrayedtheworldofsmalltime,pettygangsterswho
congregatedinpoolhallsandbarsoflowerManhattan.Oneprimaryreasonthatthefilmnoir
filmsofthe1940s,suchasTheMalteseFalconandTheBigSleepwereoftengangster/crime
filmswasthattheworldofthosefilmsisoftenportrayedthroughtheimagesofdark,backalley,
urbanworlds.Theroleofdarknessasassociatedwithcriminalactivitywasreflectedinthe
openingscenesofbothTheGodfatherandTheGodfather,PartII.Inthosescenes,thereare
large,outdoorpartiesinwhichguestsareenjoyingthemselves,scenesbathedinabright
whiteness.Theseoutfrontpartyscenesarecontrastedwithdarkbackroomdealingwith
TheGodfathermaincharactersplayedbyMarlonBrandoandAlPacinograntingfavorsor
orderingexecutions.Aswiththegangster,audiencesadoptambiguousstancestowardsthe

charactersinthesefilms,admiringtheirresistanceofconstraints,butrecognizingthattheyare
notentirelyabovethelaw.
Crimeculture:crimefilmgenre
http://www.crimeculture.com/Contents/CrimeFilms5.html
BibliographyonGangsterfilms
http://www.lib.berkeley.edu/MRC/gangsterbib.html
Forfurtherreading:
Hardy,P.(Ed.).(2000).TheOverlookfilmencyclopedia:Thegangsterfilm.
NewYork:OverlookPress.
Leitch,T.(2002).Crimefilms.NewYork:CambridgeUniversityPress.
Mason,F.(2003).Americangangstercinema:FromLittleCaesartoPulpFiction.New
York:Palgrave.
Munby,J.(1999).Publicenemies,Publicheroes:ScreeningthegangsterfromLittleCaesarto
TouchofEvil.Chicago:UniversityofChicagoPress.
Rafter,N.(2000).Shotsinthemirror:Crimefilmsandsociety.NewYork:OxfordUniversity
Press.
Shadoian,J.(2003).Dreams&deadends:TheAmericangangsterfilm.NewYork:Oxford
UniversityPress.
Detective/FilmNoir
Thedetective/filmnoirgenre
http://www.thrillingdetective.com/
http://www.filmsite.org/mysteryfilms.html
focusesontheproblemoftheviolationofthelaw,determiningreasonsfortheviolation,
identifyingpossibleviolators,relyingoninformantsandevidence,copingwithmishapsandfalse
leads,revealingtheactualviolator,andrestoringasenseofequilibrium(Miller,2001).
The1940sand1950sfilmnoirgenreportrayedtheoftencorruptworldofTheMaltese
Falcon,TheBigSleep,DoubleIndemnity,TheKillers,Notorious,ThePostmanAlwaysRings
Twice,KeyLargo,TheLadyFromShanghai,TheThirdMan,SunsetBoulevard,TheBigHeat,
LadyintheLake,andTheLadyfromShanghai,basedondetectivenovelsbysuchwritersas
DashiellHammettandRaymondChandler.Thesefilms,usuallymadeinblackandwhitewith
lowlighting,interiorsettings,andinventivecameratechniques,conveyedasenseofbleak,
cynicalpessimismthattheinstitutionsoflawandorderarethemselvescorrupt.Morerecent
filmssuchasChinatown,TheLongGoodbye,andL.A.Confidentialmakenostalgicreferencesto
these1940/50films,particularlyintermsofhighlightingthecorruptionofthesystem
Thepolice/detective/crimetelevisionshows
http://dmoz.org/Arts/Television/Programs/Dramas/Cop_Shows/

http://dir.yahoo.com/News_and_Media/Television/Shows/Cop_Shows/
http://www.thrillingdetective.com/trivia/detlinks7.html
suchasDragnet,Baretta,C.S.I.(CrimeSceneInvestigation),CagneyandLacey,HillStreet
Blues,Homicide,Law&Order,MiamiVice,PrimeSuspect,Poirot,InspectorMorse,andNYPD
Bluedevelopthemaincharacterofthedetectiveinmoredetailacrosstheseries,sothat
audiencesestablisharelationshipwiththecharacter.
Thedetective/filmnoirgenrefocusesonthecharacteroftheoftencynical,worldly
detectivefigureSherlockHolmes,SamSpade,CharlieChan,PhilipMarlowe,aswellasthe
detectiveswhoappearonPBSsMysteryTheater:HerculePoirot,MissMarple,AdamDalgliesh,
InspectorMorse,BrotherCadfael,RossTanner,ChiefInspectorJaneTennison,Hetty
Wainsthrop,DaveCreegan,andCordeliaGray.
http://www.pbs.org/wgbh/mystery/detectives/index.html;seealso
http://dir.yahoo.com/News_and_Media/Television/Shows/Mystery/
PBSTeachingGuide:TheHoundoftheBaskervilles
http://www.pbs.org/wgbh/masterpiece/hound/tguide.html
Thesedetectiveheroesareoftencomplexfigures,whoseidentityisofteninterchangeable
withthatofthecriminal.Thethinlinebetweenthedetectiveandthecriminalwasportrayedby
ClintEastwoodintheDirtyHarryseriesinwhichthedetectiveresortstoviolencetoachievehis
goals.
Inadditiontothedetectivehero,thereistypicallyasidekick,who,asintheWestern,lacks
thedeductiveskillofthehero,butwhooftenhasaccesstoinsiderinformationusefultothehero.
Thereis,particularlyinfilmnoir,thefigureofthebeautiful,butduplicitousfemmefatale,who
manipulatestheherointoactionsthatbenefither,oftenattheherosexpense.
MorerecentfilmssuchasTheLastSeduction,RedRockWest,andCroupier,explorenew
themesofdeception/morality,reflectingapostVietnamWarperspectiverelatedtoviolenceand
crime.
MysteryNet
http://www.mysterynet.com/tvmovies/
PamelaGreen:SherlockHolmes:TeachingEnglishthroughDetectiveFiction
http://www.yale.edu/ynhti/curriculum/units/1989/4/89.04.04.x.html
BritishFilmInstitute:GhostStoriesonFilm
http://www.bfi.org.uk/education/resources/teaching/secondary/ghoststories/
ChristopherIngham,TheMurderMystery
http://www.lessontutor.com/ci5.html

Webquest:WhoKilledWilliamRobinson?(anhistoricalmystery)
http://web.uvic.ca/historyrobinson/
Webquest:Writeanhistoricalmystery
http://dina17.tripod.com/mywebquest/index.htm
Forfurtherreading:
Miller,R.(1996).Mystery!:Acelebration:stalkingpublictelevision'sgreatestsleuths.New
York:BayBooks.
Muller,E.(1998).Darkcity:Thelostworldoffilmnoir.Boston:St.MartinsPress.
Spicer,A.(2002).Filmnoir.NewYork:Longman.

Comedy
Comedyhasbeenoneofthemostconsistentlyappealinggenres.
Comedyfilms
http://www.filmsite.org/comedyfilms.html
http://www.imdb.com/Sections/Genres/Comedy/
http://www.phatnav.com/wiki/wiki.phtml?title=Comedy_film
Televisioncomedies
http://entertainment.lycos.com/television/guide/comedies_index.asp
http://dir.yahoo.com/News_and_Media/Television/Shows/Comedies/
http://www.transparencynow.com/tablesitcom.htm
http://www.comedyzone.net/zones/filmtv.htm
http://dmoz.org/Arts/Television/Programs/Comedy/Sitcoms/
http://www.museum.tv/archives/etv/C/htmlC/comedydomes/comedydomes.htm
AmericanFilmInstitutes100funniestfilms:
http://www.AFI.com/tv/pdf/laughs100.pdf
Thereareanumberofdifferentcomedysubgenresthatvaryaccordingtodifferencesin
thecomictechniquesemployed.
Mime.Earlyfilmcomedythatemergedinthesilentfilmerafocusedonnonverbalpantomime,
inwhichexaggerationandphysicaldexterityfunctionedascomicelements.Earlystarsofthis
genrewereCharlieChaplin,HaroldLloyd,andBusterKeaton.InCharlieChaplinsfilms,he
typicallyemployedsightgagstoridiculeandchallengesocialnorms,particularlythe
pretentiousnessofthepowerful.Forexample,inTheRink,heliterallyrunscirclesaroundhis
opponent,portrayedasaclumsybully.Assuch,herepresentedthelittleguyinsocietywhois

abletousehisskillstoasserthisownpower.Withthedevelopmentofsound,Chaplinturnedto
moreseriousmovies,oftenraisingtoughquestionsaboutsocialvalues.
Slapstick.Slapstickinvolvesblatant,overtphysicalpranksslippingonabananapeelor
attemptingtocarryapianoupsteepstairs,asevidentintheearlyfilmsofAbbottandCostello,
LaurelandHardy,andTheThreeStooges,andthenlaterfilmswithJerryLewis,thePink
Pantherseries,andJimCarrey,whichaddedverbalrepartee.Also,muchofanimation,suchas
theRoadRunnerfilms,consistsofphysicalslapstick.
Parody/satire.FilmsbyWoodyAllen,MelBrooks,andtheMarxBrothers,aswellasSaturday
NightLiveengageinparodyorridiculeofinstitutions,traditionalsocialnorms,andothergenres.
IntheWoodyAllenfilmssuchasBananas,Sleeper,AnnieHall,Manhattan,ZeligThePurple
RoseofCairo,HannahandHerSisters,HusbandsandWives,andBulletsOverBroadway,Allen
useswittydialoguetomimicandparodydifferentdiscoursesoftherapy,religion,business,
sports,andacademia.Forexample,acharacterwho,instandinginlinewithAllenoutsidea
movietheater,employspretentiousacademiclanguagetodiscussafilm.Televisionshowssuch
asRowanandMartinsLaughIn,TheSmothersBrothers,MontyPythonsFlyingCircus,Beavis
andButthead,andSaturdayNightLiveconsistofsketchesridiculingarangeoftopics,including
varioustelevisiongenres.
Theparodyformitself
http://www.factindex.com/p/pa/parody.html
Parodyfilms
http://www.inetfilm.com/movies/parody/parody.html
WoodyAllensites:
http://www.geocities.com/SunsetStrip/Club/9542/woody.html
http://members.tripod.com/bestfilms/woody.htm
http://www.3rdmandesigns.co.uk/woodycompendium/framed.htm
http://en.wikipedia.org/wiki/Woody_Allen
http://www.sensesofcinema.com/contents/directors/03/allen.html
http://www.imdb.com/name/nm0000095/
Webquest:MockMarlowe
http://homepage.mac.com/sltvandoren/Mock_Marlowe.html
Situationcomedy.Televisionsituationcomedieshavemadeupalargebulkofprimetime
televisionsincethe1950swithshowssuchasILoveLucy,TheHoneymooners,ThePhilSilvers
Show,FatherKnowsBest,TheDickVanDykeShowTheOssieandHarrietShow,MyThree
Sons,andthelatershows,Cheers,Frasier,theBeverlyHillbillies,AllintheFamily,TheMary
TylerMooreShow,TheCosbyShow,MurphyBrown,Ellen,FamilyTies,TheJeffersons,
Roseanne,MarriedWithChildren,Seinfield,AbsolutelyFabulous,Frasier,Friends,Home

Improvement,TheSimpsons,MadAboutYou,SouthPark,KingoftheHill,SportsNight,Ed,and
SexandtheCity.
Inthetypicalcomedystoryline,thereisamovementfromequilibriumtodisequilibrium
backtoequilibrium.ConsistentwithclassicaltheatercomediesofShakespeare,Moliere,and
Wilde,equilibriumisdisruptedwhencharactersareconfusedabouteachotherstrueintentions
ortheiractualstatusinsociety.InTheILoveLucyShow,Lucywasoftencaughtupinschemes
thatledtodifficultieswithRicky.Copingwiththesechallengescreatesfurtherconfusionsand
disruptions.However,theconfusionsandmixedidentitiesareeventuallystraightenedout,
leadingtoahappyendinginwhichchallengestoinstitutionalequilibriumaremitigatedand
societyisrestored.Thismeansthatcomedyentailsmorethanjusthumoritalsorepresentsa
basicstancetowardsinstitutions.AsNorthropFyreargued,comedycelebratestherestorationof
society,incontrasttotragedy,whichchallengessociety.
Therolesincomedyaretypicallyonedimensionalprototypes,asopposedtotragic
characterswhoarecomplexandcontradictory.Thereisoftenabuffoonwhoisobliviousto
whatsgoingon,thestraightmanwhoservesasanaudienceforthemaincharacterscomic
lines,thetricksterwhocreatespranks,andthewiseelderwhostraightensoutproblemsor
issues,leadingtoresolution.Inthe1950s,programssuchasOzzieandHarriet,Leaveitto
Beaver,andFatherKnowsBestportrayedfathersasomniscient,central,butonedimensional
whitemiddleclassfigures.Inthe1970sand1980s,AllintheFamily,SanfordandSon,and
TheCosbyShowportrayedfathersandmothersasomewhatmorerealistically.Producer
NormanLearinAllinTheFamilyportrayedArchieBunkerasaconservative,bigotedworking
classfatherwhoisoutoftouchwithchangesincontemporarybeliefsandattitudestowardsclass,
gender,andrace.However,manyviewersactuallyperceivedhiminapositivelightas
defendingtheirownconservativevalues(Pungente&OMalley,1999).And,BillCosbyhad
hopedthattheportrayalofanidealized,successful,uppermiddleclassBlackfamilyonThe
CosbyShowwouldenhanceracerelationsinthe1980s.However,astudyofblackandwhite
viewerresponsefoundquitedifferentreactionsfromthetwogroups(Jhally&Lewis,1992).
TheBlackaudiencesrespondedpositivelytotheportrayalofintelligent,independentHuxtable
familymembersaschallengingstereotypesofBlacks.Atthesametime,theprogramservedto
reifyconservativesattitudestowardsBlacks.DuringtheReaganeraofthe1980sinwhich
affirmativeaction,civilrights,andeconomicsupportforBlackswerebeingreduced,theWhite
audienceperceivedtheprogramasevidencethatBlacksweresuccessfulasaneconomicclass
anddidnotneedfurthersupport.TheyalsoassumedthatifBlacksworkedharder,theycould
makeitontheirownasdidtheHuxtables(Jhally&Lewis,1992).Inthe1980s,comedies
suchasMarriedWithChildrenandRoseannedealtmorerealisticallywithissuesofsexuality,
gender,andclassidentities.
Comediesoftenoccurintwosettingsthefamilyhomeortheworkplace(Hartley,2001).
Whileearliercomediesofthe1950sto1970sfocusedmoreonthefamily,latercomediesofthe
1980sand90sfocusedmoreontheworkplacetosomedegreetheworkplacebecamemoreofa
siteforfamilyinterpersonalconflicts.Moreover,programssuchasMarriedWithChildren,
Roseanne,andTheSimpsonsbegantoportraydarker,problematicaspectsoffamilylifethatwas

neverportrayedintheoftenPollyannish,idealizedhomesofearlyshows(Pungente&OMalley,
1999).Thisraisesthequestion,assomecriticshavecharged,whethernegativeportrayalsof
thefamilyonTheSimpsonsleadviewerstoassumeamorenegativeperspectiveonthefamilyin
livedworldcontexts.Portrayalsofworkplacecomedyfocusontensionsassociatedwith
confusionbetweenworkplaceandpersonallives,aswellaschallengestostatusrolesinthe
workplace.
Romanticcomedy.RomanticcomedyfilmsGroundhogDay,MyBestFriendsWedding,
FourWeddingsandaFuneral,WhenHarryMetSally,SixteenCandles,Moonstruck,Sleepless
inSeattle,Clueless,NottingHill,andWhileYouWereSleepingremainoneofthemostpopular
genressincetheheydayoftheHollywoodstudiosysteminthe1930s,to50s,thatproduced
SomeLikeitHot,ratedthefunniestfilmontheAFIlist.Inromanticcomedy,acoupleiscoping
withchallengestotheirrelationshipforexample,loversbegintosuspectthattheotherperson
hasnotbeenfaithfulintherelationship.InMyBestFriendsWedding,thetwomaincharacters
areconvincedthattheyarenotrightforeachotherandtheirfriendsperpetuatethat
perspective.However,asinsituationcomedy,theyoungcouplediscoverstheirtruelovefor
eachother,leadingtoaresolutionandoftenmarriage.Theunderlyingvalueassumptionisthat
thetraditionalfamily/loverelationshipisaviableinstitutionalnorm.
Inamoreseriousformoftheromanticcomedy,thefemaleheroineinitiallyengagesina
standoffish,impersonalmale,whohasdifficultyknowinghowtoexpresshisfeelingsforthe
heroine.Theheroinefunctionstobringouthismoreromantic,emotionalside,sothat,bythe
endofthestory,theherodemonstratesordeclareshislovefortheheroine.Thisstorylineis
manifestedinDirtyDancing,inwhichthestrongsilentmalereturnsattheendofthefilmto
expresshislovefortheheroineinafinaldancescene.Avariationofthisthemeisthemale
loverwhoexpresseshimselfthroughsurrogatewhomtheheroinerejectsforthetruelove
(Roxanne)orwhoopenlysharestheprocessoflearningtoarticulatehislove,asdidtheJohn
CusackcharacterinHighFidelity.ThefilmandtelevisionadaptationsoftheJaneAusten
novels,PrideandPrejudice,SenseandSensibility,andEmma,andClueless,amodern
adaptationofEmma,demonstratethe19thcenturyoriginsofthisromancestoryline.
Incontrasttoromanticcomedy,intragicromancefilmssuchasLoveStory,Fatal
Attraction,HouseofMirth,TheBridgesofMadisonCounty,TheEnglishPatient,TheEndofthe
Affair,Titanic,RomeoandJuliet,andJungleFevertheheroine/heroseeksforbiddenlove,
therebyviolatingsocialnormsassociatedwithclass,race,religion,orfamilyties.ForRomeo
andJuliet,theirloveismoreimportantthanallegiancestotheirfamilies.Incontrasttocomedy,
theysufferfortheirviolationofsocialnormsandinstitutions,servingtointerrogatethe
conservativenatureofinstitutions.
Ironic/criticalcomedy.Thereanumberofcomedyfilms,includingM*A*S*H,Dr.
Strangelove;MeninBlack,WorkingGirl,TheTrumanShow,TheFullMonty,TheVan,Lostin
America,BroadcastNews,RaisingArizona,Fargo,LifeisBeautiful,andPleasantvillethat
containcomicelements,butalsoraiselargerquestionsaboutthebreakdownofinstitutions.For
example,TheFullMontyandSnapperportraytheplightofunemployedbluecollarworkersin

Britainwhoseworkisnolongervaluedinthenewservice/informationeconomy,leadingto
depression,familyconflicts,andattemptedsuicides.Tomaintaintheirsenseofdignity,they
createnewformsofworkcreatingastripshow,runningamobilerestaurant,andplayingina
band.Thecomicelementderivesfromthefactthattheheroesthefamiliarskillswerenolonger
applicabletooperatinginthesenewmodes.And,filmssuchasTheTrumanShowand
Pleasantvilleraisequestionsaboutmediaconstructionsofrealityandtheblurreddistinction
betweenamediarealityandalivedworldreality(seealsorealityTVshows).
AboutComedy:Movies
http://comedymovies.about.com/
linkstohistoryofcomedyfilms
http://faculty.washington.edu/kgb/complit303/links.htm#comedy
SatireScreeningRoom
http://www.geocities.com/Hollywood/8200/
AboutComedy:TVsitcoms
http://primetimetv.about.com/index.htm
ComedyCentralcableTVshow
http://www.comedycentral.com/
ScrewballComedy
http://www.moderntimes.com/screwball/
1,302linkstosituationcomedyshows
http://dmoz.org/Arts/Television/Programs/Comedy/Sitcoms/
BBCsitcoms
http://www.bbcamerica.com/genre/comedy_games/comedy_games.jsp
DanRyder,WeAintNoSituationComedy
http://seed.mainecenter.org/application/files/packets/PDF317.pdf.
RoyStafford:GettingtheJoke:TeachingtheComedyFilm
http://www.mediaed.org.uk/posted_documents/comedyfilms.pdf.
UniversityofCalifornia,Berkeley,BibliographyonTelevisionsituationcomedy
http://www.lib.berkeley.edu/MRC/tvcomedy.html
Forfurtherreading:
Cavell,S.(1981).Pursuitsofhappiness:TheHollywoodcomedyofremarriage.Cambridge,
MA:HarvardUniversityPress.

Gehring,W.(1999).Parodyasfilmgenre:Nevergiveasagaanevenbreak.NewYork:
GreenwoodPress.
Gehring,W.(2002). RomanticVs.screwballComedy:Chartingthedifference.NewYork:
Rowman&Littlefield.
Harries,D.(2000).Filmparody.London:BritishFilmInstitute
King,G.(2002).Filmcomedy.NewYork:WallflowerPres.
Neale,S.,&Krutnik,F.(1990).Popularfilmandtelevisioncomedy.NewYork:Routledge.
Rickman,G.(Ed.).(2002).Thefilmcomedyreader.NewYork:Limelight.
Voytilla,S.,&Petri,S.(2003).Writingthecomedyfilm:Make'emlaugh.NewYork:Michael
WieseProductions.

ScienceFiction/Fantasy
Sciencefictionandfantasyfilms/television
http://dir.yahoo.com/Entertainment/Movies_and_Film/Genres/Science_Fiction_and_Fantasy/
http://www.warwick.ac.uk/~pyrel/index.html
http://www.magicdragon.com/UltimateSF/movies.html
http://www.filmsite.org/scififilms.html
http://wwwusers.cs.york.ac.uk/~susan/sf/films/
http://www.sffworld.com/tvmovies/
http://www.sciflicks.com/
http://www.scifilm.org/
http://www.geocities.com/Hollywood/Lot/2976/SF2movie.html
http://members.tripod.com/scifimoviepage/index.html
http://www.scifimovies.com/
Fantasyfilms
http://www.filmsite.org/fantasyfilms.html
arerelatedinthatbothinvolveaudiencesintheexperienceofalternativeworldsandwaysof
thinking.Throughtheexperienceofthesealternativeperspectives,audiencesmayreturntotheir
livedworldexperiencewithnew,alternative,creativeinsights.Inbothgenres,audiencesneed
tobeabletosuspendtheirdisbeliefandmomentarilyenterintoanalternativeworldwithout
imposingtheirrealityboundassumptionsthebeliefthatthiswouldneverhappeninthereal
world.

Thefantasygenrefocusesmoreonthemythic,magicalquestjourneyinwhichthe
goodheroesconfrontvariouschallengesassociatedwithevil,challengesthattesttheir
tenacity,particularlyinthefinalchallenge.In20,000LeaguesUndertheSea,basedonthe
JulesVernenovel,CaptainNemoandhissubmarinecrewjourneytothedepthsoftheoceanand
facethegiantsquid.InTheWizardofOz,thebandofcharacterscopewithdifferentchallenges,
culminatingwiththefinalconfrontationwiththeWizard.Manyofthefantasyheroesareloners
ororphanswhocomeoutofobscuritytobecomeheroes(Scott,2002).InTheLordoftheRings,

TheFellowshipoftheRing,FrodoBagginslivesaloneinaruralvillageuntilheissummonedto
leadagrouptofaceawholeseriesofbizarre,supernaturalcreaturesandworlds,eachrequiring
himandhiscompanionstooutwittheenemyinthelandofMordor.InTheHarryPotterseries,
Harryisanorphanwholiveswithhisabusiveauntanduncle.Supermanisamildmannered
reporteruntilheisfacedwiththeneedtointervenetosavesomeone.Spidermanisan
outsiderhighschoolstudentuntilheistransformedintoSpiderman.
Theseloner,outsiderfiguresappealtoadolescentaudienceswhoexperiencearelated
senseofbeingoutsiderswhoimaginethemselvesasbecomingheroic.AsA.O.Scott(2002)
notes:
Foralltheirancientandfuturistictrappings,fantasystoriesspeakdirectlytothecondition
ofcontemporarymaleadolescence,andtheyofferaUtopiansolutiontotheanxietyand
dislocationthatarepartofthepyschiclandscapeofyouth.Freaksbecomeheroes.The
confusingissueofsexiskeptatasafedistance;romanticconsiderationsareancillaryto
thefightagainstevil,andtothecameraderieofwarriors.Butultimately,whatever
fellowshiphemayhavefoundalongtheway,thehero'squestissolitary,histriumphan
allegoryofthepersonalfulfillmentthatis,intherealworld,bothabirthrightanda
mirage.
Scottalsonotesthattheappealoffantasyisbasedonthenostalgic,conservativedesire
fortherestorationofinnocenceandgoodnessinaworldperceivedascynical,corrupt,evil,and
complex.Fantasyworldsrevolvearoundsimplisticbinarydistinctionsbetweentogoodversus
evil,inwhichthegoodultimatelytriumphs.
And,Scottnotes,theherotriumphsnotthroughgreaterphysicalprowess,butthroughhis
knowledgeofspecificdetails,outwittingtheenemy.Again,thisfocusonknowledgeappealsto
theoutsidenerdwhohasacquireddetailed,seeminglyuselessknowledgeandfantasylore.This
appealissociallymanifestedinaudienceparticipationinfanclubs
http://dir.yahoo.com/Entertainment/Movies_and_Film/Titles/Science_Fiction_and_Fantasy/Spac
e_Battles/Star_Wars/Fan_Clubs/
http://directory.google.com/Top/Arts/Television/Programs/Science_Fiction_and_Fantasy/Star_T
rek/Fan_Clubs/
inwhichknowledgeabouttheparticularfantasyestablishesonesidentityintheseclubsthrough
participationonfanchatrooms,fanzines,andconventions(seealsomediaethnography).Inhis
studyofTrekkies,HenryJenkins(19)foundthatmembersofStarTrekfanclubsactively
engagedinassumingStarTrekroles,sharingartifacts,andcreatingtheirowneditedvideotape
versionsofpastshows.
Anotheressentialelementoffantasyistheroleofmagicasmanifestedmagic
transformationsinwhichhumancharactersaretransformedintoflyingfiguresorassumespecial
powers.Oneofthereasonsthatfantasyworkswellasanimatedfilms,asinToyStory,Shrek,
Monsters,Inc.,Fantasia,SnowWhiteandtheSevenDwarfs,Fantasia,

WhoFramedRogerRabbit,andMulanisthatanimation,aswellastheuseofcomputerspecial
effects,dramaticallyportraythetransformationpowerofmagic.
TheadventuresciencefictionfilmsuchasStarWars,TheEmpireStrikesBack,and
ReturnoftheJedi,asJosephCampbell(1991)demonstratesinhisbook,ThePowerofMyth,
sharewithfantasyquestfilmsthefocusonmythic/archetypalquest,inthiscase,Luke
SkywaterssearchforthefatherrepresentedbyDarthVader,involvingthetraditionaltension
betweengoodversuseviltheencroachingpoweroftheempire,madeupoftheJedi
Knights,theJawaswhotradeandroids,andtheDroids.
Asinthehorrorgenre,thereisafascinationwiththeunknown,alienotherportrayedin
thesciencefictiongenreasathreattocivilization,aswellanuneasyambiguityassociatedwith
theideathatourowntechnologicaladvancesmayservetobedestructive.Thenatureofthealien
hasshiftedwithshiftsinculturalattitudesandfears.Inthe1950s,fearofthepresumed
pervasiveCommunistthreatwasmanifestedinthefactthatalieninvaderswereoutthere,but
invisible.Otherfilms,suchasInvasionoftheBodySnatchers,challengedthecultural
conformityassociatedwiththe1950s,asdidFahrenheit451inthe1960sandAClockwork
Orangeinthe1970s.Withtheriseoftechnologicaladvancesinthe1960s,1970s,and1980s,
thethreatstooktheformsoftechnologygoneamoknucleardisasters,mutantinsects,computer
breakdowns,skyscraperfires,etc.Inthe1990s,thethreatofenvironmentaldestruction,
epidemicdiseases,mindcontrol,andgeneticmanipulationwasreflectedinfilmssuchas12
Monkeys,Contact,TheMatrix,andGattaca.Forexample,inGattaca,thepotentialeffectsof
geneticmanipulationisexaminedintermsofafamilyhavingtodecidetonotgeneticallymodify
oneoftheirsons.
Televisionsciencefiction/fantasyseries
http://dmoz.org/Arts/Television/Programs/Science_Fiction_and_Fantasy/
http://www.magicdragon.com/UltimateSF/index.html
http://dir.yahoo.com/News_and_Media/Television/Shows/Science_Fiction_and_Fantasy/
suchasStarTrek,StarTrekGenerations,StarTrek:FirstContactalsoinvolvespaceadventure
conflictswiththeother.Inthisseries,thesidekickfigure,asintheWestern,Dr.Spock,is
someonewhocanconnecttothelocalcultureofalienworlds,providingCaptainKirkandhis
crewwithusefulinformation.
SciencefictionfilmssuchasOutbreak,StrangeDays,12Monkeys,MeninBlack,The
Matrix,andMinorityReportandtelevisionseriesTheTwilightZone,Dr.Who,andTheXFiles
examinelargerissuesoftheeffectsofchangesinscience/technologyonsociety,aswellas
unexplainedparanormalpsychologicalevents,timetravel,mindcontrol,andalienabductionthat
eludescientificexplanation.

Inmanycases,thetechnologicaladvancesportrayedinsciencefictionfilmsportend
actualadvancesthatlateroccur.ForacomparisonofthetechnologyportrayedinStanley
Kubricks2001,madein1968,andtheactualtechnologyof2001see:
http://www.thetech.org/2001ds/

Sciencefictionfilm/televisionoftendrawsonthethemes,ideas,andstorylinesofscience
fictionwriterssuchasRayBradbury,IsaacAsinov,andPhilipDick.Forexample,PhilipDicks
1968novel,DoAndroidsDreamofElectricSheep?wasthebasisforBladeRunner,which
portraysacopwhokillsartificiallycreatedhumans;his1966story,"WeCanRememberItfor
YouWholesalewasthebasisforTotalRecall,astoryaboutamanwhohasanadventureon
Marsimplantedinhismemories;andhis1956story,"TheMinorityReport,"wasthebasisfor
MinorityReport,aboutpoliceuseofprecognitivemutantstoarrestpeoplebeforetheycommit
crimes.
Oneimportantsubgenreofsciencefiction/fantasyisthecomputervideogame,which,as
HenryJenkinsargues
http://web.mit.edu/21fms/www/faculty/henry3/pub/complete.html
servestotransportsitsusersintoadifferentsocialrealmorworld.
ScifiSpace
http://www.scifispace.com/
Scificablechannel
http://www.scifi.com/
ScienceFictionMovieHeaven
http://www.shipofdreams.net/sfmovies/
BrightLightssciencefictionfilmjournal
http://www.brightlightsfilm.com/20/20_scifi1.html
ComputerCrowsnest:Sciencefictionsite
http://www.computercrowsnest.com/
Coursesinsciencefiction
http://www.users.muohio.edu/erlichrd/courseinsf/
http://www.d.umn.edu/cla/faculty/tbacig/hmcl3220/
Webquest:WaroftheWorlds:FearofInvasion
http://www.itsco.org/webquest/class/janice/
LornaDils,ScienceFictionandtheFuture
http://www.yale.edu/ynhti/curriculum/units/1987/2/87.02.04.x.html
Lessonplan:BladeRunner
http://www.ardecol.acgrenoble.fr/english/brunner/enbrplan.htm
GuyWalters:ArtificialIntelligenceintheCinema

http://www.timesarchive.co.uk/news/pages/tim/2000/03/17/timaonaon02002.html
Suite101:ScienceFictionandSociety
http://www.suite101.com/welcome.cfm/sf_and_society
UniversityofCalifornia,Berkeleylibrary:Bibliographyonsciencefictionfilms
http://www.lib.berkeley.edu/MRC/scifibib.html
Webquest:Anthem:AUtopianSociety
http://projects.edtech.sandi.net/lewis/anthem/
Webquest:ACyberScienceMagazine
http://projects.edtech.sandi.net/lewis/anthem/
Webquest:SpaceshipEarth
http://homepages.wmich.edu/~c1comrac/spaceshipearth.htm
Webquest:Frankenstein
http://www.gowcsd.com/master/ghs/english/propp/frnkqust/index.htm
Webquest:CensorshipandFahrenheit451
http://www.mediaworkshop.org/humanities/loonam/
Webquest:EnergyQuest
http://www.geocities.com/brookwebquest1/
Forfurtherreading:
Haber,K.(Ed.).(2003).ExploringtheMartix:Visionsofthecyberpresent.Boston:St.
Martins
Press.
King,G.,&Krzywinska,T.(2001).Sciencefictioncinema.NewYork:WallflowerPress.
Kuhn,A.(Ed.).AlienzoneII:Thespacesofsciencefictioncinema.London:Verso.
Telotte,J.(2001).Sciencefictionfilm.NewYork:CambridgeUniversityPress.
Tulloch,J.,&Jenkins,H.(1995).Sciencefictionaudiences:WatchingDoctorWhoandStar
Trek.NewYork:Routledge.
Wagner,J.,&Lundeen,J.(1998).Deepspaceandsacredtime:StarTrekintheAmerican
mythos.NewYork:Praeger.
Webquest:Fahrenheit451:BookBurning:ItsnotJustScienceFiction
http://projects.edtech.sandi.net/roosevelt/bookburning/
Horror/Monster

Thehorror/monsterfilm
http://www.filmsite.org/horrorfilms.html
http://www.imdb.com/Sections/Genres/Horror/
(Godzilla,TheNightoftheLivingDead,SilenceoftheLambs,CapeFear,TheTexasChainsaw
Massacre,Jaws,TheShining,Scream,Scream2,IKnowWhatYouDidLastSummer,TheBlair
WitchProject)http://www.angelfire.com/al/icia/horror.html
http://www.horrormovies.com/flash_home.html
andtelevisionseriesgenre(BuffytheVampireKiller)
http://dmoz.org/Arts/Television/Programs/Horror/
http://dir.yahoo.com/News_and_Media/Television/Shows/Horror/
http://directory.google.com/Top/Arts/Television/Programs/Horror/
isoneofthemorepopulargenreswithadolescents.
Horror/monsterfilms/televisionprogramsrevolvearoundthethemeofafearof
death/mortalityorid/sexuality,whichismanifestedinthezombies,creatures,vampires(Count
Dracula),
DraculasHomePage
http://www.ucs.mun.ca/~emiller/
Webquest:Dracula
http://www.d.umn.edu/~lmillerc/TeachingEnglishHomePage/TeachingUnits/web.htm
werewolves,devils,witches,mutantinsects,andmonsterswhothreatentotakeoveranddestroy
afamily,community,orworld.Thepowerofthegenre,aspopularizedbyStephenKings
novels,liesinitsabilitytocreateaninitialsenseofstabilityassociatedwitharealisticportrayal
ofafamiliar,everydayworldwhichanaudienceassociateswiththeirownworld.Thatinitial
senseofeverydaystabilityisthendisruptedbyanattackthatimpliesthatweareallmortaland
susceptibletodestruction.InTheNightoftheLivingDead,aninnocentcoupleisoutdrivingin
aruralareawhensuddenlythefemaleisattackedbyagroupofzombieswhohavecomeback
fromthedeadandneedtodestroyhumanstosurvive.Thezombiesrepresentnotonlypotential
destruction,butalsothelossofidentity/humanityassociatedwithdeath.Indescribinghisown
reactiontothefilm,BarryGrant(1995)notesthathewasshockedbytherealizationthatthefilm
wasnotsimplyaboutthezombies,butthatthezombiesrepresentedtheaverageperson,
includingoneofthecharacters,HarryCooper,whoismoreinterestedinsavinghimselfthan
helpingsavetheothercharacterstrappedinahouseunderattackbythezombies,andparticularly
whentheheroBenisshotattheendbythesheriffandthepossebecauseheismistakenforone
ofthelivingdead:
Thenightofthelivingdeadisnottheeveningofthefilmsnarrativebutthedarkness
inthehumanspiritbroughtaboutbytheabsenceofcompassionandunderstanding;and,
second,whothelivingdeadreallyarenotthelurchingzombiesbutaveragefolklike
HarryCooper,thesheriffandhismen,and,ultimately,myselfD.H.Lawrenceonce

referredtothosepeoplewhodidnotfullyembracewhatheperceivedasthelifeprinciple
asthelivingdead,sayingthattheywerebothangelsanddevils,atoncevibrantand
corrupt(p.125).

Similarly,intheInvasionoftheBodySnatcherfilms,thevictimslosetheirsenseof
individualityanduniquenessassociatedwithbeinghuman.Thethemeofthelossofidentityis
associatedwiththeissueofthecreationofthehumanmonsterinFrankensteinandwhether
ornotthecreatedmonsterishuman.Themadscientistcharacterwhocancreatethemonster
linkshorrortothesciencefictionthemeoftheuseoftechnologyfordestructivepurposes.
OneofthemostimportantofthehorrordirectorswasAlfredHitchcockwhosefilms
PsychoandTheBirdsemployedinnovativetechniquestocreateasenseofhorrificsuspensein
audiences.Morecurrenthorror/monsterslasherfilmssuchasHalloweenandFridaythe13th
employlesssubtlegraphicportrayalsofmurderandweremarketedforadolescentaudiences
throughsensationalizedtrailersandads.FilmssuchasTheSilenceoftheLambsandTheBlair
WitchProjectdealwithsomeofthebasicpsychologicalaspectsofhorrorinvolvedin
understandingmotivesassociatedwithmurder.TheBlairWitchProjectcreatesasenseof
everydayrealitydisruptedbymurderthroughtheuseofquasidocumentarytechniquesofthe
handheldcameratocreateafamiliarhomemoviecontextforaudiences.
Fromanaudienceanalysisperspective,oneissueassociatedwithhorrorfilmsisthe
presumedeffectsonviewersofviewingsensationalizedviolenthorrorfilmcontenton.Sincethe
inceptionofthegenre,criticshavechargedthatviolent,sensationalizedslasherhorrorfilms
haveanegativeinfluenceonadolescentaudiencesattitudesandbehaviorsrelatedtoviolence.
However,onequestiontoraiseaboutthiscritiqueistheextenttowhich,contrarytocritics
moralpanicsabouttheseadverseeffects,adolescentviewersarecapableofconstructingtheir
ownalternativemeaningsofthesetexts(HenryJenkinsandhissondiscussthetopicofmoral
panicsandresponsestoBuffytheVampireSlayerintermsofdifferencesingenerational
perspectives.
http://web.mit.edu/21fms/www/faculty/henry3/buffy.html
AllHorrorMovies
http://www.allhorrormovies.com/
HorrorFilmCompendium
http://www.xmission.com/~tyranist/horror/
ClassicHorrorthehistoryofhorror
http://classichorror.com/
DarkUniverse
http://darkuniverse.com/
TheChamberofHorrors

http://www.chamberofhorrors.20m.com/
HouseofHorrors
http://www.houseofhorrors.com/
DarkWebonline
http://www.darkwebonline.com/
ReelHorror
http://www.reelhorror.com/
ForeverHorror
http://www.michalak.org/fh/
Suite101:Horrorfilms:reviews
http://www.suite101.com/subjectheadings/contents.cfm/1311
HorrorWoodmagazine
http://www.horrorwood.com/
UniversityofCalifornia,BerkeleyLibrary:Bibliographyonhorrorfilms
http://www.lib.berkeley.edu/MRC/horrorbib.html
Webquest:EdgarAllanPoe:FatherofHorror
http://www.geocities.com/educationplace/poe/wqpoe.htm
Forfurtherreading:
Gelder,K.(2000).Thehorrorreader.NewYork:Routledge.
Grant,B.(1996).Thedreadofdifference:Genderandthehorrorfilm.Austin,TX:University
of
TexasPress.
Jancovich,M.(2001).Horror:Thefilmreader.NewYork:Routledge.
Jones,D.(2003).Horror:Athematichistoryinfictionandfilm.London:Arnold.
Skal,D.(2001).Themonstershow:Aculturalhistoryofhorror.London:Faber&Faber.
Wells,P.(2001).Thehorrorgenre.NewYork:WallflowerPress.

SuspenseThriller/Spy/Heist
Agenrerelatedtotheaction,mystery,detective,andevenhorrorfilmgenreisthe
suspensethriller/spy/heistfilmfeaturingplotsinwhichtheaudienceisneverquitesureifamain
characterwillsuccessfullyescapebeingharmedorwillsucceedonadangerousmission,or,in
thecaseoftheheistfilm,pullofftheheist.
http://www.filmsite.org/thrillerfilms.html

http://www.imdb.com/chart/thriller
http://www.bbc.co.uk/films/gateways/genre/thriller/index.shtml
http://movieweb.com/movies/search.php
AmericanFilmInstitute:100yearsofthrillerfilms
http://gary.appenzeller.net/AFI_Thrills_Y.htm

AlfredHitchcockwasthemasterofthesuspensethriller.Heplacedhischaracters,asin
NorthbyNorthwestorRearWindow,insituationsinwhichtheyarecontinuallyconfronting
deathastheirenemiesseektomurderthem.
AlfredHitchcocksites:
http://hitchcock.tv/
http://www.mysterynet.com/hitchcock/
http://www.imdb.com/name/nm0000033/
http://alfredhitchcock.directorscut.info/en/
http://www.hitchcock.nl/eng.htm
http://www.tdfilm.com/
Images:materialfromHitchcockfilms
http://www.imagesjournal.com/issue09/infocus.htm
Thespygenreinvolvesasimilarcomplicationinwhichthespyisplacedindangerous
situationsinwhichhistrueidentityasspymaybeexposed.Thespyheromustalsoemploy
manyofthenefarioustechniquesoftheenemytosurvive.
http://www.cia.gov/spy_fi/
http://www.geocities.com/swcomer/cloak_and_dagger/
Oneofthemostfamiliarofthethriller/spygenresistheJamesBondmovieseriesin
whichtheJamesBondcharactercreatedbyIanFlemingwasplayedbyfivedifferentactors:
SeanConnery(Dr.No,FromRussiaWithLove,Goldfinger,Thunderball,YouOnlyLiveTwice,
DiamondsAreForever),GeorgeLazenby(OnHerMajesty'sSecretService),RogerMoore(Live
andLetDie,TheManWiththeGoldenGun,TheSpyWhoLovedMe,Moonraker,ForYour
EyesOnly,Octopussy,AViewtoaKill),TimothyDalton(TheLivingDaylights,LicensetoKill),
andPierceBrosnan(GoldenEye,TomorrowNeverDies,TheWorldisNotEnough).What
accountsforthepopularityoftheJamesBondfilmseries?InastudyofBritishviewers
responsestothesefilmsduringtheColdWareraofthe1960s,BennettandWoollacott(1987)
foundthattheBondfilmsevokedastancethatinvitedaudiencestoadoptaproWestern,anti
Communist,masculineideologicalstanceconsistentwiththeprevailingculturalattitudesduring
thatperiod.Thus,themeaningandvalueoftheaction/adventuregenrefilmisnotembedded
withinthefilm,butresidesinthelargerculturalattitudesaudiencesbringtothefilm.
JamesBondsites:
http://www.jamesbond.com/
http://moviereviews.colossus.net/bond.html

http://www.klast.net/bond/filmlist.html
http://www.ianfleming.org/index.shtml
http://home.earthlink.net/~atomic_rom/007/films.htm
http://www.ajb007.co.uk/
Theheistgenre,includingfilmssuchasTheThomasCrownAffair,TheItalianJob,
Goodfellows,TheKilling,TheScore,TheGoodThief,Oceans11,Snatch,ThreeKings,TheWay
oftheGun,Gonein60Seconds,Heist,AFishCalledWanda,TheGrifters,NineQueens,
Croupier,TheHardWord,CatchMeIfYouCan,andLock,Stockand2SmokingBarrels,
typicallyinvolveagangsattempttopulloffahighlychallengingrobberyofextensivewealthor
executingaforgeryorartthiefrequiringalotofcarefulplanning.Intheactualheistitself,there
areoftensuspensefulmomentsinwhichitseemsasifthingswillgoawry,whichtheysometimes
do,onlytohavetheheistsucceed,butthen,oncetheyacquiretheirwealth,theyarenolonger
satisfiedbecausethethrillofpullingofftheheistisbehindthem.
Aboutmovies:Theheist
http://actionadventure.about.com/cs/heistmovies/index.htm
OtherimportantthrillersincludeStevenSpielbergsJawsandFrancisFordCoppola's,
TheConversation,aswellasSilenceoftheLambs,Speed,TheUsualSuspects,TheSixthSense,
andMemento.
Morehart,P.(2002).CharlesDerry:Thesuspensethriller.CityBeat.
http://citybeat.com/20020228/getlit.shtml
Schneider,K.(1999).Withviolenceifnecessary.JournalofPopularFilmandTelevision
http://www.findarticles.com/cf_dls/m0412/1_27/55437786/p1/article.jhtml
Forfurtherreading:
Chapman,J.(2000).Licencetothrill.NewYork:ColumbiaUniversityPress.
Cook,K.(2003).WakeinFright.NewYork:PrionBooks.
Cork,J.,&Scivally,B.(2002).JamesBond:Thelegacy.NewYork:HarryAdams.
DAbo,M.,(2003).Bondgirlsareforever:ThewomenofJamesBond.NewYork:Harry
Adams.
Derry,C.(2001).Thesuspensethriller:FilmsintheshadowofAlfredHitchcock.NewYork:
MacFarland.
Dougall,A.(2000).JamesBond:Thesecretworldof007.NewYork:Penguin.
Frank,A.(1998).Frank's500:Thethrillerfilmguide.NewYork:Batsford.
Hicks,N.(2002).Writingthethrillerfilm:Theterrorwithin.NewYork:MichaelWiese
Productions.
Leigh,J.,&Nickens,C.(1995).Psycho:Behindthescenesoftheclassicthriller.NewYork:
HarmonyBooks.
McGilligan,P.(2003).AlfredHitchcock:Alifeindarknessandlight.NewYork:ReganBooks.
Rubin,M.(1999).Thrillers.NewYork:CambridgeUniversityPress.

Rubin,S.(2002).ThecompleteJamesBondmovieencyclopedia,newlyrevisededition.New
York:McGrawHill.
SoapOpera
Thesoapoperatelevisiongenre
http://dmoz.org/Arts/Television/Programs/Soap_Operas/
http://dir.yahoo.com/News_and_Media/Television/Shows/Prime_Time_Soaps/
http://dir.yahoo.com/News_and_Media/Television/Shows/Soap_Operas/
isbestcharacterizedbyitsongoing,openendedserialnarrativedevelopmentthatengages
audienceswithitsgoodandevilcharactersandemotionalconflictsinwaysthatkeepsthem
tuninginweekafterweek.Oneformofthegenreconsistsofdaytimesoapopera:
AllMyChildren,AnotherWorld,AsTheWorldTurns,BoldandtheBeautiful,Coronation
Street,DaysofOurLives,GeneralHospital,GuidingLight,OneLifetoLive,Passions,Sunset
Beach,andYoungandtheRestless.
Intheseshows,thesettingsinearliershows,gearedprimarilyforafemaleaudience,were
interiorcontextsinhabitedbyuppermiddleclasscharactersupscalehomes/condos,
doctors/lawyersoffices,orexpensiverestaurants/resorts.Thesetraditionalcontextsreferredto
genderedoppositionsbetweenthefemaleasassociatedwiththehome,personalmatters,talk,
andcommunity,andthemaleasassociatedwithpublicactivity,work,action,and
individualism.Morerecently,asaudienceshavebroadened,thereareawidervarietyofsettings,
includingexteriorones.Theprimaryemphasisintheseshowsisonsubjective,interpersonal
conflictsassociatedwithdeception,miscommunication,infidelity,greed,jealously,needfor
control/power,orrevenge.Dramaticeventsarebuiltaroundtalk:arguments,lies,shouting
matches,gossip,accusations,falsepromises,etc.,associatedwitharangeofcomplex
relationshipswithinandacrossfamiliesandsocialnetworks.Underlyingtheseeventsisan
ethicaldilemmaastowhethercertainsocialnormshavebeenviolated,normsthatare
continuallybeinginterrogatedassocietychanges.Whilethereareanumberofongoing
subplots,conflictsarenevertotallyresolved,giventheongoingnatureoftheprograminwhich
audiencescantuneinatanytimeandunderstandthestory.

Inthe1970sand1980s,someoftheseprogramsmigratedtoprimetimeslots:Peyton
Place,Dallas,TwinPeaks,andDynasty,followedbyBeverlyHills90210,TheColbys,Falcon
Crest,KnotsLanding,MalibuShores,MelrosePlace,Pasadena,Savannah,SpyderGames,
Titans,andSexandtheCityinthe1990s.Theseoftenhighlymelodramaticprogramscontinued
tochallengetraditionalnormsofbehavior,asdidBeverlyHills90210andMelrosePlace,
presentingprimetimediscussionsofsexualityandrelationshipsthatservetoattractnew
adolescentaudiencestoprimetimeviewing.
Animportantcomponentofsoapoperaisthehighlyactive,loyalaudiencebase,as
manifestedinthemultitudeofsoapoperafanclubs
http://members.aol.com/soaplinks/index.html

http://soaps.about.com/cs/fanclubs/
http://www.soapcentral.com/ps/fanclubs.php
http://www.soapoperafan.com/
Theseclubsfunctiontoprovideinformationaboutepisodesaudiencesmayhavemissed,
aswellasspeculatingaboutwhatmayorshouldhappentocharacters.Chatroomdiscussions
alsofocusonissuesofthelackofrealism,ideologicalobjectionstostorydevelopments,and
analysisoftheactorsandactresses.And,theyserveasavicariousstimulusfordiscussing
relatedissuesinaudiencesownpersonallives.
Analysisofsoapoperaaudienceshasmovedawayfromtheearlierassumptionthatthe
largelyfemaleaudienceadoptedpassive,deludedstances(Tulloch,2001).Oneoftheimportant
issuesforaudiencesistheextenttowhichtheyacceptsoapoperaportrayalsasrealisticversus
fictionalrepresentationsofeverydayemotionalrelationships.Inanimportantstudyofaudience
responsetoDallas,IanAng(1985)positedthataudiencesresponsesareconstitutedbya
structureoffeelinginwhichemotionsassociatedwithmovementsbetweenhappinessand
unhappinessiscentraltofemaleaudiencesidentificationwithcharacters.Morerecentanalyses
ofaudiencesresponseshavefocusedonthevalueoftalkandgossipasimportanttoolsin
femalesownlives(Brown,1994;McKinley,1997).And,issuesofclassmayalsoshape
audienceresponses.CherylReinertsen,analyzedagroupofherdaughtersfemalefriends
weeklyviewingoftwotelevisionprograms,BeverlyHills90210andMelrosePlace.In
respondingtotheseprograms,thefemalesevidencedatensionbetweenvicariouslyexperiencing
thepleasureofromanticrelationshipsandtheirmiddleclass,achievementorientedattitudes.
Forexample,inoneepisodeof90210,afemalecollegestudentbecomesengagedtoanolder
man.Thegroupsharedtheirdispleasurewithherdecisiontobecomeengaged:Shelikeshim
justbecausehesrich.Sheshouldstayincollege.Shestooyoung.Waituntilherparents
findout.Theywillreallybemad(Reinertsen,1415).Theseresponsesreflectacommitment
tomiddleclassbeliefsinthevalueofsacrificingimmediateemotionalneedsinordertoobtain
economicsuccess.Inexaminingthetensionsbetweenthediscoursesofromanceandthe
discoursesofachievementorientation,someofthesefemalesbegintoreflectonhowthese
discoursesshapedtheirownresponsestotheseprograms.
TeachIt:writingaboutsoapoperas
http://www.teachit.co.uk/index.asp?M=3&A=5&S=185&Z=1#S185
Webquest:AsMt.OlympusTurns
http://projects.edtech.sandi.net/kearny/mythsoap/
BritishFilmInstitute:TeachingGuide:SoapOpera
http://www.bfi.org.uk/nationallibrary/collections/16+/soaps/soaps.pdf
Forfurtherreading:
Alexander,L.,&Cousens,A.(2004).TeachingTVsoaps.London:BritishFilmInstitute.

Buckley,E.,&Rout,N.(Eds.).(2004).Thesoapoperabook:Whoswhoindaytimedrama.
NewYork:ToddPublishers.
Fulton,E.(1999).Soapopera.Boston:St.MartinsPress.
Hobson,D.(2003).Soapopera.NewYork:PolityPress.
MuseumofTelevision.(1997).Worldswithoutend:Theartandhistoryofthesoapopera.New
York:HarryN.Abrams.
Witebols,J.(2004).Thesoapoperaparadigm:Televisionprogrammingandcorporate
priorities.NewYork:Rowman&Littlefield.

TheTalkShow
Thetelevisiontalkshow
http://directory.google.com/Top/Arts/Television/Programs/Talk_Shows/
http://dir.yahoo.com/News_and_Media/Television/Shows/Talk_Shows/
http://talkshows.about.com/mlibrary.htm
http://dmoz.org/Arts/Television/Programs/Talk_Shows/
http://www.interbridge.com/lineups.html
consistsoffourdifferentsubgenres:
1)themorningtalkshows:TodayShow,GoodMorningAmerica,andtheEarlyShow,aswellas
CSPANcallintalkshows.
2)thedaytimetalk:someofwhicharecharacterizedastabloidortheconfessional
(Shattuc,2001)talkshow,aswellascourtroomshows(ontheairin2002):JudgeJudy,Oprah
Winfrey,JudgeJoeBrown,MauryPovich,JerrySpringer,DivorceCourt,MontelWilliams,Live
withRegisandKelly,JudgeMathis,TexasJustice,People'sCourt,JudgeHatchett,John
Edward,JennyJones,RickiLake
3)primetime/latenighttalkshowcurrently(2002)LarryKingLive,TheTonightShowwith
JayLeno,LateShowwithDavidLetterman,LateNightwithConanO'Brien,TheCharlieRose
Show,andTheLateLateShowwithCraigKilborn
4)politicaltalkshowscurrently(2002)Crossfire,TheMcLaughlinGroup,MeetthePress,
FacetheNation,ThisWeek.ReliableSources,CapitolGang,CNNSundayMorning,Late
Edition,BothSides,FoxNewsSunday,andTheBeltwayBoys.
Themorningandprimetime/lateshowsretainaconsistentformatestablishedbyearly
hostsinthe1950sthrough1970s:forthemorningshows:DaveGarroway,ArleneFrancis,
ArthurGodfey,GarryMore,ArtLinkletter,MervGriffin,HughDowns,ErnieKovacs,Mike
Douglas;andforlateshows:JackPaar,SteveAllen,DickCavett,DavidSusskind,Barbara
Walters,andJohnnyCarson.BernardTimberg(2000),identifiesfivecharacteristicsofthis
subgenre:

thecentralityofthehost.TheprogramrevolvesaroundthehostLarryKing,JayLeno,David
Letterman,CharlieRoseasthecentralfigureoftheprogram.Thehostoftenhascontrolover
theshowscontentandguestselection.ThehostisoftensupportedbyothersEdMcMahon
wasJohnnyCarsonsstraightman,wholaughedathisjokesandprovidedanimmediate
conversationalaudience.Thehostsoftenserveascommoditiesfortheirnetworksfunctioning
topromotenotonlytheirshows,butalsothenetworkitselfandotherproducts.
thepresenttenseflow.Eventhoughtheshowsarepretaped,theyarehighlystructuredin
waysthatcreatetheillusionthattheyareoccurringliveinpresenttimefortheviewer
audience.
variedmodesofaddress.Thehostissimultaneouslyaddressingarangeofdifferentaudiences:
theimmediateaudienceonstage(guests,cohosts,orbandleader),theirstudioaudience,andthe
vieweraudience,allinwaysthatservetoengagethevieweraudienceastheintimateyou.
thecommodityfunction.Theshowservesnotonlyasanadvertisingvehicle,butitalsoserves
topromotethecelebritieswhoappearontheshow.Starsoftelevisionprogramsonthesame
networkoftenappearasgueststopromotethosenetworkprograms.
structuredspontaneity.Despitetheseeminglyspontaneousnatureoftheprogram,alargecast
ofwriters,producers,celebratingagents,andtechnicalpeopleconstructascripted,semi
rehearsedproductionthatadherestotimeconstraintsandcertainpublicitymessagestheywishto
convey.
Recentlytalkshowhostshavefunctionedtoprovidetheirownversionsofdailynews
eventsfortheirrelativelyyoungeraudienceswhomaynotbeacquiringnewsfromothersources.
Thedaytimetabloid/confessionalshow,suchTheOprahWinfreyShowtraditionally
appealedtomoreofafemaleaudience,butmorerecentlysensationalizedshowssuchasThe
JerrySpringerShowhasattractedanadolescentmaleaudience.Theseshowsareoften
organizedaroundparticularlythemesortopicsoftenrelatedtointerpersonalconflicts,health,
beautyand,onthetabloidshows,sex,drugs,anddivorce(Shattuc,2001).
Theincreasedpopularityofcourtroomshowsdramatizespersonalorfamilyconflicts
withinaseeminglylegalarea.Theseshowsattempttoactivelypromoteconflictsbetween
participants,oftenresultinginarguments,taunts,andphysicalfights.Theyalsoengage
audiencemembersasplayersintheseconflicts,askingthemtocreatealliancesbetweenthe
conflictingparticipants.Theseshowsfocusondramaticconflictbetweenparticipantsserveto
overlapwiththeconflictsportrayedinsoapopera(seesoapopera)andrealitytelevision.
Theconfessionalshowsfocusmoreonhavingparticipantsarticulatepersonalproblems
thatarethenaddressedbyanexpertorbythehostasamoralguide(Shattuc,2001).The
prevailingdiscourseoftheseshowsistherapeutictheassumptionthatthroughtalkingout

issuesandimprovinginterpersonalrelationships,problemscanbesolved,adiscoursethatmasks
theinfluenceofinstitutionalforces.Forexample,inananalysisofaseriesonracismonThe
OprahWinfreyShow,JanicePeck(1995)foundthatracewasdefinedprimarilyintermsof
interpersonalconflicts,resultingintheadmonitionthatifpeoplesimplytreatedeachothersas
humansandimprovedtheirrelationships,racialconflictwouldbemitigated,ananalysisthat
framesracismasamatterofpersonalprejudice.
FavoriteTalkShowForum
http://bhalter.tripod.com
PetersReviewsoflatenightshowtopics
http://www.petersreviews.com/latenite.html
Mittell,J.(2003).Televisiontalkshowsandculturalhierarchies.JournalofPopularFilmand
Television.
http://www.findarticles.com/cf_dls/m0412/1_31/101937867/p1/article.jhtml
Forfurtherreading:
Grindstaff,L.(2002).Themoneyshot:Trash,class,andthemakingofTVtalkshows.Chicago:
UniversityofChicagoPress.
Shattuc,J.(1996).Thetalkingcure:TVtalkshowsandwomen.NewYork:Routledge.
Timberg,B.(2002).Televisiontalk:AhistoryoftheTVtalkshow.Austin:UniversityofTexas
Press.

Thepoliticaltalkshow
http://www.alltalkshows.com/sunday_talk/shows.html
oftenfeaturescompetingpoliticalperspectivesfromwhatisdescribedastheliberalandthe
conservativeside,inwhichparticipantsarguewitheachotherinahighlydramatic,combative
mannerwithlittlecontextualizationordevelopmentofideas.DeborahTannen(1999)
characterizesthisastheargumentcultureinwhichoneuppingonesopponentsisvaluedmore
thanenlighteninganaudienceonanissue.Moreover,theguestswhoappearonSunday
morningtalkshowsgenerallyrepresentstatusquoinstitutionalperspectivesandarelargelywhite
males.OnestudybyTheWhiteHouseProjectofprogramsairedfromJanuary1,2001toJune
30,2001foundthemaleguestsoutnumberedfemalesby9to1;betweenSeptember11and
October28,thenumberoffemalesguestsdroppedby39%.
Radiotalkshows.Whilethismoduleongenresfocusesprimarilyonfilm/televisiongenres,there
isalsoastronglinkbetweenthetelevisionandtheradiotalkshowgenre.Radiotalkshows
http://search.yahoo.com/search?p=radio+talk+show
http://directory.google.com/Top/Arts/Radio/Formats/Talk_Radio/Programs/
suchasnationalNationalPublicRadioprograms,CarTalk,TheConnection,SoundMoney,
LetsTalkBusiness,TalkoftheNation,TalkoftheNation,ScienceFriday,SplendidTable,To
theBestofOurKnowledge

http://www.npr.org/about/programs/allnprprograms.html
aswellasnumerouslocalradiotalkshowsattractlargeaudiences.Incontrasttomostof
televisiontalkshows,theseshows,particularlythoseonNationalPublicRadio,areoftenmore
substantivebecausetheyarenotinfluencedbyavisualformatorbycommercialforces.Atthe
sametime,themajorityofcommercialtalkradioshowswithhostssuchasRushLimbaugh,
HowardStern,G.GordanLiddy,Dr.Laura,JamesDobson,andothersreflectapopularappealto
aloyalconservative,oftenmale,audienceduetoitsreputationaswhatHenryGiroux(1996)
describesas:
Thebadboyofthecommunicationindustry.Giventheunrehearsednatureoftalk,itis
lesscontrolledandmoreopentothespeakingtheunspeakable.Moreover,theoften
spontaneousnatureofitscontent,alongwithitsappealtoaudienceswillingtobelieve
thattheyhavebeenexcludedfrommainstreammedia,givestalkradioanoutlawstatus
and
popularitywithoftenmarginalizedsegmentsoftheAmericanpublic(p.151).
Thesehostsassumepoweroverthetopicscoveredbyscreeningcallssothatdeviantperspectives
areexcluded,underminingthepresumedbalancerequiredforbroadcasters.Programsthat
reflectamoreliberalorpopulistperspectivesuchasHightowerRadioonABCradiohave
difficultystayingontheair.WhenDisneypurchasedABC,theystoppedsupportingHightower
Radioanditwentofftheair.
TalkRadioNews
http://talkradionews.com/

Sports
Televisionsports/filmsaboutsports/outdoors/andsportstalkshowsconstituteamajor
genreintermsofaudiencesize,particularlyforchampionshipsportscoverageoftheWorld
Series,Superbowl,FinalFour,NBAchampionships,StanleyCup,WorldCup,TripleCrown,
Indianapolis500,andgolf/tennis/marathon/track/championships.Thesesportschampionships
manyofwhichareannualeventscanbethoughtofasmediaevents(Dayan&Katz,1992)
inwhichthetechniques,commentary,andpromotionhypethebroadcastasaspecial,unusual
eventthatwehaveallbeenwaitingfor.Forexample,coverageoftheSuperBowlbuildsonits
historybyshowinghighlightclipsofpreviousSuperBowlstocreateasenseofitsprestige.The
SuperBowlfunctionsasasocialeventinthelivesofmanyAmericans,whostructureparties
aroundviewingofthegame.
Televisionsportscoveragecombinestwocompetinggenreformsjournalismthat
attemptstoprovidebackgroundinformationaboutplayers,coaches,policies,contract
negotiations,andstrategiesandpromotionthatattemptstopromoteordramatizesportsin
ordertoattractanaudience(Brookes,2001).Thispromotionoftentakestheformofbuilding
upconflictbetweenopposingteams,aswellasusinginstantreplays,slowmotion,andcomputer
graphicstovisuallydramatizethecoverage.ThefocusonpromotionwasevidentintheNBC
coverageofthe2000Olympics,whichfocusedmoreonappealingtoAmericanaudiencesby

coveringprimarilyAmericanathletesandbyprovidingdramaticbackgroundbiographicalstories
abouttheseathletes,afocusthatsacrificedbalancedjournalisticcoverageoftheOlympics.
Sportscoveragealsoemphasizesthepersonalsideofplayerslives,emphasizinghow
playersorteamsastheunderdoghaveovercomeadversitiesinjuries,racial/sexistprejudice,or
downtimestogoontobecomeastar.Thisthemeofsucceedingagainstalloddsservesas
thebasisofsportsfilmssuchasTheNatural,Hoosiers,RagingBull,theRockyfilms,Major
League,WhiteBoysCantJump,andRemembertheTitans.Whatthesefilmsoftendonot
portrayishowvariousinstitutionalforcesandsystemsthemedia,sportsequipmentindustry,
competitivehighschool/collegesportsprograms,andfalsebeliefsaboutmakingitin
professionalsportsservetodefineathletesexperience.HoopDreams,
http://www.finelinefeatures.com/hoop/
adocumentaryabouttwoAfricanAmericanhighschoolbasketballstars,portraysthewaysin
whichthesestudentslivesareshapedbythesevarioussystems.
Oneoftheissuesinmediacoverageofsportsishowtheyportrayinstancesofviolent
actionsinwhichplayersmaydeliberatelyinjureanotherplayerorwhenplayersaresimply
injuredgiventheviolentnatureofcertainsports.Portrayalsofviolenceareoftenexcusedor
rationalizedwithaboyswillbeboysdiscourseofmasculinity.
MediaAwarenessNetworklesson:Violenceinsports
http://www.media
awareness.ca/english/resources/educational/lessons/elementary/violence/violence_in_sports.cfm
Arelatedissueconcernsthecoverageoffemalesinsportsmedia,somethingalludedtoin
Module4.Femalesareoftenportrayedmoreintermsoftheirappearanceandattractivenessas
opposedtotheirathleticabilities,whilemalesareportrayedintermsoftheirphysicalskillsand
strength.Muchofthisisduetotherelativelyhighpercentageofmalereportersand
commentatorscomparedtofemalereportersandcommentators,resultinginalargely
masculinediscourseperspectiveonsports.
EducationMediaFoundation:PlayingUnfair:TheMediaImageoftheFemaleAthlete
http://www.mediaed.org/videos/MediaGenderAndDiversity/PlayingUnfair
MediaAwarenessNetworklesson:MediaCoverageofWomenandWomen'sIssues
http://www.media
awareness.ca/english/issues/stereotyping/women_and_girls/women_coverage.cfm
WomensSportsFoundation:lotsonlinksoncoverageofwomeninsports
http://www.womenssportsfoundation.org/cgibin/iowa/issues/media/index.html
TuckerCenterforResearchonGirlsandWomeninSport
http://education.umn.edu/tuckercenter/default.html
GameFace:WhatDoestheFemaleAthleteLookLike?

http://www.gamefaceonline.org/
FemmeFan:forfemalesportsfans
http://www.femmefan.com/
Zine:GirlJocksRule
http://www.girljock.com/
Lesson:historyofmediacoverageofwomeninsports
http://www.riverdeep.net/current/2000/03/front.150300.women.jhtml
Oneoftheimportantsubgenresoftelevisionsportsisprofessionalwrestling,
http://www.wwe.com/
http://www.nwawrestling.com/
http://www.prowrestling.com/
http://dir.yahoo.com/Entertainment/Sports_Entertainment/Professional_Wrestling/Wrestlers/
apopulartelevisiongenre,particularlyforadolescentmales,whooftenmaketheirownbackyard
videoversionsthatmimictheshow.
Fromanaudienceperspective,HenryJenkins(1997)arguesthattheappealof
professionalwrestlingisthatitbuildsontraditionalmelodramaticconflictbetweengoodversus
evilinwhichworkingclassadolescentmalesidentifywiththegoodwrestlerwhoseeks
revengeagainstthechicaneryandtrickeryofthebadwrestler,whorepresentsthetraditional
authoritativeforceswhoseektolimitorcontrolthesemales.Jenkinsalsoarguesthatthehighly
participatorynatureoftheaudienceroleallowsmalestoexpresstheiremotionsinasafemanner.
Anothersubgenreistheoutdoorstelevisionshow
http://dmoz.org/Recreation/Outdoors/Television_Shows/
http://dir.yahoo.com/News_and_Media/Television/Shows/Recreation_and_Sports/Sports/
http://dir.yahoo.com/News_and_Media/Television/Shows/Recreation_and_Sports/Outdoors/
relatedtoprovidingusefulinformationabouthunting,fishing,camping,hiking,andgardening.
And,asubgenrethatsupportsthesportsindustryisthelargely(butnotexclusively)male
sportstalkshow
http://www.hbo.com/ontherecord/
http://www.timmccarver.com/
http://foxsports.lycos.com/content/view?contentId=532643
Whileitdrawsonthedaytimetalkshowformat,itdiffersfromtheoftentherapeuticdiscourses
oftheseshowsbyavoidingpersonalmattersandfocusingonsharingsportsinformationor
stats.
Theshowsalsoprovidealotofvisualdramabyreplayinggamehighlights,oftenforthepurpose
ofpromotingateam.Muchofthetalkrevolvesaroundissuesassociatedwithacelebrationof
competitivespirit/teamwork.

Thereisalsoanimportantrelationshipbetweensportsandadvertisingorpromotionsin
whichsportsstarsandteamsareusedinadsorusetopromotecertainproductsorevents.
MediaAwarenessNetworklesson:SportsPersonalitiesinMagazineAdvertising
http://www.media
awareness.ca/english/resources/educational/lessons/secondary/advertising_marketing/sports_ads.
cfm
TheNewYorkTimesLearningNetwork:ClaytonDeKorne,GettingIntheGame
ExploringInteractiveRelationshipsBetweenTelevisionShowsandtheInternet
http://www.nytimes.com/learning/teachers/lessons/20010607thursday.html?
searchpv=learning_lessons
TheNewYorkTimesLearningNetwork:AbbyRemerandAlisonZimbalist,KickingItAround
EvaluatingPerspectivesonWomen'sWorldCupSoccer:ALanguageArtsLesson.
http://www.nytimes.com/learning/teachers/lessons/19990709friday.html?
searchpv=learning_lessons
Webquest:ExtremeSports
http://www.longwood.k12.ny.us/wmi/wq/werner2/index.htm
Forfurtherreading:
Baker,A.,&Boyd,T.(Eds.).(1998).Outofbounds:Sports,media,andthepoliticsof
identity.Bloomington,IN:IndianaUniversityPress.
Creedon,P.(Ed.).(1994).Women,mediaandsport:Challenginggendervalues.Thousand
Oaks,CA:Sage.
Rowe,D.,&Rowen,D.(1999).Sport,cultureandthemedia:Theunrulytrinity.London:Open
UniversityPress.
Smith,R.(2001).Playbyplay:Radio,television,andbigtimecollegesports.Baltimore:Johns
HopkinsUniversityPress.
Sperber,G.(2001).Beerandcircus:Howbigtimecollegesportsiscripplingundergraduate
education.NewYork:OwlBooks.
Wenner,L.(Ed.).(1998).Mediasport.NewYork:Routledge.
Whannel,G.(2001).Mediasportstars:Masculinitiesandmoralities.NewYork:Routledge.
White.G.E.(1998).Creatingthenationalpastime.Princeton:PrincetonUniversityPress.
WEBSEARCH
GameShows/RealityTelevision
Gameshows
http://dmoz.org/Arts/Television/Programs/Game_Shows/
http://dir.yahoo.com/News_and_Media/Television/Shows/Game_Shows/
http://directory.google.com/Top/Arts/Television/Programs/Game_Shows/
beganinthe1950swithshowssuchasThe$64,000QuestionandTheBigPayoffwhich
ultimatelywentofftheairduetoscandalsassociatedwithprovidingcontestantswithanswers

thesubjectofthemovie,QuizShow.Betweenthattimeandthe1990s,someshows,sucha
WheelofFortune,WhatsMyLines,Jeopardy!,HollywoodSquares,ToTelltheTruth,orThe
PriceisRight,aswellasshowssuchasTheNewlywedGame,FamilyFeud,andTheDating
Game,continuedtobeaired,butwiththeWhoWantstobeaMillionaire?,initiallyairedin
Britain,andthenbyABCinthe1999/2000(sixandonehalfhoursaweekin2000),thegenre
becamethemostwatchedofalltelevisionshows.Theseshowscostlittletoproduceand,with
showssuchasWheelofFortune,canusesprizesasonemoremodeofadvertisingproducts.
Oneoftheappealsoftheshowistheidea,associatedwithadvertisingemployedto
promotecasinogambling,statelotteries,orhorseracing,isthatanyonecanwinthat
someonecanwalkinoffthestreetandwinlargesumsofmoney.Thisappealreflectsthelarger
culturalmyththatanyone,withalittleluck,canstrikeitrichasaprimarygoalinlife.This
servestofurtherpromotethelargerconsumerist,capitalistdiscourseconstitutingcommercial
televisioninwhichwinninginlifeentailsacquiringconsumergoods.
Oneofthekeyfeatures,similartothatofthetalkshow,istheunpredictablelivenessof
theshowstheirsenseofspontaneity,surprise,andimprovisation,which,asMichaelSkovmand
(2000),makesitdifficulttoanalyzethegenrefeaturesofparticularshowsasshapedbyasingle
organizingperspective:Oneprogrammaychroniclethefortunesoftheheroicfailure,another
theluckstreakofthemediocrecontestant.Thereisnotellinginadvance,becauseneitheran
absentauteurnorthehostoftheshowwieldsadetermininginfluenceonthecourseofevents
(p.368).
SkovmandarguesthatshowssuchasWheelofFortunearehighlyinclusiveinthatthey
arenotbasedonexclusivecompetenciesorexpertise,butratheronluckorchanceassociated
withcardgamesorbingo.Theunderlyingtheme,consistentwiththeanyonecanwincultural
myth,isthateveryonewins.Thedramaoftheprogram,accentuatedbyaudienceparticipation,
revolvesaroundtheelementofriskandluckassociatedwithselectingtherightanswer.This
focusongettingtherightanswersalsoreflectsmythsaboutknowledgeandschoolingas
primarilythatofacquiringinformation.
ThesuccessofthehighlypopularWhoWantstobeaMillionaire?andWhoWantsto
MarryaMultimillionaire?paralleledtheemergenceofthesimilarlycompetitivereality
televisionshows
http://dmoz.org/Arts/Television/Programs/RealityBased/
http://directory.google.com/Top/Arts/Television/Programs/RealityBased/
http://dir.yahoo.com/News_and_Media/Television/Shows/Reality_Television/
http://www.realitytvlinks.com/
http://www.realityblurred.com/realitytv/
inthelate1990ssuchasBigBrotherandSurvivor.Theseshowsbuiltontheearliertrauma
TVquasidocumentaryshows,Rescue911,RealLifeHeroes,andAmericasMostWanted
whichemploycamcorder/actualfootageportrayalofrealevents,firstpersonnarratives,
reconstructionofactualevents,andcommentatorsvoiceovers(Dovey,2001).Tothiswas
addedagamelikecontextinwhichparticipantswereportrayedinadocumentaryformat

competingwitheachotherandvotingonwhoremainsinthegame.Whiletheseshowslost
someoftheirpopularityafter9/11,theyremainpopularforcertainaudienceswhobecome
engagedwiththeparticipantslives.
Onereasonforthepopularityoftheseshowsisthat,incontrasttodramashows,theyare
relativelyinexpensivetocreate.Theyalsoinvolveahighlevelofconflictbetweenparticipants,
whichproducershighlightintheireditingofcontenttocreatesomedegreeofdrama.Students
couldexaminethewaysinwhichtheseshowsareshapedthrougheditingtechniquesandthe
degreetowhichtheshowsportraythecomplexitiesofrelationshipsandresponsetochallenging
situations.
Anothersubgenreofrealitytelevisioninvolvesplacingpeopleindifficultcontextsin
1900,inaLondonhousebasedonlifein1900
http://www.pbs.org/wnet/1900house/
andinFrontierHouse,inthe1883intheAmericanfrontierofMontana
http://www.pbs.org/wnet/frontierhouse/
andshowingthemcopingwiththedifficultiesoflifewithoutcontemporaryamenities.
Underlyingtheseshowsisabasicassumptiontheyareportrayingrealityintermsoftheevents
portrayedpeoplebreakingdownunderthestress,when,infact,therealityportrayedisoften
highlyedited,stagedeventstoshowmoredramaticmomentsofwhat,inreality,maybe
relativelyuneventfullives.Theseshowsalsoassumethatrealityentailsahighlycompetitive
setofrelationshipsbetweenpeopleaDarwiniansurvivalofthefittestworldinwhichthereare
alwayswinnersandlosers.
BethRowen:HistoryofRealityTV
http://www.infoplease.com/spot/realitytv1.html
RealityTVChannel
http://www.realitychannel.tv/
RealityTVPlanet
http://www.realitytvplanet.com/
RealityWorldTV
http://www.realityworldtv.com/
RealityNewsOnline
http://www.realitynewsonline.com/cgibin/ae.pl
FansofRealityTV
http://www.fansofrealitytv.com/
Lesson:TheRealityofRealityTV
http://ltag.tased.edu.au/effectteach/units7_10/English/Realitytv/realitytv_print.pdf.

Forfurtherreading:
Andrejevic,M.(2003).RealityTV:Theworkofbeingwatched.NewYork:Rowman&
Littlefield.
Balkin,K.(Ed.).(2004).RealityTV.NewYork:Greenhaven.
Brenton,S.,&Cohen,R.(2003).Shootingpeople:AdventuresinrealityTV.London:Verso.
Friedman,J.(Ed.).(2002).Realitysquared:Televisualdiscourseonthereal.
NewBrunswick,NJ:RutgersUniversityPress.
Murray,S.,&Ouellette,L.(2004).RealityTV:Remakingtelevisionculture.NewYork:New
YorkUniversityPress.
Smith,M.,&Wood,A.(2003).Survivorlessons:Essaysoncommunicationandreality
television.NewYork:McFarland.

Animation
WhileanimationasafilmtechniquewasdiscussedinModule3,itisalsoimportantto
examineanimationfilmsandtelevisionprogramsasagenre
http://www.imdb.com/Charts/Votes/animation
http://directory.google.com/Top/Arts/Animation/Movies/Titles/
http://directory.google.com/Top/Arts/Animation/Cartoons/
inwhichanimals,people,birds,trees,plants,andhousesaretransformedandpersonifiedas
humansviceversa.Thisemphasisonmetamorphosisofimagesisaprimarytoolassociatedwith
thefairytale/fableliterarygenreonwhichmanyanimationfilmsarebased:SnowWhiteandthe
SevenDwarfs,BeautyandtheBeast,Pinocchio,Bambi,Aladdin,SleepingBeauty,Cinderella,
TheManyAdventuresofWinniethePooh,andPeterPan.ManyoftheDisneyversionsofthese
storiesreflectaconsistentvalueorientationprivilegingainnocent,idealizedculturalmodelof
theworld.Forexample,TheManyAdventuresofWinniethePoohrepresentsahighlysanitized
versionoftheoriginalstories,inwhichthecomplexityofcharacterization;theimaginative,
literarylanguage;andthehighqualityartworkhasbeenreplacedbyblandversionsthatwash
outtherealistic,forebodingnaturethatliesattheheartoffairytalesandfables.
ManyoftheDisneyanimationfilmscontainsexistandracistrolerepresentations.Inhis
analysisofthesefilms,HenryGiroux(2001)
http://www.gseis.ucla.edu/courses/ed253a/Giroux/Giroux2.html
positsthatthefemalemaincharactersinTheLittleMermaid,BeautyandtheBeast,and
Pocahontasalladoptsubordinategenderrolesconsistentwithpatriarchicvalues.Forexample,
ArielinTheLittleMermaid,givesuphervoiceinordertoobtainlegssothatshecanpursuethe
handsomeprince,aliteralandsymboliclossofagencyforthepurposeofromance.InBeauty
andtheBeast,Belle,asdoestheheroineinromancenovelsandromanticcomedy,transformsthe
brutalbeastintoacaringmale,thedramatizationofhowthefemalesprimaryroleistosolvethe
malesproblem.And,inPocahontas,theNativeAmericanprincesssavesJohnSmithfrom
beingexecutedbyherfather,anotherportrayalofafemaledefiningherselfprimarilythrough
relationshipwithamale.

GirouxalsoidentifiesinstancesofracistportrayalsinAladdin,inwhichthevillainshave
Arabicphysicalfeaturesandaccents,areificationofEdwardSaid,OrientalismtheEuro
AmericanrepresentationoftheArabworldindeficittermsasforeign,bizarre,exotic,
mysterious,quasibarbaric,anddeceitful.InTheLionKing,theevillionScarisportrayedas
darkerthantheotherlions.WhiletheroyalfamilyspeaksinBritishaccents,thehyenastorm
troupersspeakinBlackdialect.Inallofthis,beingwhiteandmaleisassumedtobethe
privilegednormagainstwhichothersaresubordinated.Girouxarguesthatthisisconsistent
withthelargerDisneycorporatevaluesystemthatappealstoatraditionalwhite,middleclass
conservativeAmericanaudience.
However,contrarytotheDisneyfilms,animationfilmssuchasToyStory,ToyStory2,
MononokeHime,Shrek,Monsters,Inc.,WakingLife,andWhoFramedRogerRabbitemploy
creativetechniquesofthegenretoexplorealternativevalueperspectives.
MuchoftheSaturdaymorningcartoontelevisionshows
http://dir.yahoo.com/News_and_Media/Television/Shows/Animation/
suchasScoobyDee,ThePowerpuffGirls,Jem,Futurama,HeyArnold,Batman,areequally
sexistandlargelywhite.TheshowsTheSimpsons,BeavisandButtHead,SouthPark,and
KingoftheHillreflectamorecynical,irreverentstanceoncontemporarysociety.AsDouglas
Kellner(2000)argues,whilecriticsblamedthecharactersonBeavisandButtHeadasnegative
examplesforadolescents,theshow,derivedfromWaynesWorldandotheraspectsofmedia
culture,ismoreofacritiqueoftheeconomicdeclineoftheworkingclassfamily,thelackof
educationalandemploymentopportunities,andcontemporarymediaculture.Incontrastto
Disneysidealized,innocentversionofAmericanculture,forKellner,thecharacters
destructivenessreflects:
theirhopelessnessandalienationandshowsthedeadendprospectsformanyworking
classandmiddleclassyouths.Moreover,theseriesalsoreplicatesthesortofviolence
thatissowidespreadinthemediafromheavymetalrockvideostoTVentertainment
andnews.Thurs,thecharactersviolencesimplymirrorsgrowingyouthviolenceina
disintegratingsocietyandallowsthepossibilityofadiagnosticcritiqueofthesocial
situationofcontemporaryyouth(p.325).
AnimationJournal
http://www.animationjournal.com/
Forfurtherreading:
Bruna,K.R.(2004).Addictedtodemocracy:SouthParkandthesalutaryeffects
ofagitation(ReflectionsofarantingandravingSouthParkjunkie).
JournalofAdolescent&AdultLiteracy,47(8).
http://www.readingonline.org/newliteracies/lit_index.asp?HREF=/newliteracies/jaal/5
04_column_med/index.html
Irwin,W.,&Conard,M.,&Skoble,A.(Eds.).(2001).TheSimpsonsandphilosophy:
Thed'oh!ofHomer.NewYork:OpenCourt.

Keslowtiz,S.(2003).
TheSimpsonsandsociety:Ananalysisofourfavorite
familyanditsinfluenceincontemporarysociety.NewYork:Hats
OffBooks.
Stabile,C.,&Harrison,M.(2003).Primetimeanimation:Televisionanimation
andAmericanculture.NewYork:Palgrave.
Wells,P.(1998).Understandinganimation.NewYork:Routledge.
Williams,R.(2002).Theanimator'ssurvivalKit:Amanualofmethods,
principles,andformulasforclassical,computer,games,stopmotion,
andInternetanimators.London:Faber&Faber.
Comics
Anotherimportantgenreisthatofthecomicbook.
http://dir.yahoo.com/Entertainment/comics_and_animation/comic_books/
http://dmoz.org/Arts/Comics/
Teacherscanhavestudentsstudycomicsbothintermsofthehistoricaldevelopmentof
comicsfromearlyriseofthesuperherofiguresofthe1920sand1930stothepatrioticheroofthe
1940stothecensorshipofthe1950swhichdidlittletoundercuttherisingpopularityofcomic
booksduringthatperiod.
http://www.geocities.com/SoHo/5537/hist.htm
http://www.comicart.com/history.htm
http://www.dereksantos.com/comicpage/comicpage.html
Theycanalsoexaminetheriseofsomeofthemajorcomicbookspublishers,DC,
Marvel,Disney,Archie,Darkhouse,ImageComicsandhowtheyeachestablishedtheirown
uniquestyle,forexample,theMarvelcomicbookstyleofSpiderman.
DCComics
http://www.dccomics.com/
MarvelComics
http://www.marvel.com/flash.htm
DisneyComics(unofficialsite)
http://www.wolfstad.com/dcw/
DarkhorseComics
http://www.darkhorse.com/
ImageComics
http://www.imagecomics.com/
ArchieComics
http://www.archiecomics.com/9.html
Studentscanalsoexaminedatabasesofcomicstoexaminehistoricaltrendsintheshifting
developmentofcomics:
MichiganStateUniversityLibrary,Comicbookgenres

http://www.lib.msu.edu/comics/rri/grri/genre.htm#genres
GrandComicBookDatabase
http://www.comics.org/
TheComicBookHomepage
http://www.geocities.com/SoHo/5537/index.htm
ComicBookResources
http://www.comicbookresources.com/
WordsandPicturesVirtualMuseum
http://www.wordsandpictures.org/index.cfm
JamesBranchCabellLiteracy:ComicArtsCollection
http://www.library.vcu.edu/jbc/speccoll/comicbk1.html
MichaelRhode:ComicsResearchBibliography
http://rpi.edu/~bulloj/comxbib.html
ComicsArchive
http://my.execpc.com/~icicle/main.html
NewYorkCityComicBookMuseum
http://www.nyccomicbookmuseum.org/main.htm
Studentscanalsostudytheartisticaspectsofcomicbookdesignbyanalyzingtheuseof
technicalaspectsofblocking,shiftingbetweenblocks,visualdisplay,lines,dialogueballoons,
storysummaries,etc.,relatedtothedevelopmentofstorylinesandcharacters.Iftheydonot
haveaccesstocomics,theycangoonline:
1,043comicstrips/panels
http://dmoz.org/Arts/Comics/Comic_Strips_and_Panels/
145onlinecomicbooks
http://dmoz.org/Arts/Comics/Online/Comic_Books/
WebComics
http://www.webcomics.com/
Theycanthenconstructtheirowncomicbooksusingonlineresources/fonts/images
http://www.idleworm.com/how/index.shtml
http://www.members.shaw.ca/creatingcomics/artists.html
http://www2.comicbookfonts.com/e/env/0001miAMMDkKuWsmdE8E7G9/home.html?
link=/home.html
http://www.studiodae.com/whizbang.html
http://www.balloontales.com/index.html
http://www.polykarbon.com/
http://www.hoboes.com/html/Comics/Creators/
http://www.blambot.com/
http://www.mangaschool.com/
Teacherscanalsoconsiderintegratingcomicsintotheliteraturecurriculumbyselecting
storiesandcharactersfromcomicsconsistentwiththethemesortopicsofaparticularliterature

unit.Forausefuldiscussionofwhataspectsofcomicsappealstostudents,andhowtohelp
studentsseeRobynHill,(2002),TheSecretOriginofGoodReaders:AResourceBook.
http://www.nightflight.com/secretorigin/(pdf,onlinebook).
ComicsWorthReading:reviews
http://www.comicsworthreading.com/
ComicBooksforYoungAdults
http://ublib.buffalo.edu/libraries/units/lml/comics/pages/
GirlsintheComics
http://www.gnofn.org/~jbourg/grrls/comix/comix.htm
NationalAssociationofComicsArtEducators
http://www.teachingcomics.org/
TheComicsJournal
http://www.tcj.com/1_frontdesk/about.html
TeachersGuidetoUsingProfessionalCartoonists
http://cagle.slate.msn.com//teacher/
StudyGuides:TeachingComics
http://www.teachingcomics.org/studyguide.php#studyguides
SteveHiggins,AdvocatingComics,BrokenFrontier
http://www.brokenfrontier.com/columns/advocatingcomics/archive/2004/acfeb20.htm
Comicsblog
http://comics.212.net/
Forfurtherreading:
Carrier,D.(2001).Theaestheticsofcomics.UniversityPark,PA:PennsylvaniaState
UniversityPress.
Klock,G.(2002).Howtoreadsuperherocomicsandwhy.NewYork:ContinuumPublishing.
McAllister,M.,Sewell,E.,&Gordon,I.(Eds.).(2001).Comics&ideology.NewYork:Peter
Lang.
McCloud,S.(1994).Understandingcomics.NewYork:Perennial.
Morice,D.(2002).Poetrycomics.NewYork:Teachers&WritersCollaborative.
Varnum,R.,&Gibbons,C.(2002).Thelanguageofcomics:Wordandimage.Oxford,MS:
UniversityPressofMississippi.
Versaci,R.(2001).Howcomicbookscanchangethewayourstudentsseeliterature:One
teacher'sperspective.EnglishJournal,90(7),6167.
http://www.teachingcomics.org/curriculum/perspective.php

Wright,B.(2003).Comicbooknation:ThetransformationofyouthcultureinAmerica.
Baltimore:JohnsHopkinsUniversityPress.
GraphicNovels
Relatedtothecomicbookisthegraphicnovel,whosepopularityinthepast20yearshas
increaseddramatically.ProbablythebestknowngraphicnovelisArtSpiegelman'sMAUS,
whichportraystheworldofaPolishJewishghettoduringWorldWarIIinacomicformat.
ArtSpiegelman'sMAUS:WorkingThroughTheTraumaoftheHolocaust
http://jefferson.village.virginia.edu/holocaust/spiegelman.html
Thegraphicnovelcombinesthevisualmaterialofcomicbookswiththenovelformandthey
tendtobewrittenformoreofanadolescentaudience,althoughalotofgraphicnovelsare
popularwithupperelementaryschoolstudents.Indescribingthedifferencesinaudience,Keir
Graff(2003)noted:
Ivedevelopedasimplesystemthatwillavoidoffendingeventhemostcondescending
comicbookcognoscenti:ifitsclearlyforchildren,suchasCaspertheFriendlyGhost,
usecomicbookwithconfidence;foranythingelse,usegraphicnovel.Youmayreceivea
smugcorrection,explainingwhyDanielClowes8BallisacomicbuthisGhostWorldis
agraphicnovelaficionadosareanotoriouslydetailorientedlotbutyouwonthave
erredbytellingafanhisfavoriteformisjustkidstuff.
Andwhattheheckaremanga?Japanesecomics,notedforcharacterswithbighairand
bigeyes.Intheirhomecountrytheyhavefansofallagesandbothgenders.Thoughthe
storysensibilityisverydifferent,mangaarthasbeeninfiltratingAmericanpopculture
forsometime.Evenifyouthinkyourenotfamiliarwithit,youprobablyhaveseensome
examplesalready(thinkPokmon).
JessicaAbel:WhatisaGraphicNovel?(avisualintroductiontothegenre)
http://www.artbomb.net/comics/introgn.jsp
Onlinegraphicnovels
http://www.esheep.com/main.shtml
http://www.fantagraphics.com/comics/comics.html
http://www.nbmpublishing.com/
http://www.artbomb.net/home.jsp
BestGraphicNovelsReviewed
http://www.rationalmagic.com/Comics/Best.html
101BestGraphicNovels
http://www.bookfinder.us/review6/1561632856.html

SchoolLibraryJournal:GraphicNovelsRoundup
http://www.schoollibraryjournal.com/community/152/Graphic+Novels+Roundup/21355
Gorman,M(2002,August1).WhatTeensWant:30GraphicNovelsyouCan'tLiveWithout.
SchoolLibraryJournal
http://www.schoollibraryjournal.com/index.asp?layout=article&articleid=CA236064
Examplesofgraphicnovels:
Asamiya,K.,Batman:ChildofDreams.
Bendis,B.,UltimateSpiderManPowerandResponsibility.
Brennan,M.,ElectricGirl.
Busiek,K.,KurtBusiek'sAstroCityLifeintheBigCity.
Charlip,R.Fortunately.
Clowes,D.,GhostWorld.
Collins,M.&Rayner,R.RoadtoPerdition.
David,L.,BeetleBoy.
DeMatteis,J.M.&Barr,G.,BrooklynDreams.
Dixon,C.,&Gorfinkel,J.BirdsofPrey.
Eisner,W.,AContractwithGodandotherTenementStories.
Eisner,W.CityPeopleNotebook
Eisner,W.NewYork:TheBigCity.
Ennis,G.,Preacher:DixieFried.
Fujishima,K.,OhMyGoddess!1555GODDESS.
Gaiman,N.,BlackOrchid.
Gaiman,N.,DeathTheHighCostofLiving.
Geary,R.,TheMysteryofMaryRogers.
Giardino,V.,AJewinCommunistPrague:Adolescence.
Gonick,L.,TheCartoonHistoryoftheUniverseII.
Groening,M.,BartSimpson'sTreehouseofHorrorSpineTinglingSpooktacular.
Hernandez,G.,Palomar:TheHeartbreakSoupStories.
Hosler,J.,ClanApis.
Inzana,R.JohnnyJihad.
Kafka,F.,Kuper,P.,&Feiffer,J.GiveItUp!AndOtherShortStories.
Kafka,F.,TheMetamorphosis.Ed.andillus.byPeterKuper.
Kim,H.,MySassyGirl.
Kiyama,H.F.,TheFourImmigrantsManga.
Kubert,J.,Yossel:April19,1943:AStoryoftheWarsawGhettoUprising.
Kudo,K.,MaithePsychicGirl.
Kuper,P.,Giveitup!Andotherstories.
Laird,O.L.,Jr.,Laird,T.N.,&Bey,E.A.,StillIrise.
Laird,R.,StillIRise:ACartoonHistoryofAfricanAmericans.
Loeb,J.,Batman:theLongHalloween.
MessnerLoebs,W.&Kieth,S.,EpicurustheSage.

Millar,M.,UltimateXMen:TheTomorrowPeople.
Miller,F.,SinCity.
Miller,R.,ElektraAssessin.
Mills,P.,Slaine:TheHomedGod.
Miyazaki,H.,NausicaaoftheValleyofWindPerfectCollectionVol.1
Moore,A.,PrometheaBookOne.
Moore,T.,StrangersinParadiseHighSchool!
Morrison,G.,ArkhamAsylum.
Mueller,J.,Oink:HeavensButcher.
Nishiyama,Y.,HarlemBeatNo.1.
Petrie,D.,BuffytheVampireSlayerRingofFire.
Rabagliati,M.,PaulHasaSummerJob.
Rall,T.2024.
Ross,A.,&Dini,P.,Superman:Peaceonearth.
Sacco,J.TheFixer:AStoryfromSarajevo.
Sakai,S.,UsagiYojimboGrasscutter.
Satrapi,M.,Persepolis:TheStoryofaChildhood.
Smith,C.LokiandAlex:TheAdventuresofaDogandHisBestFriend.
Smith,J.,BoneOutfromBoneville.
Smith,K.,DaredevilVisionaries.
Spiegelman,A.,&Kidd,C.,JackColeandPlasticMan.
Takahashi,R.,Ranma1/2VolumeI.
Thompson,C.,Blankets.
Ware,C.,QuimbytheMouse.
Watson,A.,Geisha.
Wegman,W.,SurpriseParty.
Wegman,W.,LittleRedRidingHood.
Wegman,W.,MyTown.
Weissman,S.,WhiteFlowerDay.
Winick,J.,Pedro&MeFriendship,Loss,&WhatILearned.
Winick,J.,TheAdventuresofBarryWeen,BoyGenius.
Woodring,J.,TheFrankBook.
TheLibrarian'sGuidetoAnimeandManga
http://www.koyagi.com/Libguide.html
RecommendedGraphicNovelsforPublicLibraries
http://my.voyager.net/~sraiteri/graphicnovels.htm
Graphicnovelreviews
http://www.geocities.com/SoHo/Study/4273/graphic.html
http://www.rambles.net/gnovels.html
Manga/GraphicNovels

http://www.rightstuf.com/1800338
6827/catalogmgr/jcfMPiWuflAy5x62Ip/browse/category/4/644/0
NoFlyingNoTights:teenreviewsofgraphicnovels
http://www.noflyingnotights.com/
Webquest:NetForcetheusesofgraphicsontheWebbasedongraphicsincomicbooks
http://www.geocities.com/lukasaurus_smith/
ChandlerOlcott,K.,&Mahar,D.(2001).Consideringgenreinthedigitalliteracyclassroom.
ReadingOnline,5(4).(teachingAnimegenreforms)
http://www.readingonline.org/electronic/elec_index.asp?HREF=hillinger/index.html
Forfurtherreading:
Bruggeman,L.(1997).Zap!whoosh!kerplow!Buildhighqualitygraphicnovelcollections
withimpact.SchoolLibraryJournal,January:2227.
Crawford,P.(2004).Anovelapproach:Usinggraphicnovelstoattractreluctantreaders.
LibraryMediaConnection.2628.
Eisner,W.(1996).Graphicstorytellingandvisualnarrative.NewYork:PoorhousePress.
Frey,N.,&Fisher,D.(2004).Usinggraphicnovels,Anime,andtheInternetinanurbanhigh
school.EnglishJournal,93(3),1925.
Gorman,M.(2003).Gettinggraphic!Usinggraphicnovelstopromoteliteracywithpreteens
andteens.Worthington,Ohio:LinworthPublishing.
Gorman,M.(2003,November/December).Graphicnovelsandthecurriculumconnection.
LibraryMediaConnection,2021.
Miller,S.,&Shoemaker,J.(Eds.).(2004).Developingandpromotinggraphicnovel
collections.NewYork:NealSchumanPublishers.
Rothschild,D.A.(1995).Graphicnovels:Abibliographicguidetobooklengthcomics.
Englewood,CO:LibrariesUnlimited.
Sabin,R.(2001).Comics,comix&graphicNovels:AhistoryOfcomicart.NewYork:
PhaidonPress.
Schwarz,G.E.(2002,November).Graphicnovelsformultipleliteracies.Journalof
Adolescent&AdultLiteracy,46(3).
http://www.readingonline.org/newliteracies/lit_index.asp?HREF=jaal/11
02_column/index.html
Weiner,S.(2002).Beyondsuperheroes:Comicsgetserious.LibraryJournal,127(2),
5558.http://www.libraryjournal.com/index.asp?
layout=articleArchive&articleId=CA191649&display=searchResults&stt=001
Weiner,S.,&Decandido,K.(Eds.).(2003).The101bestgraphicnovels.NewYork:NBM
Publishing.
Weiner,S.,&Couch,C.(Eds.).(2004).Theriseofthegraphicnovel.NewYork:NBM
Publishing.

TeachingActivity
AskstudentstoworkinpairstopresentaPowerPointpresentationononeparticularfilm
ortelevisiongenre.
1. DosomeresearchonagenrebygoingontheWebviaGoogle(typeinnameofgenre)or
usingthelinksinthismodule.
2. Summarizethekeycomponentsofthegenreintermsofthe:
- prototypicalroles
- setting(s)
- language/discourse
- typicalstorylinesintermsoftheproblems/issuesdealtwith(crime),whosolvesthe
problem(thetoughcop),themeansusedtosolvetheproblem(violence),and
themes(thatcrimedoesntpay),andvalueassumptions(eyeforaneye,toothfora
tooth).
3. Findavisualstillclip(fromtheWeb)orURLthatcontainsavideoclip(trailerswould
beveryusefulgotothetrailersites
http://www.apple.com/trailers/
http://www.darkhorizons.com/trailers.php
http://www.movielist.com/
http://home.real.com/?src=rg
http://www.theater.nl/onstage/0,2083,1753,00.html
http://www.vidnet.com/
http://www.hollywood.com/multimedia/
http://uk.imdb.com/Sections/Trailers/
http://www.sonypictures.com/spe/zones/clip_vault_index.html
4. PrepareasummaryinPowerPoint.
References
Altman,R.(1995).Asemantic/syntacticapproachtofilmgenre.InB.K.Grant(Ed.),Film
GenreReaderII(pp.2640).Austin:UniversityofTexasPress.
Ang,I.(1985).WatchingDallas:Televisionandthemelodramaticimagination.NewYork:
Routledge.
Bennett,T.,&Woollacott,J.(1987).Bondandbeyond:Thepoliticalcareerofapopularhero.
NewYork:Methuen.
Brooks,R.(2001).Sport.InG.Creeber(Ed.),Thetelevisiongenrebook(pp.8789).London:
BritishFilmInstitute.
Brown,M.E.(1994).Soapoperaandwomenstalk.ThousandOaks,CA:Sage.
Creeber,G.,ed(2001).Thetelevisiongenrebook.London:BritishFilmInstitute.
Dayan,D.,&Katz,E.(1992).Mediaevents:Thelivebroadcastingofhistory.Cambridge,
MA:HarvardUniversityPress.
Desser,D.(2000).Themartialartsfilminthe1990s.InW.Dixon(ed),Filmgenre2000:
Newcriticalessays(pp.77110)Albany,NY:SUNYPress.
Dovey,J.(2001).RealityTV.InG.Creeber(Ed.),Thetelevisiongenrebook(pp.134137).
London:BritishFilmInstitute.

Fiske,J.(1994).Audiencing:Culturalpracticeandculturalstudies.InN.Denzin&Y.Lincoln
(Eds.),Thehandbookofqualitativeresearch(189198).ThousandOaks,CA:Sage.
Giroux,H.(2001).Themousethatroared:Disneyandtheendofinnocence.NewYork:
Rowman&Littlefield.
Giroux,H.(1996).Fugitivecultures:Race,violence&youth.NewYork:Routledge.
Graff,K.(2003,February1).ReferencesontheWeb:Graphicnovels.
Booklist.
http://www.ala.org/ala/booklist/speciallists/speciallistsandfeatures3/referenceonweb/graphicn
ovels.htm
Grant,B.K.(1995).Experienceandmeaningingenrefilms.InB.K.Grant(Ed.),Film
GenreReaderII(pp.114127).Austin:UniversityofTexasPress.
Hartley,J.(2001).Situationcomedy.InG.Creeber(Ed.),Thetelevisiongenrebook(pp.65
67).London:BritishFilmInstitute.
Jenkins,H.(1992).Textualpoachers:Televisionfansandparticipatoryculture.NewYork:
Routledge.ever
Jenkins,H.(1997)."Nevertrustasnake!:WWFwrestlingasmasculinemelodrama.InA.
Barker&T,Boyd(Eds.),OutofBounds:Sports,MediaandthePoliticsofIdentity,
Bloonington,IN:IndianaUniversityPress.
Kellner,D.(2000).BeavisandButtHead:Nofutureforpostmodernyouth.InH.Newcomb
(Ed).,Television:TheCriticalView(pp.319329).NewYork:OxfordUniversityPress.
McKinley,E.G.(1997).BeverlyHills90210:Television,gender,andidentity.Philadelphia:
UniversityofPennsylvaniaPress.
Miller,T.(2001).Theactionseries.InG.Creeber(Ed.),Thetelevisiongenrebook(pp.17
19).London:BritishFilmInstitute.
Peck,J.(1995).TVtalkshowsastherapeuticdiscourse:Theideologicallaborofthetelevised
talkingcure.CommunicationTheory,5(1),
Pungente,J.J.,&OMalley,M.(1999).Morethanmeetstheeye:Watchingtelevision
watchingus.Toronto:McClelland&Stewart.
Reinertsen,C.(1993).Wednesdaynightisgirls'night."Unpublishedpaper.Minneapolis:
UniversityofMinnesota.
Schatz,T.(1995).Thestructuralinfluence:Newdirectionsinfilmgenrestudy.InB.K.Grant
(Ed.),FilmGenreReaderII(pp.2640).Austin:UniversityofTexasPress.
Scott,A.O.(2002,June16).Ahungerforfantasy,Amovieempiretofeedit.TheNewYork
Times.1,26
Shattuc,J.(2001).Theconfessionaltalkshow.InG.Creeber(Ed.),Thetelevisiongenrebook
(pp.8487).London:BritishFilmInstitute.
Skovmand,M.(2000).BarbarousTVInternational:SyndicatedWheelsofFortune.InH.
Newcomb(Ed.),Television:TheCriticalView(pp.367383).NewYork:OxfordUniversity
Press.
Sontag,S.(1969).Againstinterpretation.NewYork:Dell.
Tannen,D.(1999).Theargumentculture:StoppingAmericaswarofwords.NewYork:
Ballentine.
TheWhiteHouseProject.(2002).Women'sPresenceonPoliticalTalkShowsBeforeandAfter
Sept.11.

http://www.simginc.com/whp/pressrelease.pdf
Welsh,J.(2000).Actionfilms:Theserious,theironic,thepostmodern.InW.Dixon(ed),
Filmgenre2000:Newcriticalessays(pp.161176)Albany,NY:SUNYPress.
Tulloch,J.(2001).Soapoperasandtheiraudiences.InG.Creeber(Ed.),Thetelevisiongenre
book(pp.5557).London:BritishFilmInstitute.

TeachingactivitiesongenredevelopedbystudentsinCI5472,Spring,2004:
LouiseCovertandBeccaRobertson
IthinkitwouldbeinterestingtolookatthetrulyAmericanWesterngenrewithmystudentsand
exploretheevolutionofthetypeoffilminthehistoryofAmericanMoviemaking.Inparticular,
Ithinkitwouldbeanexcellentwaytolookattheevolutionofhowwomenandmenwereand
arenowportrayedinearlierandmorerecentwesternfilmmaking.Also,thedifferenceinthe
dignityaffordedtoNativeAmericansinDancesWithWolvesasjuxtaposedwithearlywesterns
andtheinaccuratestereotypesofthatculture.
Ienjoyteachingstudentsaboutthespaghettiwesterns(Italianmovies),andsomeofthemost
popularearlyAmericanactorswhobecamefamousintheirrolesascowboysorlawmeninthe
earlywest(ruggedindividualism,outsider).
Ialsolikecomparingandcontrastingthemovie,TheMagnificent7
(awestern)andTheSevenSamuraioneofmyfavoriteJapanesefilms...(theindividualvs.
collectivevaluesreflectedtherein...andthetransformationoftheAmericanheroesinthatfilm
(Magnificent7)toamorecollectiveeffortthesavethetownspeoplefromtheraidersandbandits.
Ithinkthat,asaclass,wewouldgothroughsomeoftheseelementsofthegenre,andthenI
wouldaskstudentstofurtherexploreoneormoreaspectsofthewestern'sevolutionandprovide
examplestoexplainandsharewithourclass.
MaryHagenandBethO'Hara
Inteaching7thgradelanguageartsonelessonweexploreissettingwhatitisandhowthe
authorcreatesit.Thisisaperfectopportunitytobringinfilm/TVtoexaminesettingandhowit
iscreated.Itwouldbeinterestingtocomparethesettingsindifferentgenresandexaminehow
theyarecreatedbytheauthorsandhowtheyaffectthestoryline/characters.Finding
generalizationsacrossgenresandtypicalaspectstothesettingofdifferentgenreswouldbe
accomplishedbybreakingintogroupstoexplorecertaingenresandreportingbacktothegroup
onwhatinformationtheyfoundaboutsettingandtheirgenre.Itwouldbeespeciallyinteresting
tolookatsuchgenresasthewesternandwhat7thgraderstodaythinkofthemmyguessis
mostarenotveryfamiliarduetotheirage.Mynextstepwouldbetoexaminecharactersacross
thegenreshowtheyarecreatedandwhattypesofcharactersaretypicalincertaingenres.
Ourmaingoalwouldbeforthestudentstoconstructtheirownknowledgeaboutaspectsof
certaingenres,exploregenrestheyarenotalreadyfamiliarwith,andrelategenretosettingand
characters,etc.
KatrinaThomsonandJennieViland
Havestudentspickanindependentnoveltoreadinagenrethattheyenjoy(e.g.sciencefiction,
romance,mystery,detective,horror,historicalorwhatever).Aftertheyhavereadit,havethem
find/chooseafilmofthesamegenre(butnotthefilmversionofthesamebookthatwaythat
can'tgetawaywithjustwatchingthemovie).Havethemcomparethetwointermsofthe

characteristicsofthegenre.Whataretheelementsthataresimilarand/ordifferentinthe
differentmedia?Afurtherexercisemightbetorightafilm/bookreviewofeach,ortowritea
"pitch"abouthowthestudentwouldturnthebookintoafilmdrawingonthecharacteristicsof
thatgenretobringittolife(elementssuchascast,setting,specialeffectsetc.shouldbeincluded
inthepitch).

AdamBanse&DanGough
Justasspoofsareagoodentrywayintoexploringandunderstandingadvertising,theycouldalso
beusedtoexaminegenreinfilm.
Studentscouldresearchgenres,justaswedidinclass,andestablishalistofnormsand
regulationscommonlyassociatedwiththatgenre.Studentscouldthenplaywiththegenreby
creatingaspoof.StudentscouldcompletethisassignmentbymakingtheirownspoofImovie,
storyboardingaspoofmovie,writingascreenplayproposalorevenjustdesigningaposterfora
spoofmovieofagenre.
Bytakingapartthegenre,wefeelthatstudentsmayconstructabetterunderstandingofitas
well.Theprocesscouldbemodeledbyshowingclipsoffamousspoofmoviesandexploring
howtheysubvertthenorms.
JenniferLarson
MyideaaboutgenredealswithsomethingIveseenasaproblemwhenstudentswritetheirshort
story,whichhasbeenanarchetypalheronarrative.Theyoftendontknowwheretostartandtry
toreproducethelatestmovietheysawratherthanwritingaboutwhattheyknow.Ithinkdoing
somethingwithgenrewouldhelpthemwritebetterstories.
Iwouldstartbyhavingstudentsbrainstormalistofthingstheyspendalotoftimewithand
thereforeknowalotabout:dancing,hangingoutwithfriends,sports,etc.Thiswillofferthem
choicesofthesettingfortheirstory.
NextIllhavethembrainstormproblemsthatcanoccurinthesesituationsarchetypally,thiswill
leadtotheproblemintheordinaryworldthatneedstobesolved.
NextIllaskstudentswritedownpersonalproblems/flawsthattheherocouldhaveinthese
situationsthatwouldneedtobesolvedinorderfortheherotosolvetheproblemintheordinary
world.
Finally,wellconsidergenre.Illaskstudentstowritedownasmanygenresastheycanbased
onwhattheyveseenonTVandinfilm.Differentpeopleinclasswillbrainstormthe
characteristicsofdifferentgenres;wellsharethemsostudentscanchoosethegenrethatwill
bestdeliverthestorytheycanwritebasedonwhattheyknow.
AnneHolmgrenandDixieBoschee

Selectafilmgenrethathasobvioussetting,plot,characters,iconography,and
language/discoursesandissues/encounters.Forthisexample,wewilluseadventureandshowthe
firstoftheIndianaJonesmovies.Theclasswatchesthemovieasawhole,butisdividedinto
groupsofthefollowing:(1)setting(2)characters(3)iconography(4)plot(5)issues/encounters
(6)language/discourses.Eachgroupisresponsiblefordefiningwhatistypicallyencounteredin
adventuremoviesbasedonwhattheyalreadyknowandfromthisfilm.Fromhere,theywill
workontheirowngenrefilmanalysis,butthefirstoneisdoneinclasstogether.
RachelGodlewskiandJessieDockter
Afterintroducingstudentstovariousgenres,studentscouldindividually,orinpairs,choosea
genretoinvestigatethroughbothliteratureandfilm.Studentscouldcomparehistoricalfiction
withhistoricalfilm,romanticliterature(VictorianauthorsnotHarlequin)withromanticfilm,
mysterywithmystery,westernswithwesterns,etc.Oncetheychooseagenre,theywouldselect
bookstoreadandmoviestoview.Studentswouldneedtodeterminetheelementsofthegenrein
printandinfilm,andexplainthewaysinwhichthoseelementsremainthesameordifferinthe
twomediums.Thefinalproductcouldbeanessay,apresentation,orboth.Thefinalproject
wouldrequirestudentstochoosespecificpassagesfromthebooks,andclipsfromthefilmsto
sharewiththeclass.

MeghanScottandMeganDwyerGaffey
Wethoughtitwouldbeinterestingtodoacompare/contrastpresentationwithgenres.After
studyingthevariousgenresinclassandmodelingacompare/contrastpresentationtothe
students,theywoulddotheirownproject.Studentscoulddooneofthreethings:compareand
contrasttwofilmsinthesamegenre,compareandcontrastthesamefilminacertaingenre(for
example,theycoulddotheoriginalThomasCrowneAffairandtheremakeor,likewesawin
class,theoriginalandremakeofOceansEleven(wheretwogroupshadtwoverydifferent
impressionsofthesamefilmwithintheheistgenre),orcompareandcontrastanovelwithits
moviecounterpart.
ErinGrahmannandErinWarren
Introactivity:havestudentspicktheirfavoritemovie.Theymustformapresentationthattakes
thatmovie,andmovieslikeit,andpointsoutthetypicalsetting,plot,characters,andthemes.
Theycanworkingroups,perhaps,andthenwillpresentittotheclass.Afterthesepresentations,
theteacherwillbringeverythingtogetherbytellingthestudentsthattheyjustdefinedmultiple
genres:action,drama,comedy,horror,etc.Thus,thestudentswillformauthentic,spontaneous
ideasaboutthissubject,makingitmuchmoremeaningfultothem.
ReidWestremandBrockDubbels
Thisisreallythesketchofanidea.Actually,ouridearelatedtoourgenrestudyof
mockumentaries,whichsucceedbyplayingofftheviewersunderstandingofthedocumentary

genre.Soanaturalactivitywouldbetoaskstudenttoproduceabriefgenreparodyfilm,maybe
relatingittoafamoussceneinaclassicfilm.
Howaboutastudyofanunintentionalparody?Obviously,weallbelievethatwecanlearn
somethingfromgreatfilms.Butcanwealsolearnfromlousyfilms?The'50sBmoviehas
almostbecomeasortofgenreuntoitself,butwhenthesefilmsweremadetheywereattempted
as"horror"or"sciencefiction"movies.Studentscouldchoosea"bad"moviefromalist
providedbytheteacheranythingbyEdWoodwoulddo,suchas"Plan9fromOuterSpace"
andcompareitwitharespectedmoviefromthesamegenre.Studentswouldshowrepresentative
scenesfromeachmovietotheclass,analyzingthemtoshowwhyoneworksandtheother
doesn't.Furthermore,sincethewholenotionof"success"and"failure"requiresanimplicitsetof
standards,anextensionactivitycouldbetotrytoexplicitlydefinethestandardsofexcellence
thatapplytoacertaingenre.Afurtherextensionwouldbetowatchanotherfilmfromthesame
genre(neitheraclassicnorabomb)andwriteareviewbasedonthesestandards.
KathrynConnorsandAmyGustafson
AmyandIwouldhavestudentscreateashortfilmthatshowsinsightintoaparticulargenre.This
couldmeanthattheyfollowedthestructureofagenre.Ortheycouldtrytodefythestructureof
agenre.Ofcoursetheycouldalsotrytocombinesomegenres.Theywouldpresenttheirfilms
andtalkaboutthechoicestheymade.Thentheclasscouldtalkabouthowthefilmwaseffective
andhowitcomparedtootherworksinthegenre.Iftherewasnotenoughtimeoralackof
resourcesforactualfilming,studentscoulddoskits.
KatherineSchultzandKariGladen
Thislessonwouldbeplacedattheendofaunitinwhichstudentsstudygenresinfilmsand
television.Studentswillbedividedintogroupsof34.Eachgroupwillfocusonaparticular
genre.Thegroupswillstudytheirparticulargenretothepointwheretheybecomefamiliarwith
thepatternsandsemanticcomponentscommonlyfoundwithinthem.Classtimeandmedia
centervisitswillbeallottedforstudentstoviewmoviesandcompleteresearch.Studentswill
thenbeaskedtopickaparticularsceneinamoviethatexemplifiestheirgenremostclearly.If
possible,helpstudentstoobtaincopiesofthescripts.Withinthesegroups,eachstudentwillbe
assignedamovie/TVproductionrole.Studentsmightbeinchargeofdirecting,imagery,orset
design.Onthefinaldayoftheactivity,studentswilldirectandperformtheirchosenscenes
usingthescriptsandcastinganddirectingtheirpeers.Telleachgroupthattheyareresponsible
fordirectingtheirclassmatesandemphasizingthecomponentscentraltothegenretheyare
representing.Thefinalperformanceswillberecordedandplayedfortheclass.Eachgroupwill
presenttheirgenreperformanceandexplainthepatternsandintentionstheyhadwhilemaking
directorialdecisions.

TammyMcCartneyandKimberlySy

Havestudentsrecognizefilmsthatare"multigendered."Selectafilmthathasstrongappealin
morethanonegenre(example:actionandromance).Studentswillviewthefilmandrecognize
thecomponentsthatmakeitfallintobothcategories.Discussioncouldleadtoadebateonwhich
genremakesastrongercasewhichtargetaudiencewouldenjoythefilmmore?
Thisactivityalsoconnectswellwitharchetypestudiesintheliteraryworld.Connectthefactthat
manyfilmsbelongtomorethanonegenrewiththefactthatmanynovelsfallintomorethanone
archetype(dependingonyourreadingandanalysis).
JoshWetjenandTomDeshotels
Inordertodrawstudentattentiontodifferinggenres,wewouldaskstudentstobringintheir
favoritesong.Afterhearingsomeoftheclasssongs,wewouldaskthestudentstomakealistof
allthetypesofmusictheybroughtasaclass(pop,rap,heavymetal,etc.).Thenwewould
attempttodefinethosedifferentstyles(heavybasslines,repetitivebeat,distortedguitar,etc.).
Wewouldaskwhatsomesimilaritiesarebetweenmusicgenresandwhattrulydefining
characteristicsagenrepossessesalone.Forfun,wecouldcombinetypicallyuniquequalities
fromonegenretootherstocreateanewgenre.