Film History: Film Genres

What is the course about?

This film studies course is about viewing different genres as a framework for analysing films. Hollywood is often denigrated as a genre cinema, whereas European cinema is revered as an artistic cinema of unique personal vision but this dichotomy ignores the richness of genre films and the artists making them, e.g. the dark, rain-drenched street where Jimmy Cagney has a shoot-out with rival gangsters in the pre-Production code (censorship) film Public Enemy (1931 at Warner Brothers) just before Gene Kelly dances into that rain-drenched street while Singin’ in the Rain (1952 at MGM). Two studios specialising in two different genres, each with their own stars and conventions, each studio with its own personality defined by its genres. Melodramas and musicals have largely disappeared (but do seem to be making a comeback). The study of genre uncovers a deeper understanding of how films work and get made. We’ll view and discuss the shared characteristics, conventions, themes and styles that differentiate genres, such as film scores e.g. lush string orchestras for romantic melodramas or electronic music for science fiction films. Genre is the foundation on which cinema is constructed.

What will we cover?

How basic film genres such as Comedy or Romance evolved into the hybrids Screwball or RomCom. Genres were the earliest means for the film industry to organise the production and marketing of films, and to guide the viewing public. Genres-like stars a decade later-emerged from the earliest studio system’s dual need for standardisation and product differentiation to attract various different audiences. Each type of film developed a repertoire of conventions, costumes, characters, plots, settings, music, stars, tropes, narratives and visual styles e.g. gangsters as urban anti-heroes, westerns with wide open spaces and lone riders. By the 1910s, visible genre differences emerged. “Broncho Billy” and Tom Mix were real cowboys. Chaplin brought vaudeville/music hall to screens worldwide. German horror (The Cabinet of Doctor Caligari 1919), Italian epics (Cabiria 1914) fantasy and adventure: Douglas Fairbanks or Errol Flynn as Robin Hood, melodrama with Mary Pickford or Bette Davis.

What will I achieve?
By the end of this course you should be able to...

• Demonstrate familiarity with a range of film genres
• Describe the history and development of key genres
• Describe the specialist genres of each Hollywood studio
• Identify and evaluate key films and filmmakers
• Describe and evaluate film style and the horror film
• Show an understanding of studio attempts to delineate genres for distinct audiences
• Describe the emergence of film genres in an academic context

What level is the course and do I need any particular skills?

This course is suitable for all levels and does not require any particular skills or previous knowledge - just an enthusiasm for film and discussing film. The course provides an introduction to the subject but also serves an intermediate purpose for those extending existing knowledge about film .

How will I be taught, and will there be any work outside the class?

Introduction by tutor, screenings of film extracts, reading materials/handouts, small and large group discussions. At times a longer film section/sequence will be analysed. Tutor’s edited re-mix/mashup is a USP tool to stimulate discussion and understanding of film style and technique.

Are there any other costs? Is there anything I need to bring?

Tutor will supply extracts of films so students do not have to obtain them. No extra costs but students will be encouraged to go out to the cinema in support of the exhibition sector.

When I've finished, what course can I do next?

A year of Film History courses across all three terms on Mondays at 12.30 or at 18:00 includes: Term 1 Film Genres, Term 2 Contemporary Cinema and Term 3 Film History by the decade: Studio Systems.

For other Film Studies courses look under History, Culture and Writing/Film Studies at www.citylit.ac.uk.