Film Genre for the Screenwriter

Selbo, Jule

doi:10.4324/9781315778174

Cited by 17 publications

(21 citation statements)

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“…Hemos empleado, por tanto, un muestreo "subjetivo por decisión razonada", en el que las unidades de la muestra no se eligen desde procedimientos estilísticos, sino "en función de algunas de sus características" (Corbetta, 2007: 288-289 (Selbo, 2015;Altman, 1999;Romaguera i Ramió, 1999).…”

Section: Metodologíaunclassified

El género cinematográfico como elemento condicionante de la dimensionalidad del personaje del cine clásico de Hollywood: características de los personajes cinematográficos redondos y planos.

Rufí¹

2017

AdMIRA

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Section: Metodologíaunclassified

El género cinematográfico como elemento condicionante de la dimensionalidad del personaje del cine clásico de Hollywood: características de los personajes cinematográficos redondos y planos.

Rufí¹

2017

AdMIRA

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“…The thesis which forms Part One of the doctorate opens with an academic exploration of genre theory (Selbo, 2015, Neale, 2000, Lacey, 2000, Gledhill & Williams, 2000, Altman, 1999, Todorov, 1990 in order to comprehend the systematic categorisation and labelling of narrative types of cinema, what this connotes and why. Having established the meaning, structure, purpose and context of genre, academic definitions of what signifies the artistic mediums of 'horror' (Kawin, 2012, Hills, 2005, Freeland, 2000, Gelder, 2000, Carroll, 1990, Wood, 2018 and 'comedy' (Hokenson, 2006, King, 2002, Neale & Krutnick, 1990, Bergson, 1911, Freud, 1905 are then explored, in order to academically establish what constitutes both genre categories.…”

Section: Part One Thesis: the Grotesque Carnivalesque Cohesion Between Horror And Comedy Cinema And Televisionmentioning

confidence: 99%

“…Evidence of this porosity will be presented through the close reading, semiotic and historical analysis of these 'interrelated signs' (ibid) in apparently oppositional genres. In alignment, Selbo (2015) et al's theories of genre hybridity will be explored to challenge a rigid approach to genre categorisation and expectation, reflected in the numerous challenges of strict genre delineation (Staiger, 2000, Altman, 1999, Chandler, 1997, Bordwell, 1989.…”

Section: Part One Thesis: the Grotesque Carnivalesque Cohesion Between Horror And Comedy Cinema And Televisionmentioning

confidence: 99%

“…This thesis supports the view that, 'genre is a very fluid concept' (Lacey, 2005, 47) as will be evidenced in expansion of argument. Key academic exploration in this chapter includes the developing definition of genre and its sub categories, the relationship between consumer and producer in defining expectation, and the rigidity versus porosity of genre (Selbo, 2015, Neale, 2000, Lacey, 2000, Gledhill & Williams, 2000, Altman, 1999, Todorov, 1990.…”

Section: Chapter One: Genre Horror and Comedymentioning

confidence: 99%

“…Central to the argument of this thesis, monolithic definitions challenge assignment of a text to just one genre (Selbo, 2015, Stam, 2000, Chandler, 2000, Bordwell, 1989.…”

Section: Chapter One: Genre Horror and Comedymentioning

confidence: 99%

See 2 more Smart Citations

Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television

Crowther¹

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Horror and comedy. Screaming and laughing. Two genres and the visceral responses which they provoke, broadly considered to be polarised, apparently juxtaposed. This thesis argues that horror and comedy can be significantly more cohesive in their thematic traits, visual presentation and narrative events, than might initially be considered. Expanding a relatively underexplored academic field and building on the work of Paul (1994), the doctorate explores gross-out cinema and television in both theory and praxis. Part One opens with scholarly exploration of core theories of genre, horror and comedy. Semiotic and historical analysis and close reading of key texts in the horror, comedy, and hybrid horror comedy genre identifies and considers shared representation across the genres. Analysed texts include The Evil Dead series (1981-1992), Grimsby (2016), Nighty Night (2004-2005) and Braindead (1992). The core shared themes and representations across the genres are posited as abjection, excess and absurdity. Each of these elements is then explored in context of the tension of horror and humour co-present in the grotesque (Thomson, 1972). The paradoxical pleasure in reception (often in the disgust response) is found to align to the transgressions of the carnivalesque, and moreover, the carnivalesque grotesque (Danow, 1995, Bakhtin, 1974 et al.). These findings are then uniquely applied in praxis in Part Two in the original feature length film script Knitters! in which the women of the Potter’s Bluff Townswomen’s Guild must face an indestructible supernatural foe in an isolated Lake District resort. In the Lake District no-one can hear you scream! The Part Three exegesis reflects rigorously on the application of thesis findings in praxis, alongside detailed gnosis of the practical construction of a feature length script including close consideration of plotting, narrative pacing and characterisation.

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Screenwriting: Fictional Formats

Batty¹,

Cain²

2016

Media Writing

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Film Genre for the Screenwriter

Cited by 17 publications

References 0 publications

El género cinematográfico como elemento condicionante de la dimensionalidad del personaje del cine clásico de Hollywood: características de los personajes cinematográficos redondos y planos.

El género cinematográfico como elemento condicionante de la dimensionalidad del personaje del cine clásico de Hollywood: características de los personajes cinematográficos redondos y planos.

Bloody Disgusting! Abjection, Excess & Absurdity: The Carnivalesque Cohesion Between Horror & Comedy in Film & Television

Screenwriting: Fictional Formats

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