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Film Genre Reader IV
From reviews of the third “ Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology’s consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview.” — Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film’s most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.
784 pages, Paperback
First published January 1, 2012
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About the author
Barry Keith Grant
67 books7 followersBarry Keith Grant is Professor in the Department of Communications, Popular Culture, and Film at Brock University. He is the author or editor of many books, including 100 Science Fiction Films, Invasion of the Body Snatchers, and four editions of Film Genre Reader.
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Displaying 1 - 3 of 3 reviews
December 6, 2023
It doesn't touch on 21st century films often, but for what it is, a comprehensive set of essays detailing the history of genres in film and genre theory in academia, I don't know if you're going to find a better book that reaches this wide on so many topics. An update would be nice, but the meaning of genres in film and the main takeaways from this mixture of essays likely wouldn't change too much.
The first section looks at genre theory and the different ways we can conceptualize genre in general. Specific genres are, of course, used for analysis, but I look at these essays as a foundation for adding context and as a way to resolve peculiarities about genre as a subject to talk about. The second section are about specific genres or cycles and how they operate. There are great essays in both sections.
The ordering of the essays is purposeful since a writer in a later essay will reference the general theory of an academic from an earlier part. The second section moves like a natural discussion. Each essay complements or contrasts the previous essay by expanding on a genre or by using a similar approach but reaching a different destination.
After reading the book, I think anyone would have a clearer understanding of what genre means in film and you can apply it to other artistic mediums as well. The essays relatively have a lot of variation. Some are more conversational and few are guilty of being very academic and dense. It's all very understandable if you know basic film terminology and are familiar with film history. Because there's so many essays, it's unlikely you've seen all the films the writers talk about but it's not necessary to understand their arguments.
There are many genres used for discussion: horror, gangster, the western, screwball comedies, sci-fi, disaster, teen films, costume drama/heritage film, sci-fi, musical, and others. If you're looking for major subgenres of the 21st century, you aren't going to find them. Because these are older essays, some arguments aren't as persuasive and will likely feel outdated to many modern students, but I think they are useful for conversation.
At the very least, I know I will be returning to some of the essays.
The first section looks at genre theory and the different ways we can conceptualize genre in general. Specific genres are, of course, used for analysis, but I look at these essays as a foundation for adding context and as a way to resolve peculiarities about genre as a subject to talk about. The second section are about specific genres or cycles and how they operate. There are great essays in both sections.
The ordering of the essays is purposeful since a writer in a later essay will reference the general theory of an academic from an earlier part. The second section moves like a natural discussion. Each essay complements or contrasts the previous essay by expanding on a genre or by using a similar approach but reaching a different destination.
After reading the book, I think anyone would have a clearer understanding of what genre means in film and you can apply it to other artistic mediums as well. The essays relatively have a lot of variation. Some are more conversational and few are guilty of being very academic and dense. It's all very understandable if you know basic film terminology and are familiar with film history. Because there's so many essays, it's unlikely you've seen all the films the writers talk about but it's not necessary to understand their arguments.
There are many genres used for discussion: horror, gangster, the western, screwball comedies, sci-fi, disaster, teen films, costume drama/heritage film, sci-fi, musical, and others. If you're looking for major subgenres of the 21st century, you aren't going to find them. Because these are older essays, some arguments aren't as persuasive and will likely feel outdated to many modern students, but I think they are useful for conversation.
At the very least, I know I will be returning to some of the essays.
October 29, 2017
Read it for school, but really summarizes and expanded on classic film troupes throughout the years very nicely! It also introduced me to some new concepts, which I am always happy to read about!
June 3, 2014
A rather strong collection of readings—the organization is a bit unclear and confusing but there is a lot of great, albeit extremely traditional, criticism to go through.
Displaying 1 - 3 of 3 reviews