A review of Jean Rhys's 'Wide Sargasso Sea' and George Bernard Shaw's 'Pygmalion' as works that cleverly challenge the genre in which they are classified.
1,350 words (approx. 5.4 pages), 2 sources, 2005, $ 53.95
Abstract 'Wide Sargasso Sea' by Jean Rhys and 'Pygmalion' by George Bernard Shaw are both excellent examples of this literary phenomenon of challenging audience assumptions about genre. The former is an example of prose fiction while the latter is an example of theatrical drama. While both possess many of the overarching, superficial characteristics of each genre, both Shaw and Rhys manipulated their work so as to challenge their respective audiences.
From the Paper "Works that challenge our expectations are not nearly as common as some readers and critics might imagine. It is more difficult to challenge the basic presumptions of a given genre that one might think. After all, in order to even be considered part of a given genre, a piece of literature must conform to some of the standards that make up that genre. Prose fiction cannot comfortably be called prose fiction if it is written wholly in stanzas. That would break too many genre barriers for critics to easily be able to evaluate the work as a part of any genre. As a consequence, it takes an adept author to create a literary work that is recognizable as belonging to one genre or another and yet which simultaneously challenges the expectations of critics and readers alike. Nonetheless, this task can be accomplished."
This paper discuses the genre of travelogues by comparing Caryl Phillips' "The European Tribe" and Karen Connolly's "Touch the Dragon - a Thai Journal".
Abstract This paper states that Caryl Phillips' "The European Tribe" and Karen Connolly's "Touch the Dragon - a Thai Journal" are two very different types of 20th century travelogues. The author points out that Caryl Phillips' book is definitely superior in its attention to history and context because the author kept searching, reflecting and reporting on what he noticed in his travels in Europe. The paper concludes that Connolly's work is immature, has little to report of Thailand as a greater phenomenon but has much to account about the teenage, feminist impressions of Karen Connolly herself. The paper relates that "Touch the Dragon" does serve a growing market for travelogues produced by young people for youths who typically wish to travel as a guaranteed source of self development.
Table of Contents:
Introduction
Caryl Phillips and "The European Tribe"
Karen Connolly, "Touch the Dragon - a Thai Journal"
Travel as Source of Identity
Concluding Remarks
From the Paper "She is gradually introduced to Thai etiquette, which she confesses to sometimes resenting, as in the need for great politeness or just not pointing with one's foot. The reader does wonder how some Thai people with whom she came in contact thought of their visitor. Again, there is the sense of a book not written by the best caliber of Canadian, but by a person of a certain age used to self-promotion to think that her impressions should be taken seriously or as significant, as a very unattractive feature of this book."
Abstract This paper examines film genres and indicates that they cannot be clearly identified to the exclusion of all other possibilities because genres overlap and intermix. The paper explains that genres are identified by plot elements, style of presentation, and tone, and many genres include several sub-genres identifying different plot types within the more general category. Several different movies are described in relation to their genres. The paper claims that intermixing genres and sub-genres keeps the art of film fresh and can produce entirely new genres.
From the Paper "Film genres are as often as not selling tools, ways of identifying the type of film offered to a potential audience. Yet, there are different genres in any art which involve repeated patterns of plot and tone. Film genres are differentiated according to plot and style, and there are many ways genres can overlap. A film can be identified as a mystery if it contains the elements of a mystery--a crime, a puzzle to be solved, suspects, a detective--but a film can have all these elements and be a comedy, using the mystery elements in a comic framework."
Tags: comedy, mystery, drama, suspense, thriller, plot, style, tone
This paper examines Norman Mailer's novel "The Naked and the Dead" in which the author incorporates the symbols, characters and narrative conventions of the WWII combat genre.
Abstract This paper details the introduction and perception of the WWII combat genre in both film and literature. The writer of this paper defines genre as an element consisting of a shared set of rules, symbols and story patterns. In Norman Mailer's novel, "The Naked and the Dead," the author engages the symbols, characters and narrative conventions of the combat genre in a complex dialogue, both enmeshing and reinforcing audience expectations. By tracing the minority character of Martinez in "The Naked and the Dead," one can see how Mailer incorporates the genre in a way that reflects both the unique capacities of the novel as a medium separate from that of film. This paper also expands on Mailer's particular view of film as an inadequate representation of the complexities of war and America. The writer of this paper contends that Mailer's novel must be read in the context of the combat film genre, which was well established in the memory of American audiences by 1948 as a frame of reference for understanding and justifying WWII. This paper clearly details the characteristics of Martinez which fits the conventional stereotype evolved from and established within the genre of the World War II combat film. The writer also discusses the significance of various WWII related films that were released in the 1940s including: "Bataan," "GI Joe" and "Home of the Brave."
From the Paper "The multiracial platoon acts as a symbol of democracy, functioning to distinguish Americans from a racist enemy, the Nazis. At the same time, the visual presence of minorities helps to legitimize 'good' racism (racism against the Japanese) by framing it with images of racial integration. Feigning inclusion of minorities is also a propaganda tactic aiming to harness collective support for the war. In Bataan there are four minorities: a Mexican-American, two Philipinos and a black man. The Philipinos are associated with nature; they are implicitly more primitive and closer to the enemy. The Mexican-American is associated with jazz music and a womanizing past, and the black man is associated with spirituality. All four characters die fairly early on in horrible barbaric deaths. In later movies, some or all of these characteristics may be lumped together into composite minority representatives."
Tags: literature, analysis, perception, film, industry, u.s., history, world, war, two
Abstract This paper provides an in-depth analysis of the war film genre, its history and examples of some of the films that have been identified as a war film genre. The writer provides a list of common characteristics of the genre and examines several historical as well as modern war movies -19th century ?Tearing Down the Spanish Flag"; "The Birth of a Nation" (D. W. Griffith); ?Full Metal Jacket"(Stanley Kubrick) and "Life is Beautiful" (Roberto Benigni).
From the Paper "The war film genre is also referred to as the anti-war film genre, since some of the war films do not only discuss war sentiments, but anti-war sentiments as well. War as a film genre ?often acknowledge the horror and heartbreak of war, letting the actual combat fighting (against nations or humankind) provide the primary plot or background for the action of the film.? Furthermore, war films can also be "paired" with other film genres, wherein the topic of war can be interspersed with comedy, drama, or romance as a co- or sub-genre of the film. Tim Dirks, in his article about the war film genre, enumerates several characteristics and themes that can often be found in war film genres:"
Abstract This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.
Table of Contents:
The Rise of the Gangster Genre The Postwar World
1960's and Beyond
From the Paper "As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."
Abstract In this article, the writer analyzes the basis for genre standardizations that would include both a normative approach and adaptive approach in educational research and application. The writer notes that by realizing the importance of normative genres in language studies, students can better understand how to categorize various issues in writing. However, the writer maintains that these normative standards cannot be so heavily relied upon that they deny new genres of significant importance. In essence, the writer argues that a balanced approach to normative and adaptive genre applications must be adhered to in an effective writing criterion for modern educational perspectives.
From the Paper "Critics of normative genre approaches in writing provide important arguments that explain why genre studies norms must be provide a form of standardization that must be adhered to. The premise of normative standards is only providing an outline for the growingly diverse set of genre studies that have arisen in the new globalized community. Many more cultural norms and values are being expressed, which reestablish the normative ways in which people think and write. However, the premise of normative genre values is essential for various cultures to establish their cultural identity, which provides the foundation in which to understand other cultures and genre-based evaluations. This perspective is helping teachers to understand the complexities of genre studies. Devitt defines this critical stance in educational standards that is important to realizing why genre categorizations can be dangerous to effective critical thinking, yet they are needed to establish a basis for localized identity issues for the educational scholar.."
Abstract This paper discusses the gangster movie genre in film and how "The Godfather" and "Godfather Three" are representative of this genre. The gangster world and its history are presented and an overview of the films given. Examples from the movies that illustrate characteristics of the genre are provided.
From the Paper "Film productions often mimic real life. It is what allows them to be placed into genre categories. Genres in the movies are very much like genres in the world of literature. There are romance genres, history genres and others that depict the type of movie that the film falls under. One genre waxes and wanes in its popularity. The gangster genre is one in which many movies have been made and they are classified as gangster genre by the characters attitudes, the events and the historical context of the movie plot. Two very classic gangster genre films are The Godfather and The Godfather Part Three. Critics have admired as well as panned these movies depending on the critics taste and film desires, however they all agree that they are classic illustrations of the gangster genre."
Abstract A very basic and instinctive part of analysis of any type of information or data is to first categorize it according to some common factor. The paper shows that in relation to the field of the arts however, such classification becomes difficult, because art has more to do with perception than hard-core facts. That is why the study of genre has been so controversial and as yet inconclusive. This paper looks at the classic film "Gone With the Wind" and after analyzing the film, shows that it is made up of different genres and should therefore be classified as an epic.
From the Paper "Drama Films are supposed to be serious presentations, portraying realistic characters, settings, life situations, and stories. It follows a character's development with all the accomplishments and failures inherent in a life.(2) Due to the varied and complex syntax in "Gone With the Wind" it could very well fit this category. The movie dealt with issues of the era it represented. Societal problems such as slavery, poverty, civil war, inequality of races and gender, etc. were all dealt with at some level while entwining with the story faultlessly. It deals with the maturation and changing relationships of human beings according to situation and passage of time. The film dealt with important issues and gave distinct messages on each through the actions of its characters. However it became more than just a war drama with a strong backbone of romance by the scale on which it was produced."
Tags: filmic, technique, Old, South, Civil, War, Scarlett, O', Hara
A look at the themes of culture, genre and the construction of love in "Waiting for Godot" by Samuel Beckett, "The Rez Sisters" Tomson Highway and "Things Fall Apart" by Chinua Achebe.
3,150 words (approx. 12.6 pages), 3 sources, 2002, $ 115.95
Abstract This essay will argue that there are different kinds of love endorsed and criticized in each text. In general these may be grouped into two categories: (1) love for one's fellow human being; and (2) love for something transcendent of the individual, whether it be a community/culture or a deity. As will be seen, the generic conventions of drama limit the expression of meaning to characters' words and actions. However, both Beckett and Highway stretch the boundaries of convention in their dramas which, by flouting the conventional realism of the dramatic genre, permit the exploration of complex representations of love. In contrast, it may be argued that Achebe remains more within the conventions of his genre than Beckett and Highway in theirs. This is not a weakness, however, in that the novel form allows Achebe to represent human character and motivation - in terms of the manifestation of love - on levels that the dramatic genre cannot.
This paper is a comparison and contrast of Edgar Allan Poe's two styles of writing: the gothic genre of Poe's "The Fall of the House of Usher" and the detective genre of "The Purloined Letter."
Abstract This paper is a comparison and contrast of Edgar Allan Poe's two styles of writing: the gothic genre of Poe's "The Fall of the House of Usher" and the detective genre of "The Purloined Letter". The paper includes topics such as diction and the ease or difficulty in the ability to read and comprehend Poe's stories.
From the Paper "Edgar Allan Poe is one of the most well known names in literature. He was a short story writer, a poet, a literary critic, a journalist, an editor, an essayist and novelist. Edgar Allen Poe virtually created the detective story genre and perfected the psychological thriller. Poe is celebrated as one of America's greatest writers of short stories but his first published works were poems. Arguably, the most prominent feature of Edgar Allen Poe's writing is his obsession with death."
Abstract This paper discusses the evolution and success of the western genre of filmmaking. It discusses Andre Bazin's "The Western: Or the American Film Par Excellence" in which he analyzes this genre. It describes Bazin's arguments, as well as his comparison of the western to the courtly romances of the medieval era in their focus on the chaste woman and his comparison of them to the Russian revolutionary genre.
From the Paper "To Bazin, the only other modern epic cinema was the Russian revolutionary genre, which had some parallels to the western: both showed a new society undergoing its tumultuous birth pangs, imposing a new order and morality upon a vast canvas of human activity during a fleeting historical moment. Bazin concludes that, like the mythologized history of the Russian revolution, the story of the American west would have been relegated to much lesser international prominence were it not for the power of the moving image to universalize human experience."
Abstract This paper relates that Joe Wlodarz, in his article, 'Maximum Insecurity: Genre Trouble and Closet Erotics In and Out of HBO's "Oz"', analyzes the interplay between genre and sexuality in the HBO television program, "Oz". The author explains that, in an attempt at a Foucauldian reading of the series, Wlodarz succeeds and fails in making a point about the notion of seeing sexual acts as an epistemological guarantee of identity. The paper also points out that, ultimately, Wlodarz falls prey to some of the same assumptions he is arguing against. The author underscores that, by queering the genre of prison drama by describing it as soap opera, he also queers the very identities he is trying to examine based upon the 'queer' acts that they are performing. The paper argues that seeing these acts as 'queer' is an instance of submitting to the same epistemological fallacy that Wlodarz seems to be working so hard to undermine.
From the Paper "Wlodarz writes that even in the 'love story' scenario between two of the main characters in "Oz", there are no loving sex scenes, no space between these men where sex is used as a resolution, or a place of comfort. Wlodarz argues that this is an indicator that "the series refuses to contain sexuality, to limit sexual identity, or to suggest that romantic and / or sexual relations are anything less than dangerous and destabilizing." I would argue, instead, that this portrayal of the sexual activity between men who call themselves straight and who only have sex with women when they have the option shows that they are indeed straight, despite the biological sex of the bodies of their partners."
Abstract This paper explores the validity of genre theory in cinema by comparing and contrasting the works of renowned director, Oliver Stone. The author looks in particular at two of his films, "JFK" and "Natural Born Killers". It attempts to prove the significance of genre theory in cinema as a basis for the study and indexation of film.
From the Paper "The genre theory is both constraining to film producers and beneficial to audiences. Audiences will go into films advertised as being of a certain genre with a pre-concluded set of expectations from the film. The director focused on in this essay works predominantly in one Genre. 7 of his 10 films published before 1994 were Historical Dramas, with the remaining 3 being horror and Fictional Drama. The two films to be analyzed will be JFK, 1991, a Docudrama Based on the 1963 assassination of U.S. president John F. Kennedy, and Natural Born Killers, 1994, a controversial look at two white trash serial killers/mass murderers who become Tabloid-TV darlings thanks to a sensational press."
Abstract Using two plays, Christopher Marlowe's "Doctor Faustus" and John Webster's "The Duchess of Malfi", the paper explores the theater genres of the Elizabethan and Jacobean periods. Through Marlowe's play, the paper explores Elizabethan theater and through Webster's play it studies Jacobean theater. The genres are looked at in the context of being considered the beginnings of the Renaissance and a shift from the Medieval period to a more human-centered view of the universe.
From the Paper "The plays Doctor Faustus by Christopher Marlowe and The Duchess of Malfi John Webster are both from one of the most productive eras in British drama, the period covering the Elizabethan theater and the Jacobean theater that followed. This period can also be considered the beginnings of the Renaissance and so a shift from the Medieval period to a more human-centered view of the universe."
