| Description |
x, 246 pages : illustrations ; 24 cm |
| Contents |
1. What's at stake in the history of literary genre theory? -- 2. What is generally understood by the notion of film genre? -- 3. Where do genres come from? -- 4. Are genres stable? -- 5. Are genres subject to redefinition? -- 6. Where are genres located? -- 7. How are genres used? -- 8. Why are genres sometimes mixed? -- 9. What role do genres play in the viewing process? -- 10. What communication model is appropriate for genres? -- 11. Have genres and genre functions changed over time? -- 12. What can genres teach us about nations? -- Conclusion: A semantic/syntactic/pragmatic approach to genre -- App. 'A semantic/syntactic approach to film genre' |
| Summary |
"In a critique of major voices in the history of genre theory from Aristotle to Wittgenstein, Altman reveals the conflicting stakes for which the genre game has been played. Recognising that the very term 'genre' has different meanings for different groups, he bases his new genre theory on the uneasy competitive yet complimentary relationship among genre users and discusses a huge range of films from The Great Train Robbery to Star Wars and from The Jazz Singer to The Player." -- Book Jacket |
| Analysis |
AUDIENCES |
|
DISRAELI (US, Alfred E. Green, 1929) |
|
GENRES |
| Notes |
Includes bibliographical references and index |
| Bibliography |
Includes bibliographical references (pages 227-236) and indexes |
| Subject |
Film genres.
|
| Author |
British Film Institute.
|
| LC no. |
99229768 |
| ISBN |
0851707173 (paperback) |
|
0851707181 |
|
