The Hollywood Genre System

2017 ◽  
Author(s):  
Todd Berliner
Keyword(s):  
Star Wars ◽  
Mass Audience ◽  
System P ◽  
Aesthetic Properties ◽  
Cognitive Challenge ◽  
Optimal Area ◽  
Genre Films ◽  
Genre Film

Hollywood makes quintessential genre films, and chapter 10 tackles the aesthetics of genre filmmaking. It demonstrates the ways in which genre eases viewers’ grasp of narrative information and offers the pleasure of returning, as experts, to familiar scenarios. The chapter also explains the ways in which genres develop novel and complex aesthetic properties that counter a culture’s growing genre expertise. To fully exploit the pleasures of genre filmmaking for a mass audience, a genre film must fit recognizably within its genre, offering easy recognition, but it must also differ enough from previous films to make it moderately challenging for average spectators. Star Wars offers an exemplary instance of Hollywood genre filmmaking: The 1977 blockbuster found the optimal area between unity and complexity, familiarity and novelty, easy recognition and cognitive challenge for a mass audience.

scholarly journals KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO

2020 ◽  
Vol 12 (2) ◽  
pp. 158-169
Author(s):  
Muhammad Nur Salim
Keyword(s):  
Creative Process ◽  
Film Music ◽  
Traditional Music ◽  
Musical Work ◽  
Conceptual Approach ◽  
Film Genre ◽  
Musical Genre ◽  
Musical Concepts ◽  
Genre Films ◽  
Genre Film

ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah  ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah

scholarly journals Channeling globalism: Canal+ as transnational French genre film producer

2021 ◽  
Vol 46 (3) ◽  
pp. 285-307
Author(s):  
Mary Harrod
Keyword(s):  
Horror Films ◽  
Romantic Comedies ◽  
Film Producer ◽  
State Of Affairs ◽  
The Many ◽  
Genre Films ◽  
Genre Film

This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences in an ever more multidirectional, multiplatform, cross-hybridizing mediasphere. This article considers the case study films Alibi.com (2017) and Grave (2016) to illustrate the fact that, like the European audiovisual mainstream as a whole, French genre films are bound up in an increasingly transnational and complex intertextual web - a state of affairs promoted by multinational conglomerates such as Canal+. It nonetheless suggests that such French iterations of US-originated genres appropriate and transform rather than merely citing, echoing, or emulating existing models. What is more, drawing on theorizations of aesthetics and affect suggests that these processes can foster new identities.

Hammer Horror as Genre Film

2016 ◽  
pp. 35-48
Author(s):  
Victoria Grace Walden
Keyword(s):  
Fairy Tale ◽  
Horror Films ◽  
War Films ◽  
History Of ◽  
The 1950S ◽  
Genre Films ◽  
Genre Film

This chapter evaluates Hammer horror as genre films. Hammer is renowned for its horror films, despite its breadth of productions including comedies, war films, action-adventures, and thrillers. Its specific brand of horror has often been considered to be a particularly English Gothic, Gothicism with its interest in the liminal, transcending traditional genre categories. It is poignant, then, that Hammer's Gothic style can be seen in some of its non-horror productions. One might question the usefulness of genre for understanding a range of the studio's films, despite the label 'Hammer horror'. Hammer brought something incredibly new to the 1950s cinema screen and it was the studio's juxtaposition of traditional fairy-tale storytelling and a return to a primitive cinema of attraction interested in spectacle and experience which has arguably earned the studio such a prominent place in the history of British film.

A Culture of Reciprocity: The Politics of Cultural Exchange in Contemporary Nordic Genre Film

2015 ◽  
pp. 244-261 ◽  
Author(s):  
Pietari Kääpä
Keyword(s):  
Cultural Exchange ◽  
Nordic Countries ◽  
Film Culture ◽  
Whale Watching ◽  
Creative Potential ◽  
Substantial Role ◽  
The Us ◽  
International Profile ◽  
Genre Films ◽  
Genre Film

Tim League, the founder of Austin’s Alamo Drafthouse Cinema chain, and a key figure in distributing genre cinema in the US, outlines several significant developments in the international profile of Nordic film culture. His comments touch on the context where a range of genre films like Iron Sky (Vuorensola, 2012), Død snø/Dead Snow (Wirkola, 2008), The Reykjavik Whale Watching Massacre (Kemp, 2010) and Kommandør Treholt og Ninja troppen/Norwegian Ninja (Malling, 2010) have broken the perception of a bleak sense of Nordic miserabilism of the Bergman or the Kaurismaki variety. Instead, cinemas of the Nordic countries are now ‘cool’ and receive blessing from both high-minded arts institutions and geeky fans alike. Furthermore, it seems genre has a substantial role to play here with both producers and creative institutions from the Nordic countries embracing its commercial and creative potential. In addition, League’s comments were published in Wired magazine, a venue for tech-savvy media connoisseurs, which reports on the very latest in the intersection of technology and communications.

Comparison of TEM and STM observations of small silver clusters on different carbon supports

1990 ◽  
Vol 48 (4) ◽  
pp. 264-265
Author(s):  
Bernd Tesche ◽  
Tobias Schilling
Keyword(s):  
Vibration Isolation ◽  
Pyrolytic Graphite ◽  
Carbon Film ◽  
Silver Clusters ◽  
Carbon Supports ◽  
Stacking Order ◽  
System P ◽  
High Resolution Tem ◽  
High Degree ◽  
Degree Of Order

The objective of our work is to determine:a) whether both of the imaging methods (TEM, STM) yield comparable data andb) which method is better suited for a reliable structure analysis of microclusters smaller than 1.5 nm, where a deviation of the bulk structure is expected.The silver was evaporated in a bell-jar system (p 10−5 pa) and deposited onto a 6 nm thick amorphous carbon film and a freshly cleaved highly oriented pyrolytic graphite (HOPG).The average deposited Ag thickness is 0.1 nm, controlled by a quartz crystal microbalance at a deposition rate of 0.02 nm/sec. The high resolution TEM investigations (100 kV) were executed by a hollow-cone illumination (HCI). For the STM investigations a commercial STM was used. With special vibration isolation we achieved a resolution of 0.06 nm (inserted diffraction image in Fig. 1c). The carbon film shows the remarkable reduction in noise by using HCI (Fig. 1a). The HOPG substrate (Fig. 1b), cleaved in sheets thinner than 30 nm for the TEM investigations, shows the typical arrangement of a nearly perfect stacking order and varying degrees of rotational disorder (i.e. artificial single crystals). The STM image (Fig. 1c) demonstrates the high degree of order in HOPG with atomic resolution.

The association of age and aerobic activity history with 40-Hz EEG activity during cognitive challenge

1996 ◽  
Author(s):  
B. Hatfield ◽  
D. Santa Maria ◽  
T. Spalding ◽  
C. Blanchard ◽  
A. Haufler ◽  
...  
Keyword(s):  
Eeg Activity ◽  
Aerobic Activity ◽  
Cognitive Challenge ◽  
40 Hz

An Immigrant Filmmaker Substitutes an Alternative Vision of Adolescence: The Scarecrow (Sam Pillsbury, 1982)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
New Zealand ◽  
Cinematic Adaptation ◽  
Alternative Vision ◽  
The Face ◽  
The Usa ◽  
Genre Film

By comparing Sam Pillsbury’s cinematic adaptation of Ronald Hugh Morrieson’s The Scarecrow (1963) with the original, this chapter shows how the filmmaker, who was raised in the USA and immigrated to New Zealand in his teens, empties the source novel of the moral ambiguities and transgressive elements that had made the original a genuinely New Zealand work, in so far as it reflected puritan guilt over transgressive impulses in the face of repression, and thus turned the story into a genre film that that is much more anodyne in its vision.

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