Relevant bibliographies by topics / Film genre theory

Academic literature on the topic 'Film genre theory'

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Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Film genre theory"

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Grindon, Leger. "The Boxing Film and Genre Theory." Quarterly Review of Film and Video 24, no. 5 (September 10, 2007): 403–10. http://dx.doi.org/10.1080/10509200500536066.

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Roggen, Sam. "Notions of Genre: Writings on Popular Film Before Genre Theory." Historical Journal of Film, Radio and Television 37, no. 3 (March 28, 2017): 579–81. http://dx.doi.org/10.1080/01439685.2017.1308144.

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Lappin, Lou, and Barry Grant. "Film Genre Reader." Theatre Journal 39, no. 3 (October 1987): 407. http://dx.doi.org/10.2307/3208173.

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Kosachova, O. O. "Modern Historical Film: Genre and Dramaturgic Features." Culture of Ukraine, no. 71 (April 2, 2021): 41–48. http://dx.doi.org/10.31516/2410-5325.071.05.

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The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.
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Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (May 1998): 153–85. http://dx.doi.org/10.1017/s0261143000000581.

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When we become engaged with a music video, what draws us in? What constitutes craft or artistry in the genre? Theorists of music video have usually addressed these questions from the perspective of sociology, film theory or popular cultural studies. Film theory, in particular, has had a tremendous influence on the analysis of music video, because of the two genres' apparently similar structuring of sound and image. But by the criteria of film, music videos tend to come off as failed narratives; the genre's effectiveness eludes explanation.
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Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.

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What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
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Wanderer, Jules J. "When Film Critics Agree: Does Film Genre Matter?" Empirical Studies of the Arts 29, no. 1 (December 28, 2010): 39–50. http://dx.doi.org/10.2190/em.29.1.c.

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Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.

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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films by creating their alternative versions as well as a strong sense of place and movement.
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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.
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Maras, Steven. "Notes on a Genre to Come: Screenwriting and the 'Thesis-film'." Cultural Studies Review 10, no. 2 (August 12, 2013): 85–98. http://dx.doi.org/10.5130/csr.v10i2.3473.

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This piece draws together two areas: screenwriting and film or video works (to be jointly referred to as ‘films’) that explicitly try to undertake a conceptual practice. Conceptual practice is to be understood here not within the exclusive framework of conceptual or abstract art, but of acts and interventions in theory of the kind that crossover between the academy and the broader culture. Interventions of this kind have (especially in the form of the essay film, and films by humanities academics) been a part of Australian screen culture since at least the 1980s. While these interventions may not appear to be central to much cultural studies work, I want to suggest that cultural studies is intertwined with them in at least three ways.
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Dissertations / Theses on the topic "Film genre theory"

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Blake, Eric Michael. "Genre, Justice & Quentin Tarantino." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5911.

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The films of Quentin Tarantino have held a significant influence on modern cinema, and therefore on cinema studies. As such, studies on the social and philosophical implications of his work have appeared over the years, mostly in regards to content. However, with the exception of references to his use of cinematic violence, studies of his technique—i.e., his cinematic style—have been rare, and rarer still have been studies of the social implications that arise from the patterns of his style as well as those his subject matter. The following thesis seeks to use the concept of Auteur Theory—specifically, that Tarantino is the primary artist of the films directed by him—to propose that a specific artistic style conveys a specific worldview: namely, that the artistic choices made by the director, in content and technique, can and do convey a viewpoint regarding “real life” and the world. Specifically, this work will culminate in analyzing and determining tenants to be gleaned from the Tarantino canon regarding issues of justice, both on an individual and societal basis. With his focus on crime—again, both societal and individual—Tarantino makes commentary on societal breakdown; the audience’s emotional support (or lack thereof) for characters and their actions corresponds with identification, and therefore draws real-life parallels. Such refers to the concept of “Realism”, which will be discussed in detail. Further, Tarantino’s trend of recycling elements from prior films refers to artistic “Postmodernism”—use of “pastiche” and sampling to create a “new” work. The thesis will analyze the value and meaning of the major samplings in Tarantino’s films—particularly in regards to genre--and concludes that, far from a simple conglomeration, a Tarantino “Genre-Blender” forms a cohesive whole, oriented towards specific impact of the audience. From the above two issues of Realism and Postmodernism in art, and establishing the existence of a cohesive artistic vision in Tarantino’s work, this thesis identifies patterns in such that identify specific viewpoints on questions of “Good”, “Evil”, and “Justice”. Key to this is the dichotomy between objective principles and subjectivity in human interaction amid the applications of principles. Tarantino’s work conveys a belief in certain objective tenants; however, the applications that arise through interaction cause complications, arising through human limitations in perspective. The ultimate purpose of this study is to link studies of social implications of film to not merely content, but in choices in cinematic style. It is a contribution at once to studies of film and to studies of artistic theory (in particular Realism and Postmodernism), using both to analyze how a specific, popular, mainstream artist reflects a worldview through the sensibilities that are channeled in creating his works.
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Atterstig, Elin. "Att höra genre : Vad ljudet i filmens inledning berättar om genre." Thesis, Örebro University, School of Humanities, Education and Social Sciences, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9740.

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This study deals with a research on what the opening sounds in movies tell us about the story that we are about to follow. The purpose is to examine if and how the sound in the first five minutes of the movie contribute in giving information about the film’s genre. The theoretical base includes both genre theory and Michel Chion’s theory on film sound. Six different movies representing different genres, countries and year of production are analyzed in an audiovisual way.

The result shows that the sound in the opening sequence could describe the genre which the movie belongs to, but it doesn’t always work like this. The analysis also shows examples on movies where the sound in the beginning of the movie focus on other things, like describing place or ethnicity. In some of the movies, especially the ones that represent adventure and action, you can hear the genre very clearly. In others, for example the comedy, there is a bit harder to decide if the sound alone could tell us about which genre the movie belongs to, and if the sound is typical for that specific genre or if it could be about almost everything. Furthermore, in some movies it was quite clear that the sound concentrates on describing something else instead, for example the place where the story is set.

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Christie, Elizabeth, and elizabeth christie@unisa edu au. "Explosions in the Narrative: Action films with Lacan." Flinders University. Screen Studies, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071121.092301.

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Since the late seventies, the violence, speed and spectacle associated with the genres of war films, Westerns and the spectacular melodramas of early cinema have developed into a distinct genre of its own – the action film. With the development of the stylistic language at the core of this generic universe came derogatory generalisations and a tendency to categorise simplistically. To overcome these simplifications, this thesis explores the shifts in generic language to distinguish its subtleties and complexities of logic. Overwhelmingly the genre is considered masculine, but the purpose of this thesis is to explore the logic of this masculinity and analyse the effect of the feminine upon it. Beginning with overviews of the theoretical attempts to grasp the concept of genre that focus primarily on the limitations of the view of their having distinct boundaries, the theory that genre theory has failed is investigated. Leaving this view of boundaries through an exploration of symbolic universes that have translucent boundaries, the filmic movement of genre passes back and forth through the theoretical frameworks. The intention is not to analyse the overall concept of genre, but to focus on the symbolic universe and the language intrinsic to action films. The rules of action cannot be simply transposed onto other generic categories but stand-alone. Genre theory does not fail if approached from a perspective of discourse analysis focusing on the development of symbolic universes. Using Jacques Lacan’s theory of the four discourses, and focusing primarily on the oppositions of the Master’s and the Analyst’s discourse, the question moves from the listing of conventions as the markers of the boundaries of genre, to exploring why the combination of certain conventions and signifiers coming together created the genre. Through Lacanian discourse analysis it becomes apparent that the generally acknowledged logic of masculine and feminine are limited. The masculine is the ‘norm’ that appears to need no explanation, but the feminine has transgressed the norm and shown the construction of fantasy inherent in the genre. This has led to post-action films that are ambiguous both in their generic structure and symbolic language.
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Sjöberg, Johannes E. "Ethnofiction : genre hybridity in theory and practice-based research." Thesis, University of Manchester, 2009. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:68172.

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The thesis and the two films form a practice PhD in drama exploring ethnofiction - an experimental ethnographic filmmaking approach pioneered by visual anthropologist Jean Rouch. In the mid-1950's Rouch started to experiment with fiction and 'projective improvisation' in ethnographic films such as Jaguar (1957-1967), Moi, unnoir (1957) and La pyramide humaine (1959). Film critics would call these films 'ethnofictions'. After agreeing a story outline, the camera simply follows the subjects' improvisations of their own, and others', lived experiences. The aim is to show aspects of ethnographic research otherwise hard to represent. A key question of the doctoral research has been whether a nuanced understanding of foreign cultures can be created and mediated by combining ethnographic research methods with the processes of dramatic work. Even though Rouch made ethnofictions as part of his ethnographic research, he infused the genre with elements of surrealism and poetry, and often opposed anyone trying to establish theories about his films. Defying Rouch's view on this matter, this thesis explores ethnofiction as an ethnographic filmmaking method by drawing on the experiences from fieldwork and filmmaking among transgendered Brazilians living in São Paulo. The fieldwork resulted in a feature-length ethnofiction and an ethnographic documentary short: Transfiction focuses on identity and discrimination in the daily lives of Brazilian travestis and transsexuals. Informed by transgendered artists, prostitutes, healthworkers and political activists, Fabia Mirassos projected her life through the role of Meg, a transsexual hairdresser confronting intolerance and re-living memories of abuse. Savana 'Bibi' Meirelles plays Zilda who makes her living as one of the many transgendered sex workers in São Paulo, as she struggles to find her way out of prostitution. Drama Queens is an ethnographic documentary short and contains four scenes from the over 200 hours of rushes that were recorded during the fieldwork. The scenes are from São Paulo's annual Pride Parade and present Bibi, Fabia and Phedra who were the main informants of the research conducted at the theatre Os Satyros in central São Paulo.
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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.

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Stifflemire, Brett Samuel. "Visions of after the End| A History and Theory of the Post-apocalyptic Genre in Literature and Film." Thesis, The University of Alabama, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10635886.

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Textual genre criticism and close readings of novels and films reveal that, in addition to chronicling catastrophes’ aftermaths, the post-apocalyptic genre envisions a future world in which traditional apocalyptic ideology is inadequate and unsatisfactory. While the full apocalyptic trajectory traditionally includes an end met by a new beginning, moments of cultural crisis have questioned the efficacy of apocalyptic metanarratives, allowing for a divergent, post-apocalyptic imagination that has been reflected in various fictional forms.

The post-apocalyptic genre imagines a post-cataclysmic world cobbled together from the remnants of our world and invites complicated participation as readers and viewers engage with a world that resembles our own yet is bereft of our world’s meaning-making structures. The cultural history of the genre is traced through early nineteenth-century concerns about plagues and revolutions; fin-de-siècle anxieties and the devastation of the First World War; the post-apocalyptic turn in the cultural imagination following the Second World War, the atomic bombs, and the Holocaust; the Cold War and societal tensions of the 1960s and 1970s; late twentieth-century nationalism and relaxation of Cold War tension; and renewed interest in post-apocalypticism following the terrorist attacks on September 11, 2001.

Textual analysis reveals that the genre is particularly interested in formal experimentation and other postmodernist ideas, carnivalesque transgression, and concerns about survivorship and community. The mobilization of these themes is examined in case studies of the novella “A Boy and His Dog,” the novels The Quiet Earth and The Road, and the films Idaho Transfer, Night of the Comet, and Mad Max: Fury Road.

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Hey, Jessica L. "A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.

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Wetherbee, Benjamin James. "Toward a Rhetoric of Film: Theory and Classroom Praxis." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1313119045.

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Hubbard, Christine Karen Reeves. "Rebellion and Reconciliation: Social Psychology, Genre, and the Teen Film 1980-1989." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279235/.

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In this dissertation, I bring together film theory, literary criticism, anthropology and psychology to develop a paradigm for the study of teen films that can also be effectively applied to other areas of pop culture studies as well as literary genres. Expanding on Thomas Doherty's discussion of 1950s teen films and Ian Jarvie's study of films as social criticism, I argue that teen films are a discrete genre that appeals to adolescents to the exclusion of other groups. Teen films subvert social mores of the adult world and validate adolescent subculture by reflecting that subculture's values and viewpoints. The locus of this subversion is the means by which teenagers, through the teen films, vicariously experience anxiety-provoking adult subjects such as sexual experimentation and physical violence, particularly the extreme expressions of sex and violence that society labels taboo. Through analyzing the rhetoric of teen lifestyle films, specifically the teen romance and sex farce, I explore how the films offer teens vicarious experience of many adolescent "firsts." In addition, I claim that teen films can effectively appropriate other genres while remaining identifiable as teen films. I discuss hybrid films which combine the teen film with the science fiction genre, specifically Back to the Future and Bill and Ted's Excellent Adventure, and the musical genre, specifically Girls Just Want to Have Fun and Dirty Dancing. In my discussion of the slasher film, specifically the Halloween. Friday the 13th. and A Nightmare on Elm Street cycles, I highlight how teen films function as a safe place to explore the taboo. Finally, I discuss the way in which the teen film genre has evolved in the 1990s due in part to shifts in social and economic interests. The teen films of the 1990s include the viewpoints of women, minorities, the handicapped, and homosexuals and question the materialistic ethos of the 1980s films.
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Stjernström, Elsa, and Jenny Emanuelsson. "Dystopi och jordens undergång : En genreanalys av dystopiska inslag i fiktiv film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21167.

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This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman’s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research. By using a semantic/syntactic approach to film genre it is possible to identify shared conventions. Only by using a co-ordinate semantic/syntactic approach is it possible to fully understand the interaction between conventions within a genre. The result shows that there are conventions that are characteristic for dystopia and dystopia can thus be considered a subgenre. The films analyzed in this essay share conventions characteristic for dystopia but also offer variation in form of, for example, theme. The subgenre dystopia therefore offers something familiar but also variation which is central in film genre. The analysis also shows that there are symbols that carry meaning within these films which implies that they have a common iconography.
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Books on the topic "Film genre theory"

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Small, Edward S. Direct theory: Experimental film/video as major genre. Carbondale: Southern Illinois University Press, 1994.

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John, Mercer. Melodrama: Genre, style, sensibility. London: Wallflower, 2004.

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Martin, Adrian. Mysteries of Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986831.

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The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers indepth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. Mysteries of Cinema circumscribes a special cultural period that began with the dream of critique as a form of poetic writing, and today arrives at collaborative experiments in audiovisual essays. Throughout these essays, Martin pursues a particular vision of what cinema has been, what it is, and what it still could be.
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Small, Edward S. Direct theory: Experimental motion pictures as major genre. Carbondale: Southern Illinois University Press, 2013.

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Moving pictures: A new theory of film genres, feelings, and cognition. Oxford: Clarendon Press, 1997.

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Moving pictures: A new theory of film genres, feelings, and cognition. Oxford: Clarendon Press, 2002.

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Grodal, Torben Kragh. Cognition, emotion, and visual fiction: Theory and typology of affective patterns and genres in film and television. Copenhagen: University of Copenhagen, Dept. of Film and Media Studies, 1994.

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Auger, Emily E. The development of the tech-noir film: A theory of the development of popular genres in fiction and film (gothic, detective, scifi, and tech-noir). Lewiston: Intellect, 2010.

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Notions of Genre: Writings on Popular Film Before Genre Theory. University of Texas Press, 2016.

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Grant, Barry Keith, and Malisa Kurtz. Notions of Genre: Writings on Popular Film Before Genre Theory. University of Texas Press, 2016.

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Book chapters on the topic "Film genre theory"

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Etherington-Wright, Christine, and Ruth Doughty. "Genre Theory." In Understanding Film Theory, 21–41. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34392-4_3.

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Doughty, Ruth, and Christine Etherington-Wright. "Genre Theory." In Understanding Film Theory, 45–65. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-58796-1_3.

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Pagello, Federico. "Spectatorship, Genre and Violence." In Quentin Tarantino and Film Theory, 165–206. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7_5.

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Fuery, Patrick. "Seduction: Gender, Genre and Power." In New Developments in Film Theory, 158–74. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-0-333-98569-4_9.

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Bondebjerg, Ib. "Film: Genres and Genre Theory." In International Encyclopedia of the Social & Behavioral Sciences, 160–64. Elsevier, 2015. http://dx.doi.org/10.1016/b978-0-08-097086-8.95052-9.

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Bondebjerg, I. "Film: Genres and Genre Theory." In International Encyclopedia of the Social & Behavioral Sciences, 5640–46. Elsevier, 2001. http://dx.doi.org/10.1016/b0-08-043076-7/04327-8.

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"Key Approaches: Genre Theory." In Doing Film Studies, 47–59. Routledge, 2012. http://dx.doi.org/10.4324/9780203080863-12.

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Walker, Elsie. "Genre Studies." In Understanding Sound Tracks Through Film Theory, 13–86. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199896301.003.0001.

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Holliday, Christopher. "Falling with Style? The Computer-Animated Film and Genre." In The Computer-Animated Film, 24–40. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0002.

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Chapter One maintains the genre narrative established in the book’s introduction, interrogating in greater depth the shape of contemporary film genre theory, and its relationship to the study of digital animation to understand how computer-animated films might be conceptualised in generic terms. The interrelationship between animation and genre is identified as a complex series of engagements and negotiations, and drawing on animation scholarship and theories of film genre, this chapter engages with the problem of generic classification when placed within the specific context of animation. Informed by Paul Wells’ work on animation’s generic “deep structures”, this chapter argues that it is in the process of ‘doing’ recognisable genres (similar to notions of genre parody) that computer-animated films both create and announce their own internal structures and attributes, which will be pursued across the book as a whole. Chapter One also works through technological considerations (including current software packages) to identify the computer-animated film genre as a significant attribute of textual structures that are underpinned by technological concerns. Questions of genealogy and the computer-animated film’s potential influence (live-action cinema; videogames) are therefore brought together in a discussion of the ‘computer-animated film’ as a viable critical label.
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Knight, Deborah. "Aristotelians on Speed: Paradoxes of Genre in the Context of Cinema." In Film Theory and Philosophy, 343–62. Oxford University Press, 1997. http://dx.doi.org/10.1093/acprof:oso/9780198159216.003.0016.

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Conference papers on the topic "Film genre theory"

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Jiang, Chunheng, Jianxi Gao, and Malik Magdon-Ismail. "Inferring Degrees from Incomplete Networks and Nonlinear Dynamics." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/457.

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Inferring topological characteristics of complex networks from observed data is critical to understand the dynamical behavior of networked systems, ranging from the Internet and the World Wide Web to biological networks and social networks. Prior studies usually focus on the structure-based estimation to infer network sizes, degree distributions, average degrees, and more. Little effort attempted to estimate the specific degree of each vertex from a sampled induced graph, which prevents us from measuring the lethality of nodes in protein networks and influencers in social networks. The current approaches dramatically fail for a tiny sampled induced graph and require a specific sampling method and a large sample size. These approaches neglect information of the vertex state, representing the dynamical behavior of the networked system, such as the biomass of species or expression of a gene, which is useful for degree estimation. We fill this gap by developing a framework to infer individual vertex degrees using both information of the sampled topology and vertex state. We combine the mean-field theory with combinatorial optimization to learn vertex degrees. Experimental results on real networks with a variety of dynamics demonstrate that our framework can produce reliable degree estimates and dramatically improve existing link prediction methods by replacing the sampled degrees with our estimated degrees.
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Ren, Z. F. "Nano Materials and Physics." In ASME 4th Integrated Nanosystems Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/nano2005-87045.

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Aligning carbon nanotubes in any way desired is very important for many fundamental and applied research projects. In this talk, I will first discuss how to grow them with controlled diameter, length, spacing, and periodicity using catalyst prepared by magnetron sputtering, electron beam (e-beam) lithography, electrochemical deposition, and nanosphere self-assembly. Then I will present our results of field emission property of both the aligned carbon nanotubes grown on flat substrates and random carbon nanotubes grown on carbon cloth. For the aligned carbon nanotubes arrays, I will present the preliminary results of using them as photonic band gap crystals and nanoantennae. As an alternative material of carbon nanotubes, ZnO nanowires have been grown in both aligned fashion on flat substrates and random fashion on carbon cloth. Using these ZnO nanowires, good field emission properties were observed. Furthermore, I will present our recent studies on the electrical breakdown and transport properties of a single suspended nanotube grown on carbon cloth by a scanning electron microscope probe incorporated into a high resolution transmission electron microscope. As part of the potential applications, I will also discuss our recent success on molecules delivery into cells using carbon nanotubes. Finally I will talk about our most recent endeavor on achieving thermoelectric figure-of-merit (ZT) higher than 2 using our unique nanocomposite approach. Plasma-enhanced chemical vapor deposition (PECVD) was discovered by my group in 1998 to be able to grow aligned carbon nanotubes [1]. Catalyst film was first deposited by magnetron sputtering. According to the thickness of the catalytic film, aligned carbon nanotubes were grown with different diameters and spacing, and different length depending the growth time. However, the two major drawbacks are 1) that the location of where the nantoube grows can not be controlled, 2) that the spacing between the nanotubes can not be varied too much. Therefore, we immediately explored to grow aligned carbon nanotubes with the location and spacing controls using e-beam lithography [2]. Unfortunately the cost is so high that the e-beam is not suited for large scale commercialization that requires only an average site density control not the exactly location, for example, electron source. It is the cost issue that made us to develop electrochemical deposition to make catalyst dots that can be separated more than 10 micormeters between dots [3]. With such arrays, we tested many samples for field emission properties and found the optimal site density [4]. However, for applications that require the location controls, for example, photonic band gap crystals, electrochemical deposition can not be satisfactory. It is this kind of application that led us to develop the nanosphere self-assembly technique in large scale [5]. For field emission, we found that ZnO nanowires are good field emitters comparable to carbon nanotubes if they are grown with the right diameter and spacing. Here I will discuss the field emission properties of ZnO nanowires as an alternative material to carbon nanotubes [6]. Us a special kind of carbon nanotubes made by PECVD, we discovered a highly efficient molecular delivery technique, named nanotube spearing, based on the penetration of Ni-particle embedded nanotubes into cell membranes by magnetic field driving. DNA plasmids encoding the enhanced green fluorescent protein (EGFP) sequence were immobilized onto the nanotubes, and subsequently speared into targeted cells. We have achieved the unprecedented high transduction efficiency in Bal17 B-lymphoma, ex vivo B cells, and primary neurons with high viability. This technique may provide a powerful tool for high efficient gene transfer in a variety of cells, especially, the hard-to-transfect cells [7]. Conventional transport studies of multiwall carbon nanotubes (MWNTs) with only the outmost wall contacted to the electrodes via side-contact shows that a MWNT is a ballistic conductor with only the outmost wall carrying current. Here we show, by using end-contact in which every wall is contacted to the electrodes, that every wall is conducting, as evidenced by a significant amount of current drop when an innermost wall is broken at high-bias. Remarkably, the breakdown of each wall was initiated in the middle of the nanotube, not at the contacts, indicating diffusive electron transport. Using end-contact, we were able to probe the conductivity wall-by-wall and found that each wall is indeed either metallic, or semiconducting, or pseudogap-like. These findings not only reveal the intrinsic physical properties of MWNTs but also provide important guidance to MWNT-based electronic devices [8]. At the end of the talk, if time permits, I will talk about our ongoing effort on improving the figure-of-merit (ZT) of thermoelectric materials using a nanocomposite strategy to mimic the structure of the superlattice of PbTe/PbSe and Bi2Te3/Sb2Te3 hoping to reduce the thermal conductivity by a factor of 2–4 while maintaining the electrical conductivity. To make a close to 100% dense nanocomposite, we started with nanoparticles synthesis, then consolidation using both the traditional hot press and the direct current fast-heat, named plasma pressure compact, to preserve the nano size of the component particles. So far, we have seen thermal conductivity decrease by a factor of 2 in the systems of Si/Ge, PbeTe/PbSe, Bi2Te3/Sb2Te3, indicating the potential of improving ZT by a factor of 2.
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