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Books on the topic 'Genre'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

d'été, Université européenne, ed. Gender, genre =: Genre, genre(s). Sofia: St. Kliment Ohridksi University Press, 2010.

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2

Neale, Stephen. Genre. [London]: BFI Publishing, 1996.

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3

Wall, Ian. Genre. London): Film Education (37-39 Oxford Street, London W1R 1RE, 1990.

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4

Frow, John. Genre. London: Routledge, 2006.

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5

Education, Film, ed. Genre. London: Film Education, 1991.

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6

John, Kinsella. Genre. South Fremantle, W.A: Fremantle Arts Centre Press, 1997.

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7

Dowd, Garin, and Natalia Rulyova, eds. Genre Trajectories. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137505484.

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8

Freeman, Matthew, and Anthony N. Smith. Transmedia/Genre. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15583-3.

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9

Moine, Raphaëlle. Cinema Genre. New York: John Wiley & Sons, Ltd., 2009.

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10

Détrez, Christine. Quel genre? Paris]: Éditions Thierry Magnier, 2015.

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11

Mosse, Ramona, and Anna Street. Genre Transgressions. London: Routledge, 2023. http://dx.doi.org/10.4324/9780429266393.

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12

Institute, British Film, ed. Film/genre. London: BFI Publishing, 1999.

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13

Diouf-Sall, Marie-Louise. L'AUTRE GENRE. Paris: Editions L'Harmattan, 2010.

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14

Bentanachs, Joan. Révision du genre Zonopterus Hope et des genres voisins. Andrésy: Magellanes, 2010.

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15

Heim, Cécile, and Benjamin Pickford. The genres of genre: Form, formats, and cultural formations. Tübingen: Narr Francke Attempto, 2019.

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16

Rascaroli, Laura. Genre. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0004.

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The taxonomic difficulties generated by the essay film are rooted in its in-between positioning vis-à-vis genres, which facilitates the subversion of their conventions and the uncovering of their ideological underpinnings. The chapter works through these ideas by engaging with a particular type of essayistic ethnofiction, as represented by Luis Buñuel’s Las Hurdes (Land without Bread, 1933), Werner Herzog’s Fata Morgana (1971), and Ben Rivers’s Slow Action (2011). Located somewhere between documentary and fiction, surrealism and ethnography, science fiction and anthropology, these texts create generic interstices from within which the project of ethnography is satirized and deconstructed—and discourses of otherness, nature, culture, power, imperialism, ecology, and sustainability are both foregrounded and called into question.

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17

Genre. Bloomsbury Publishing Plc, 2014. http://dx.doi.org/10.5040/9781472535184.

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18

Frow, John. Genre. Routledge, 2013. http://dx.doi.org/10.4324/9780203962619.

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19

Senici, Emanuele. Genre. Edited by Helen M. Greenwald. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195335538.013.002.

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20

Frow, John. Genre. Routledge, 2014. http://dx.doi.org/10.4324/9781315777351.

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21

Genre. London, 1999.

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22

Genre. [London]: BFI Books, 1987.

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23

Genre. Routledge, 2013.

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24

Genre. London, 1998.

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25

Genre. London, 1998.

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26

Genre. Routledge, 2014.

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27

Genre. Routledge, 2015.

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28

Johansen, Jørgen Dines, and Marie Lund Klujeff. Genre. Aarhus University Press, 2009.

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29

Johansen, Jorgen Dines, and Marie Lund Klujeff. Genre. Aarhus University Press, 2009.

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30

Frow, John. Genre. Taylor & Francis Group, 2013.

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31

Frow, John. Genre. Taylor & Francis Group, 2014.

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32

Frow, John. Genre. Taylor & Francis Group, 2014.

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33

Frow. Genre. Taylor & Francis Group, 2013.

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34

Genre. London: Routledge, 2005.

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35

Genre. Taylor & Francis Group, 2014.

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36

Genre. Aarhus University Press, 2009.

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37

Krasnoff, Barbara, Jennifer Brozek, Jason S. Ridler, Scott H. Andrews, Marilou Goodwin, and C. A. Young. Crossed Genres Issue 15: Any Previous Genre. CreateSpace Independent Publishing Platform, 2010.

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38

Admussen, Nick. Genre Occludes the Creation of Genre. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.30.

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This chapter argues that one of the strongest influences on contemporary Chinese prose poetry is Bing Xin’s 1955 translation of Rabindranath Tagore’s poetry collectionGitanjali. By declining to reproduce the music of Tagore’s Bengali original, and suppressing the Biblical diction of his English version, Bing Xin created a version of his odes to the “religion of man” that implicitly opposes his insistence on poetry’s untranslatability. Instead, she argues that rejecting culturally specific prosodies allows her to faithfully reproduce the content of Tagore’s poetry. This paradigm exalts prose as a transparent, modern, and realist way to write; when it is used to render the subjective, passionate occasions ofGitanjali, the result is a mode of writing that treats transcendental feelings as concretely as it does the objects of daily life. The chapter ends with a call to study generic origins outside the bounds of the genres in question.

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39

Genre Library Completer Pack (Genre Library). Longman, 1999.

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40

Genre Library Preview Pack (Genre Library). Longman, 1999.

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41

Roesner, David. Genre Counterpoints. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.27.

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This chapter offers three contemporary case studies of the British musical, which push the boundaries of what might normally be considered to belong to this art form and genre: Shockheaded Peter, Jerrry Springer: The Opera, and London Road. They do so by challenging conventional creation processes, theatrical and musical dramaturgies and idioms, performance aesthetics and topics. By contextualizing them within the theoretical discourse on ‘genre’, the author seeks to explore the dialogic nature of artwork and audience in relation to generic conventions and expectations, arguing that these are particularly relevant in the case of the musical. These case studies demonstrate the critical and even subversive potential that the musical—often unfairly dismissed as the most commercial and conventional form of music theatre—has.

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42

Smith, Jennifer J. Atomic Genre. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0007.

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The final chapter theorizes the atomic structure of short story cycles by analyzing the production, structure, and reception of Jennifer Egan’s A Visit from the Goon Squad (2010). Egan describes the stories in A Visit from the Good Squad as atomized—in the way that discrete songs, part of a bigger album, define contemporary music production and consumption. Many purists lament that such atomization can limit producing a wholly realized album, vision, or book. But, her book shows that it is also liberating. In a cycle about time, music, and subjectivity, nothing could be more important than the pauses that happen in the in-between, most powerfully rendered in her now-famous short story told in Power Point, “Great Rock and Roll Pauses.” Her term “atomic” implies that isolating the most basic part generates power, and it implies a logic in which a proposition, sentence, or formula cannot be analyzed into a coherent structure.

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43

Duval, Sophie, and Jean-Pierre Saïdah, eds. Mauvais genre. Presses Universitaires de Bordeaux, 2008. http://dx.doi.org/10.4000/books.pub.6569.

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44

Bhatia, V. K. Analysing Genre. Routledge, 2014. http://dx.doi.org/10.4324/9781315844992.

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45

Brock, Alexander, Jana Pflaeging, and Peter Schildhauer, eds. Genre Emergence. Peter Lang D, 2018. http://dx.doi.org/10.3726/b15145.

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46

Langford, Barry. Film Genre. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474470131.

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47

Altman, Rick. Film/Genre. Bloomsbury Publishing (UK), 1999. http://dx.doi.org/10.5040/9781838710491.

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48

Duncan, Stephen V. Genre Screenwriting. Continuum, 2008. http://dx.doi.org/10.5040/9781501340338.

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49

Milton, Rebecca. New Genre. Independently Published, 2018.

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50

Draven, Danny. Genre Filmmaking. Routledge, 2013. http://dx.doi.org/10.4324/9780240824529.

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