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This is a table which seeks to set out some of the repertoires of elements (this is a slightly outdated way of studying genre but it works for this exercise) that are evident is three classic genre movies, they are by no means comprehensive but their function is to provide a resource for teachers of IB film
Thidea is to use them to have students explore genre without getting caught up in plot.
For example I chose the Public enemy as my movie for Urban crime thrillers, it might be an interesting exercise for student to complete their own table exploring how, say the Godfather (1972 USA Coppola), ‘Goodfellas’ (1990 USA Scorsese), or A better tomorrow (1986 Hong Kong Woo) are consistent or not to these generic markers, which in turn could be a platform for a research task exploring why they do or don’t conform, and perhaps further work about context.
The same goes for the other genre examples listed here.
I was interested to do this because it leads into all sorts of interesting material about genre, such as generic evolution, genre having the social function of myth, structuring oppositions in generic narrative representations, and even institutional determinants.
For example, It could be interesting to explore why so many film genres were and are so male dominated, even ones targeted at women audiences. One that particularly interests me is that many of the markers of a Gangster movie were the consequence of an over-extended Warner Brother, forced by the economics of servicing loans and poor revenues from their provincial cinema chains, constructing a production line for low budget exploitation (gangster) movies based on contemporary news items.
This table hasn’t paginated accurately on this page so I’ve also made a PDF called genre_repertoires.pdf
| Coding |
Mise-en-scene (Location, lighting, costume, weapons etc |
Narrative |
Cinematography |
Editing | Theme/s | Sound | |
| Genre |
|||||||
| Gangster /urban crime (classic) |
The Public Enemy (William Wellmann 1931 USA) |
Urban environments studio bound shooting, immigrant communities, Lighting low-key (functions to hide, unconvincing and recycled sets), costume varies from rough work apparel of urban poor to sharp suits and spats, weapons revolvers and tommy guns, cars with running boards, Stock characters Male dominated the sociopathic criminal, the moll (who represents merely an accessory to demonstrate the gangsters rise), the sidekick since youth, the moral compass character |
Very elliptical many years compressed into a two hour feature; following the career criminal from honest poverty to mob boss and their fall. Narrative is open, most story information revealed in plot. Perspective is third person observation of events (framed as quasi-documentary by the title sequence written passage about crime as social problem). |
Fixed camera, movement confined to tilts and pans, few tracking shots, close-ups and mid shots predominate (one, two and three), few long shots |
Mostly edited in continuity, key ellipses representing narrative foreshortening of the criminal career accomplished through Montage sequences |
Hubris, the rise and fall of a sociopath. A distortion of the American dream (success through hard-work and enterprise), crime, a consequence of urban poverty. Binary oppositions of criminal and civil society |
Soundtrack constructed from popular instrumentation style, jaunty melodies, and upbeat rhythms, counterpointed with similar instrumentation of more sombre passages |
| Western (classic) |
Stagecoach (John Ford 1939 USA) |
Rural, often barely settled wilderness, pioneer towns, predominantly exteriors location shooting, Lighting highly saturated desert starkness (stark natural lighting function to represent open ranges of wilderness supplementary lighting functions to reveal character and motivation), costume, Stetsons, chaps, check shirts, work wear, six shooters, horses, stage coaches, Stock characters, Male dominated (female characters act a s a foil for) the rugged wilderness individuality of the hero, native North Americans, settlers, ranchers, outlaws, lawmen/sheriffs |
A journey from wilderness (Ringo as fugitive) to civilisation, one can match this to the journey of the stagecoach. A perspective which mostly shares that of the hero. The narrative is confined to that of the information which the hero is aware, functioning to invoke audience sympathy with the Ringo kid |
Predominantly long shots, mid-long shots, only occasional close- ups, some tracking and panning |
Very economically shot and edited in continuity. The grammar of ellipses expressed through fades down and up. Scenes constructed from straight cuts, and punctuated by cross fades. |
The civilising of the wilderness, constructing a mythology of nineteenth century US expansionism. Mythologising pioneers as a family (of the nation). |
The balance favours on set recording and foley, the soundtrack is both expansive (with sustained chords) to reflect the scale of the location, and dynamic passages to invoke audience excitement during chases |
| Musical (classic US) |
Singin’ in the rain (1952 Gene Kelly and Stanley Donen USA) |
Location/setting can vary although usually exotic, settings and lavish sets often emphasising the luxury and sophistication of the glamourous lifestyles represented. Lighting tends to deploy balance of key and set lighting to emphasise the glamour of the star/s and the sets, with only enough fill to model forms. Costume, like the settings glamourous, modernity, although some elements may be exaggerated. Stock characters include the struggling composer, dancer, impressario and the muse (while these were not male dominated representations of women tended to be as adjuncts to the hero’s narrative) |
The rise of a struggling performer/dancer/impressario, this often conforms to the hero’s journey structure Narrative perspective is shared the hero functioning to invoke audience sympathy. Sequencing chronological order, with some set piece sequences external of this linear narrative |
High saturation technicolor prints. Dynamic use of the camera, sweeping crane shots, tracking shots, full shots, pans and tilts (particularly during fantasy sequences) occasional close-ups just to reveal the romantic elements of the narrative |
Non-musical sequence shot and edited in continuity. Musical sequences tend to cut rhythmically along with the demands of the sequence. Cross fades and fades down and up used for punctuation and ellipses. |
Genuine creative talent adapting to change (technical progress) while mere star persona and pretence fail to. |
Sequences of songs rather than a single sound track, punctuated by some incidental musical sequence mixed with on set recording and foley |
