CI5472 Teaching Film, Television, and Media

 Module 7: Film/Television Genres

Module 7

References

Altman, R. (1995). A semantic/syntactic approach to film genre. In B. K. Grant (Ed.), Film Genre Reader II (pp. 26–40). Austin: University of Texas Press.

Ang, I. (1985). Watching “Dallas”: Television and the melodramatic imagination. New York: Routledge.

Bennett, T., & Woollacott, J. (1987). Bond and beyond: The political career of a popular hero. New York: Methuen.

Brooks, R. (2001). Sport. In G. Creeber (Ed.), The television genre book (pp. 87–89). London: British Film Institute.

Brown, M. E. (1994). Soap opera and women’s talk. Thousand Oaks, CA: Sage.

Creeber, G., ed (2001). The television genre book. London: British Film Institute.

Dayan, D., & Katz, E. (1992). Media events: The live broadcasting of history. Cambridge, MA: Harvard University Press.

Desser, D. (2000). The martial arts film in the 1990s. In W. Dixon (ed), Film genre 2000: New critical essays (pp. 77–110) Albany, NY: SUNY Press.

Dovey, J. (2001). Reality TV. In In G. Creeber (Ed.), The television genre book (pp. 134–137). London: British Film Institute.

Fiske, J. (1994). Audiencing: Cultural practice and cultural studies. In N. Denzin & Y. Lincoln (Eds.), The handbook of qualitative research(189-198). Thousand Oaks, CA: Sage.

Giroux, H. (2001). The mouse that roared: Disney and the end of innocence. New York: Rowman & Littlefield.

Giroux, H. (1996). Fugitive cultures: Race, violence & youth. New York: Routledge.

Graff, K. (2003, February 1). References on the Web: Graphic novels.
Booklist.

Grant, B. K. (1995). Experience and meaning in genre films. In In B. K. Grant (Ed.), Film Genre Reader II (pp. 114–127). Austin: University of Texas Press.

Hartley, J. (2001). Situation comedy. In G. Creeber (Ed.), The television genre book (pp. 65–67). London: British Film Institute.

Jenkins, H. (1992). Textual poachers: Television fans and participatory culture. New York: Routledge. ever

Jenkins, H. (1997). “Never trust a snake!”: WWF wrestling as masculine melodrama. In A. Barker & T, Boyd (Eds.), Out of Bounds: Sports, Media and the Politics of Identity, Bloonington, IN: Indiana University Press.

Kellner, D. (2000). Beavis and Butt-Head: No future for postmodern youth. In H. Newcomb (Ed)., Television: The Critical View(pp. 319–329). New York: Oxford University Press.

McKinley, E. G. (1997). “Beverly Hills 90210”: Television, gender, and identity. Philadelphia: University of Pennsylvania Press.

Miller, T. (2001). The action series. In G. Creeber (Ed.), The television genre book (pp. 17–19). London: British Film Institute.

Peck, J. (1995). TV talk shows as therapeutic discourse: The ideological labor of the televised talking cure. Communication Theory, 5(1).

Pungente, J. J., & O’Malley, M. (1999). More than meets the eye: Watching television watching us. Toronto: McClelland & Stewart.

Reinertsen, C. (1993). Wednesday night is girls’ night. Unpublished paper. Minneapolis: University of Minnesota.

Schatz, T. (1995). The structural influence: New directions in film genre study. In B. K. Grant (Ed.), Film genre reader II (pp. 26–40). Austin: University of Texas Press.

Scott, A. O. (2002, June 16). A hunger for fantasy, A movie empire to feed it. The New York Times. 1, 26.

Shattuc, J. (2001). The confessional talk show. In G. Creeber (Ed.), The television genre book (pp. 84-87). London: British Film Institute.

Skovmand, M. (2000). Barbarous TV International: Syndicated Wheels of Fortune. In H. Newcomb (Ed.), Television: The critical view (pp. 367–383). New York: Oxford University Press.

Sontag, S. (1969). Against interpretation. New York: Dell.

Tannen, D. (1999). The argument culture: Stopping America’s war of words. New York: Ballentine.

The White House Project. (2002). Women’s Presence on Political Talk Shows Before and After Sept. 11.

Welsh, J. (2000). Action films: The serious, the ironic, the postmodern. In W. Dixon (ed), Film genre 2000: New critical essays (pp. 161–176) Albany, NY: SUNY Press.

Tulloch, J. (2001). Soap operas and their audiences. In In G. Creeber (Ed.), The television genre book (pp. 55–57). London: British Film Institute

Different Perspectives on Genre Study

Audience-based Approaches to Film/Television Genre Study

Critical/Ideological Analysis of Genres

The History and Evolution of Genres

Devising Genre-analysis Activities

Different Genre Types

Action/Adventure

The Western

Gangster/Crime

Detective/Film Noir

Comedy

Fantasy/Sci-Fi

Horror/Monster

Suspense Thriller/Spy/Heist

Soap Opera

The Talk Show

Sports

Game Shows/
Reality TV

Animation

Comics

Graphic Novels

Final Task

References

Teaching activities on genre developed by students in CI5472, Spring, 2004


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