MIGRAIN: Genre

 Task 1: Genre factsheets

03.

1) What example is provided of why visual iconographies are so important?

These iconographies usually indicate the genre of the film. For example the mise en scene of space indicates sci-fi. All these images are usually associated with something helping the audience understand the genre. 

2) What examples are provided of the importance of narrative in identifying genre?

By looking into detail in the story line used it can help the audience recognise the genre because they are usually shared by other media texts in this genre. 

3) What are the different ways films can be categorised according to Bordwell? 

•Period or Country, e.g. US films of the 1930's

• Director / Star, e.g. Ben Stiller Films

• Technical Process, e.g. Animation

• Style, e.g. German Expressionism;

• Series, e.g. Bond;

• Audience, e.g. Family Films

4) List three ways genre is used by audiences.

a) They use their prior knowledge of the genre to anticipate whether or not they are likely to enjoy a text. This is helpful when  choosing media to consume whether it be shows, movies or magazines. 

b) They are able to compare a text through its shared characteristics  and similarities and differences with others, helping them choose the media they want to consume and what is to their liking based on past shows, movies etc..

c) They also use their knowledge of genre to reject a text, so they will based on their own opinions and thoughts based around a certain genre come to the conclusion it is not preferred and therefore, avoid it. 

5) List three ways genre is used by institutions or producers.

a) Production

Genres are a sort of template or blueprint producers refer to , when producing new media. For example, within a genre there are certain 'rules' and conventions which need to be followed,this means media producers only need to adhere appropriately to create a successful attempt of what people expect and enjoy, and even improve past productions.

b) Attracting an Audience

Some genres have loyal fan-bases. People will try out a new sit-com simply because it’s a new sit-com and this can help media producers minimise the potential for failure.

c) Marketing Texts

Good examples of this are film trailers which usually attempt to clearly define the genre of the film and then show as many of the codes and conventions in the trailer. This acts to attract fans of the genre and set up the expectations of the film.

126.
1) List five films the fact sheet discusses with regards to the Superhero genre.

Spiderman

Gotham

From Hell

Daredevil

Super

2) What examples are provided of how the Superhero genre has reflected the changing values, ideologies and world events of the last 70 years?

Spiderman 3 (2007) gives Spiderman several different enemies – Sandman - a man made of sand and Venom, created by an

oily substance that infects from within and turns people into monsters. Like Batman Forever, it also deals with the duality

of a hero being both ‘light’ and ‘dark'.

The film offers a not too hidden metaphor for the conflict the US found themselves in during the 00's. Wars had been fought in desert regions with the main prize being the control of oil. The binary opposition between good and evil is still a theme that

is present in the genre.

3) How can Schatz's theory of genre cycles be applied to the Superhero genre?

• Innovation: The visual codes for the superhero genre were largely established via the comic books. As soon as film and

TV began to use the comic book characters other codes and conventions regarding the presentation of the genre in moving

image were set. This can be seen in the early superhero shorts of

the 1940's.

• Classical: By the 1950's the superhero genre could be seen to be in its classical stage with the codes and conventions being

replicated in the film and TV programmes of the time.

• Parody: Batman (1966) was intentionally funny and camp and wouldn’t let its audience take the superhero too seriously. It

had an ironic tone that flagged up the daft nature of the genre and allowed the audience to enjoy the awareness of that. 

After Batman, the classical and parodist versions of the genre were largely located in children’s animation, from Spider-Man whose animated adventures were on TV from the late 1960', to the less than serious versions of the genre in Mighty Mouse (a perennially popular cartoon first made in the 1940's), Atom Ant (from the late 60's), Captain Caveman (from the late 70's) amongst many, many more.

• Deconstruction: Superman (1978) started a new cycle in the superhero genre with technology leading the innovation with special effects creating more realistic visual ‘miracles’. Both the Superman series and Tim Burton’s Batman franchise treated the fantastic world of the superhero seriously as in the classical era but they also used the camp comedy and a tongue-in-cheek approach of parody showing how the genre had been deconstructed and repackaged in an attempt to revitalise the genre and help it find a new audience - successfully in the case of these two franchises. This brings the genre back to a period of innovation when new ideas and new developments create interesting new ideas within the genre.

• The Cycle Continues: After 1997’s Batman and Robin received a less than positive reception, the genre again needed to deconstruct and re-innovate. The next stage of the genre’s development was the rise of Marvel Studios with The X Men (2000) and Spider-Man in 2002 and DC’s return with Batman Begins in 2005 and Superman Returns in 2006. These series have themselves been deconstructed once again. 

DC’s X-Men: First Class (2011) introduced a new generation of X-Men and offers a different tone to the first three films. The Amazing Spider-Man (2012) recast Peter Parker and changed his love interest whilst Chris Nolan’s Batman offers a much darker, visceral superhero than the one in the 60's and the 90's. Perhaps the parody and deconstruction of indie superheroes has

moved the genre on more quickly than in the past although Marvel can be seen to be playing it safe with its relatively conventional and classical Avengers series - particularly the Captain America films – but they also offer some parody within Iron Man (2008) and Guardians of the Galaxy (2014).

Task 2: Genre analysis case study

Carry out your own genre analysis using the model provided by media theorist Daniel Chandler. Choose a film or TV text and answer the following questions - brief answers/bullet point responses are fine:

The Penthouse: War in Life

General

1) Why did you choose the text you are analysing?

I chose this text because I found this show very interesting and I think it juggles multiple themes and concepts very well, and the relationships between characters are very important in carrying the genre too. 

2) To what genre did you initially assign the text?

I had originally assigned it with the genre of Korean drama, crime, thriller, mystery. 

3) What is your experience of this genre?

I think it is very fascinating in the sense that there is lots of conflict between characters, companies or institutions which is normally heightened throughout. I've consumed a lot of this genre and I love how each show adapts it differently whether it's horror or romance etc, still staying  true to 'rules' but uniquely done. 

4) What subject matter and basic themes is the text concerned with?

There are mostly dark themes, like morality,  gender, power, revenge, class, and betrayal, and generally highlights the dangers of power, when trying to climb into high society. The show ultimately raises important questions about justice, inequality, and blurring the line between good and evil.

5) How typical of the genre is this text in terms of content?

This show is typical in terms of the makjang genre which is known for extreme drama, shocking plot twists, and morally complex characters. It focuses on:

• Dramatic plot twists: It is full of murder, betrayal and revenge. 
• Class conflict: Highlights divide between rich and poor - power struggles are central to the story.
• Morally ambiguous characters: Characters are neither purely good nor bad, creating tension in relationships. 
• Family drama: Intense conflict in families and relationships, involving backstabbing and secrets. 

6) What expectations do you have about texts in this genre?

Makjang audiences usually expect a wild, emotionally intense ride with plenty of surprises, drama, and high stakes conflicts including: Extreme drama/plot twists, exaggerated characters/emotions, moral ambiguity, class conflict/power struggles, melodramatic relationships and sensationalism. 

7) Have you found any formal generic labels for this particular text?

• Makjang: The show embraces this through the sensationalism, shocking events, and emotionally charged conflict. 
• Melodrama: This series amplifies personal struggles, revenge plots, and family tensions, all trademarks of melodramatic storytelling. 
• Thriller: There are elements of thriller through the suspenseful plot and psychological manipulation. The use of murder, conspiracy, and high-stakes drama creates an atmosphere of suspense typical of thrillers.
• Crime drama: There are themes that revolve around crime; the criminal acts and the consequences drive the plot. 
• Revenge drama: The story line  revolves around characters seeking vengeance for past wrongs, this motivates the conflict, and betrayal and retaliation seen throughout. 
• Soap opera: There are a few traits shared with a soap opera with the cliffhangers, emphasis on interpersonal conflicts and dramatic entanglements. 

8) Which conventions of the genre do you recognise in the text?

• Exaggerated visual/narrative style: The luxurious settings, intense confrontations, and dramatic soundtracks all help make a sense of excess that is typical of both makjang and melodramatic conventions. 
• Cliffhangers: The frequent use of cliffhangers every episode is a technique used in soap operas, which normally involves a shocking twist.
• Parental pressure: In makjang here is intense focus on academic success, this highlighted through the lengths of the parents go to secure their children's future often unethically, 

9) To what extent does this text stretch the conventions of its genre?

• Over the top plot twists: This is taken to a new level by piling multiple absurd twists like: Identity swaps, fake deaths, hidden parentage and resurrections, which are all taken to the extreme. 
• Revenge and retribution: The drive of vengeance spans through multiple families and generations, which often resort to extreme violence, manipulation, and murder. 
• Exaggerated wealth: There are exaggerated displays of wealth through settings, fashion and obsession with status, creating a world where characters are controlled by money, power and image.
• Heightened violence/crime: Extreme violence, murder cover-ups, and manipulation of the justice system.

10) Where and why does the text depart from the conventions of the genre?

• Humour in Tension: The use of humour amidst conflict challenges the often serious tone of drama. This approach makes the narrative accessible while prompting critical reflection.
• Romance: The side plot of romance between characters 'Bae Rona' and 'Joo Seok-hun', showcasing their commitment to each other, completely contrasts the theme of betrayal, and revenge, as rather than living to abuse each other, they live for each other. 

11) Which conventions seem more like those of a different genre (and which genre(s))?

• Romantic Comedy: Elements of romantic entanglements and misunderstandings among characters add a light-hearted, comedic quality like those typical of romantic comedies. The romantic competition and love triangles creates both humorous and heartfelt moments.

12) What familiar motifs or images are used?

• The Penthouse: Symbolizing luxury and status, the penthouse itself serves as a battleground for conflict, representing the  aspirations of the wealthy.
• Mirrors and Reflections: These often symbolise self-perception and the duality of characters, highlighting the facades they maintain.

Mode of address
1) What sort of audience did you feel that the text was aimed at (and how typical was this of the genre)?

This is mainly targeted towards adult audiences, and those who enjoy melodramatic shows, and it resonates well with a  lot of K-drama fans because it covers a lot of themes and concepts which can generally appeal to all types of people.

2) What assumptions seem to be made about your class, age, gender and ethnicity?

It makes assumptions that young females are ambitious and engage in fierce competition, they hold heavy emphasis on romantic relationships, and are influenced by wealth and social status - the idea that their worth is linked to material possessions. As for race, it is a fully South Korean cast, which reflects societal norms, overlooking ethnic diversity in high society. 

3) What interests does it assume you have?

This assumes you have an interest in social dynamics, whilst exploring themes of wealth, power struggles and class conflicts within elite circles.

Relationship to other texts
1) What intertextual references are there in the text you are analysing (and to what other texts)? Intertextuality is when a media product references another media text of some kind.

There are references to literature, for example, Shakespeare and Dostoevsky. 

2) In terms of genre, which other texts does the text you are analysing resemble most closely?

It is similar to neo-noir films like 'Basic Instinct'  exploring deceit, moral ambiguity and complex character dynamics, and focuses on crime. 

It is also similar to psychological thrillers like 'Gone Girl' involving obsession, betrayal, and manipulation. 

 
3) What key features are shared by these texts?

Intricate plots, complex characters, power and corruption, psychological tension, stylised visuals, and moral ambiguity. 

4) What major differences do you notice between them?

Setting/atmsosphere, character motivations, narrative style, tone/pacing, social commentary, resolution.