Definitions:
Definitions:
Selected Film Genres
The Action Film
For as long as there have been movies, there has been action. The very nature of the motion picture medium is inseparable from dynamic movement, be it the careful nuance of an actor's expression or the fiery explosions of today's mega-budget action epics.
Generally regarded as the first film to incorporate a narrative, Edwin S. Porter's THE GREAT TRAIN ROBBERY (1903) took full advantage of its crooks-and-lawmen scenario, with sequences that would quickly become staples of the action genre: chases, fistfights, gunplay and the famous siege on a fast-moving train.
Vintage westerns refined their own standards of action (the shoot-out, the stagecoach raid, etc.), while the slapstick comedies of Mack Sennett, Charlie Chaplin, Buster Keaton and other silent clowns employed action with impeccable comic timing and a keen orchestration of mechanics and mayhem.
As a timeless feature of any action-oriented film, the spectacular chase scene was a trademark of Sennett's Keystone Kops, but it was Buster Keaton who refined the comedic chase in shorts like COPS (1922) and in his feature SEVEN CHANCES (1925). Keaton then topped all previous efforts with the brilliantly directed locomotive chase in THE GENERAL (1927), released less than a year after the thrilling chariot race of BEN-HUR (1926) that was lavishly reproduced in the 1959 remake.
And while Keaton and his contemporaries perfected comedic action, Douglas Fairbanks was mastering the agile stuntwork that made him an international star in such swashbuckling adventures as THE MARK OF ZORRO (1920), ROBIN HOOD (1922), and THE THIEF OF BAGDAD (1924).
Erroll Flynn would assume the swashbuckler duties in the 1930s, enjoying a vigorous collaboration with director Michael Curtiz on CAPTAIN BLOOD (1935), THE ADVENTURES OF ROBIN HOOD (1938) and THE SEA HAWK (1940). And while action and exotic locations were the main ingredients in such rousing adventures as BEAU GESTE and GUNGA DIN (both from Hollywood's golden year of 1939), the rise of the gangster movie gave action a gritty, contemporary edge that has lasted throughout the decades.
The outbreak of World War II had a natural impact on Hollywood, which rallied to support the war with gung-ho action, from wartime classics like GUADALCANAL DIARY (1943) to the grand scale of such latter-day war films as THE GUNS OF NAVARONE (1961) and the epic re-creation of the attack on Pearl Harbor in TORA! TORA! TORA! (1970).
In the 1950s and early '60s, action took the grandiose form of costume spectacles and Biblical epics, epitomized by the opulent excess of THE TEN COMMANDMENTS (1956), BEN-HUR (1959) and EL CID (1961). With the release of DR. NO (1962), the genre had a new name ("Bond...James Bond"), and a modern emphasis on high technology and higher velocities of action.
With its classic car chase on the treacherous streets of San Francisco, BULLITT (1968) paved a speeding course for the equally breathtaking chase in THE FRENCH CONNECTION (1971). The success of films such as these contributed to a proliferation of gritty urban police dramas and the inner-city vitality of blaxploitation movies like SHAFT (1971) and SUPERFLY (1972). Lower on the budgetary scale, the sub-genres of "biker flicks" (spawned by the success of EASY RIDER, 1969) and car-chase movies (GRAND THEFT AUTO, 1977, SMOKEY AND THE BANDIT, 1977, THE CANNONBALL RUN, 1981) emerged to fill drive-ins throughout the decade. Cult favorites include VANISHING POINT (1971), GONE IN 60 SECONDS (1974) and THE GUMBALL RALLY (1976).
As always, the chase continues to be the purest form of cinematic action, and in addition to those cited above, any list of the greatest movie chases would have to include, among others, the raucous climax of THE LAVENDER HILL MOB (1951); the muscle-car mayhem of THE DRIVER (1978); the high-speed battle for gasoline tankers in MAD MAX 2 (1981)/THE ROAD WARRIOR the breathtaking subway chase in DIVA (1982); the amazing "speeder bike" chase in THE RETURN OF THE JEDI (1983); the wrong-way freeway pursuit in TO LIVE AND DIE IN L.A. (1985), which was director William Friedkin's attempt to surpass his FRENCH CONNECTION (1971) thrills; and neither last nor least, the semi-truck vs. motorcycle showdown in TERMINATOR 2: JUDGMENT DAY (1991).
By the 1980s, Hollywood's big-budget action was poised for global domination. As a thrilling tribute to the vintage cliff-hangers of the 1930s and '40s, RAIDERS OF THE LOST ARK (1981) introduced a huge new audience to the action traditions of Hollywood's golden age, and guaranteed the super-star status of Harrison Ford. Likewise, Sylvester Stallone symbolized the Reagan-era conservatism of the '80s in his popular RAMBO trilogy; Bruce Willis emerged as an action underdog in the dazzling DIE HARD (1988) films; and Arnold Schwarzenegger became the reigning king of mega-budget action in PREDATOR (1987), TOTAL RECALL (1990), TERMINATOR 2: JUDGMENT DAY (1991) and TRUE LIES (1994).
On a parallel course, James Cameron, John McTiernan, Paul Verhoeven and Renny Harlin emerged as top-ranking action directors, and the1990's also saw the rise of new action stars like Jean-Claude Van Damme and Steven Seagal.
On an international scale, the '90s also witnessed the increasing popularity of action movies from beyond the Hollywood mainstream. Although Akira Kurosawa's THE SEVEN SAMURAI (1954) ranks as one of the all-time action masterpieces, and martial-arts movies (notably those starring kung-fu legend Bruce Lee) have remained a staple of Asian cinema for decades, it wasn't until recently that foreign action films--particularly those produced in Hong Kong--gained a foothold in the international market.
With his trademark combination of physical comedy and death-defying stuntwork, Jackie Chan (sometimes described as the Buster Keaton of Hong Kong) set new standards for action and gained global recognition as Asia's top-ranking box-office star. And along with the frenzied action films of producer Tsui Hark, Hong Kong-based director John Woo earned the admiration of action fans everywhere for his spectacular shootout sequences in THE KILLER (1989), HARD-BOILED (1992), and Woo's U.S. cross-over debut HARD TARGET (1993).
While the Hollywood action film dominates with escalating budgets and skyrocketing salaries (in 1995, Sylvester Stallone signed a single-film contract for $20 million), the action genres from Hong Kong and elsewhere place a necessary emphasis on economy and physical ingenuity. In either case, the results are often spectacularly successful, ensuring the importance of action as the historical mainstay of commercial cinema.
The Aviation Film
Fictional work centering on both military and civilian characters who have an overriding love of flying that takes on almost spiritual overtones, with an obsessive dedication to such tasks as the air mail, test flying, or airplane racing. Flying becomes the dominant, guiding force in all aspects of their career and personal life, even at the cost of loss of romantic love, or probable death in a plane crash. A unique combination of rivalry and respect between pilots exists, and one or more of their number is usually killed during
the narrative, which in turn brings about a reawakening to new values in a
fellow flyer's life.
Feature examples: AIR MAIL; FLIGHT FOR FREEDOM (with Women); GOD IS MY CO-PILOT (with War); THE GREAT WALDO PEPPER; NO HIGHWAY IN THE SKY; ONLY ANGELS HAVE WINGS; THE TARNISHED ANGELS (with Romance); TEST PILOT; THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES (with Comedy) Serial examples: THE AIRMAIL MYSTERY; CAPTAIN MIDNIGHT; THE MYSTERIOUS PILOT; TAILSPIN TOMMY TV examples: BAA BAA BLACK SHEEP (with War); PIECE OF CAKE (with War); RIPCORD; TUSKEGEE AIRMEN (with War)
Biographical
Fictional work dramatizing the life (or portion thereof) of an actual historical figure (often including their family and/or associates), and told with varying degrees of accuracy. Note: If the emphasis is on larger events or several prominent historical individuals, rather than an individual or family, use Historical. Not necessary to use Historical with Biographical, since Historical is implied by the term.
The Caper Film
Fictional work concentrating on the planning and eventual execution of a single major crime, such as a robbery of a bank vault or museum, requiring meticulous preparation and perfect organization and timing. The diverse gang often have uneasy personal relations; suspense derives from the question of whether or how the plans will succeed or fail (by accident or a factor overlooked), what will become of the loot, and whether some or all of the criminals will escape.
Feature examples: THE ASPHALT JUNGLE; GAMBIT; HOW TO STEAL A
MILLION (with Comedy); THE KILLING (with Film Noir); THE
LAVENDER HILL MOB (with Comedy); RESERVOIR DOGS (with Police);
RIFIFI; THE STING (with Buddy); TOPKAPI
The Documentary Film
Nonfiction work defined by documentary pioneer John Grierson as the creative treatment of actuality. Grounded in some aspect of real life, documentaries may vary from a very deliberate account of facts to an extremely interpretive rendering of a subject, advocating a particular viewpoint on a political,
social, or historical issue. In Documentary, actuality should still be dominant over the creative treatment, which, while often staged for the camera, should not go so far as to be dramatized for emotional impact and belong to the genre of Historical fiction or Propaganda. Documentaries may include reenactments, such as showing the movements of armies, or brief scenes of individuals and dialogue. However, do not include films that merely use a realistic technique in telling a fictional story. Note: For other, more specific nonfiction terms, see also Actuality, Adventure (Nonfiction), Art, Biographical (Nonfiction), Dance, Educational, Ethnic (Nonfiction), Ethnographic, Home shopping, Industrial, Instructional, Interview Magazine, Medical (Nonfiction), Music, Nature, News, Propaganda, Public access, Public affairs, Reality-based, Religion, Social guidance, Speculation, Sponsored, Sports (Nonfiction), Talk, Training, Travelogue, War (Nonfiction).
Examples: BERKELEY IN THE SIXTIES; BERLIN--DIE SYMPHONIE EINER GROSSTADT / BERLIN--SYMPHONY OF A GREAT CITY; BEST BOY; LE CHAGRIN ET LA PITIE / THE SORROW AND THE PITY; CITY OUT OF WILDERNESS; F FOR FAKE (with Parody); FOR ALL MANKIND;
HARLAN COUNTY, U.S.A.; THE JOHNSTOWN FLOOD; LISTEN TO BRITAIN, MEMPHIS BELLE.
The Disaster Film
Combining the compelling dramatic elements of suspense, tragedy and awesome physical spectacle, the depiction of natural and man-made disasters has proven to be a perfect match for the medium of motion pictures. Providing startling realism within the safe environment of home or the local cinema, movies allow the viewer to indulge a natural fascination with life-threatening calamities, inviting us to experience the tornadoes, fires, floods, and explosions that would otherwise be a real-life nightmare. And, at the movies, we have a much better chance of surviving relatively unscathed.
From the volcanic extinction of ancient Pompeii to the atomic-age threat of nuclear devastation, disasters have provided some of the most exciting moments of movie history. And because very few real-life disasters can be predicted and safely filmed as they happen, the cinematic re-creation of disasters has run a parallel course with the technological advancement of special effects.
Historic disasters have typically been given the full Hollywood treatment, from the biblical extravaganzas of the silent era to the present age, when the latest news-breaking crisis becomes sensational grist for the TV-movie mill.
The 1930s proved to be a rich decade for cinematic disasters, including the awesome finale of THE LAST DAYS OF POMPEII (1935). The great San Francisco earthquake of 1906 was brilliantly recreated in the MGM classic SAN FRANCISCO (1936), in a climactic 20-minute sequence that remains a still-impressive milestone of special effects. Likewise, the devastating storm sequence of John Ford's THE HURRICANE (1937) set a long-lasting standard for life-threatening realism; the locust swarm in THE GOOD EARTH (1937) remains eerily unforgettable; and the flooding deluge in THE RAINS CAME (1939) earned a well-deserved Academy Award for special effects.
The sinking of the Titanic was adequately dramatized in TITANIC (1953, 1997), but the British production of A NIGHT TO REMEMBER (1958) remains the more memorable film about the ill-fated ocean liner. The tragic 1936 explosion of the Hindenberg was given a speculative treatment in THE HINDENBURG (1975), while the producers of TORA! TORA! TORA! (1970) spared no expense to meticulously re-create the attack on Pearl Harbor; not surprisingly, both films won the Oscar for special effects. On the purely imaginative front, science fiction epics such as WHEN WORLDS COLLIDE (1951) and THE WAR OF THE WORLDS (1953) presented end-of-the-world scenarios with awesome (if not always convincing) visual flair.
The disaster film came into its own in the 1970s, when the commercial success of AIRPORT (1970) and especially THE POSEIDON ADVENTURE (1972) led to a popular decade-long cycle of sequels and similar spectacles with all-star casts, most notably the comparably profitable EARTHQUAKE (1974). Most of the disaster movies of the '70s could be readily identified by their titles, such as TIDAL WAVE (1975), AVALANCHE (1978) and METEOR (1979), with plots that were rarely more complicated than the self-descriptive titles.
After scoring box-office hits with THE POSEIDON ADVENTURE and THE TOWERING INFERNO (1974), producer Irwin Allen gained a reputation as the leader of the disaster-movie trend, but Allen's subsequent efforts like THE SWARM (1978) and the uncalled-for sequel BEYOND THE POSEIDON ADVENTURE (1979) weren't so much disaster movies as they were simply disasters themselves.
By the early 1980s, the disaster movie trend had long since worn out its welcome, and with the exception of TV-movie "events" like THE DAY AFTER (1983), the notion of contriving entire plots around a specific disaster had been exhausted. But the dynamic nature of disasters continues to fascinate filmmakers and audiences alike, and advances in computer-generated special effects have resulted in some of the most intense sequences of disaster and destruction ever created on film.
.
Allowing filmmakers to realistically duplicate the awesome powers of nature, the latest computer-imaging technologies are bringing disaster movies full circle. Just as THE HURRICANE (1937) thrilled audiences nearly 60 years ago, the incredible images of natural destruction in TWISTER (1996) created a new landmark in the ongoing tradition of cinematic calamity.
The Domestic Melodrama (or Family) Film
Fictional work depicting inter-family relations between parents, offspring, siblings, and in-laws, relating how the family endures or dissolves through such emotions as love, jealousy, rivalry, and hatred.
Note: The term Family refers to the theme, not necessarily the intended audience. If the emphasis is on an individual woman's experience, use Women; for Television series, see also Soap opera. For television comedies centered on the family, use Domestic comedy. See also Fallen woman and
Maternal melodrama.
Feature examples: THE BEST YEARS OF OUR LIVES; AUTUMN SONATA; CAT ON A HOT TIN ROOF (with Adaptation); FATHER OF THE BRIDE; THE GOOD EARTH; HANNAH AND HER SISTERS (with Comedy; Romance); HOME FROM THE HILL; HONEY, I SHRUNK THE KIDS (with Comedy; Science fiction); KRAMER VS. KRAMER; LIFE WITH FATHER; LONG DAY'S JOURNEY INTO NIGHT (with Adaptation); THE MAGNIFICENT AMBERSONS; MEET ME IN ST. LOUIS (with Musical); ON GOLDEN POND; THE PARENT TRAP (with Comedy); PARENTHOOD; SENSE AND SENSIBILITY (with Romance; Historical; Adaptation); A TREE GROWS IN BROOKLYN TV examples: AVONLEA (with Historical); FAMILY; PARTY OF FIVE; THE WALTONS (with Historical).
Espionage
Fictional work depicting spies and secret agents seeking to uncover or maintain secrets from each other and for one country or for the benefit of another. Living a masquerade, spies are usually cynical, amoral, deceitful, alienated, and ready to betray another person or cause, although these are often seen as
merely the means to achieve a patriotic goal. Although the secrets often have a military application, the setting can be either during wartime or in the Cold War.
Feature examples: DR. NO (with Adaptation); FIVE FINGERS (with War); FOREIGN CORRESPONDENT (with War); FROM RUSSIA WITH LOVE (with Adaptation); THE HOUSE ON 92ND STREET (with War); JOURNEY INTO FEAR; MATA HARI (with Historical); MINISTRY OF FEAR (with
War); NEVER SAY NEVER AGAIN (with Adaptation); NORTH BY NORTHWEST; NOTORIOUS; SABOTEUR; SECRET AGENT (with Adaptation); THE SPY WHO CAME IN FROM THE COLD (with
Adaptation); THE STRANGER; THE THIRTY-NINE STEPS (with Adaptation); TRUE LIES
TV examples: THE AVENGERS; BRING 'EM BACK ALIVE (with Historical; Animal); GET SMART (with Parody); I SPY; THE MAN FROM U.N.C.L.E.; MISSION: IMPOSSIBLE; REILLY--ACE OF SPIES (with
Historical); THE SANDBAGGERS; SMILEY'S PEOPLE; TINKER, TAILOR, SOLDIER, SPY.
Film Noir
Fictional work using the crime formula, but in which crime becomes a dark metaphor that is symptomatic of what is wrong with society, rather than simply a single aberration from the norm. The film noir world is one of disillusionment and full of pervasive evil, guilt, fear, and paranoia. The protagonists are frequently anti-heroic hardboiled detectives, and are surrounded by corrupt characters that may include a femme fatale. Narratives are frequently convoluted and characterized by the use of flashbacks, voice-over
narration, and echoed by visual devices reminiscent of German expressionism, such as shadows, low key lighting, and oblique, unbalanced compositions. Unlike mysteries, identifying the culprit proves less significant than revelations that justify the hero's cynical perspective. Note: Film noir was primarily made in a cycle during the 1940s and into the 1950s, but includes work made in previous and subsequent years that invoke the feel and mood of classical film noir (CHINATOWN). See also Caper, Crime, Gangster, Mystery, Police, and Thriller.
Feature examples: AGAINST ALL ODDS; THE BIG SLEEP (with Adaptation); THE BLUE DAHLIA (with Adaptation); D.O.A.; DOUBLE INDEMNITY (with Adaptation); KISS ME DEADLY (with Adaptation); THE
LADY FROM SHANGHAI; THE MALTESE FALCON (with Adaptation); MURDER, MY SWEET (with Adaptation); OUT OF THE PAST; SCARLET STREET; TOUCH OF EVIL (with Adaptation) TV examples: DANTE'S INFERNO; M SQUAD; MARLOWE--PRIVATE EYE (with Adaptation); PETER GUNN.
The Gangster Film
Fictional work telling a crime story concentrating on the lawbreaker, utilizing his point of view, often portraying and glorifying his rise and fall. The criminal may be either an individual or part of a gang; their rivalry with other criminals is as significant to them as their concern about police apprehension.
Gangsters are often excessively ambitious, materialistic, street-wise, and immoral, and suffer from megalomania and various complexes that help lead to their destruction; they fail to understand that they are living an inversion of the dream of wealth and success, and are doomed to failure.
Note: See also Caper, Crime, Film noir, Mystery, Police, and Thriller.
Feature examples: ANGELS WITH DIRTY FACES; BONNIE AND CLYDE
(with Biographical); DARK MANHATTAN (with Ethnic); THE GODFATHER
(with Adaptation); GOODFELLAS; HIGH SIERRA (with Adaptation); LITTLE
CAESAR (with Adaptation); MANHATTAN MELODRAMA; MARRIED TO
THE MOB (with Comedy); THE PUBLIC ENEMY; SCARFACE; WHITE
HEAT. TV examples: THE GANGSTER CHRONICLES.
The Historical Film
Fictionalized work set in a certain specified time in the past. Historical "fiction" is regarded as fiction because it most typically follows one of two formulas. Most common is the portrayal of an imaginary character interacting with real people or events as a background (A TALE OF TWO CITIES). Less
common is the dramatization of a specific actual event, imagining dialogue and other aspects of the actions of real individuals (THE PRIVATE LIVES OF ELIZABETH AND ESSEX). Accuracy is usually sacrificed to the personalizing or mythologizing of complex political forces, and actual chronology is telescoped and often transposed. The reliance is on the trappings of a period setting (costume, decor, locale) to lend verisimilitude, rather than accurately reproducing the complexity of historical individuals or incidents. Note: See also genres whose setting is inherently historical: Adventure; Ancient world; Biographical; Prehistoric; War; Western. It is not necessary to use Historical with those genres.
Feature examples: THE AGONY AND THE ECSTASY (with Adaptation); APOLLO 13; LA BATTAGLIA DI ALGERI / THE BATTLE OF ALGIERS (with Propaganda; War); GONE WITH THE WIND (with Romance; Adaptation); IN OLD CHICAGO (with Family; Romance; Disaster); IL GATTOPARDO / LE GUEPARD / THE LEOPARD; LLOYDS OF LONDON (with Adventure; Romance); A MAN FOR ALL SEASONS (with Adaptation); MONSIEUR BEAUCAIRE (with Comedy; Adaptation); ORPHANS OF THE
STORM (with Family; Adaptation); SARABAND FOR DEAD LOVERS (with Melodrama); 1776 (with Musical; Adaptation); SI VERSAILLES M'ETAIT CONTE / ROYAL AFFAIRS IN VERSAILLES.
TV examples: BLACK ADDER (with Situation comedy); ARTHUR OF THE
BRITONS; FALL OF EAGLES; THE JEWEL IN THE CROWN (with
Melodrama; Adaptation); POLDARK; ROOTS (with Family; Ethnic); THE
VOYAGE OF CHARLES DARWIN (with Biographical); THE YOUNG
INDIANA JONES CHRONICLES, THE WINDS OF WAR, WAR AND REMEMBRANCE
The Horror Film
Fictional work portraying the dark side of life, the unknown, the forbidden, and the supernatural, with the primary aim of frightening the viewer in an entertaining, cathartic manner. Frequently, ghosts, werewolves, zombies, vampires, or the diabolical are depicted. The menace may also come through
the horrific impact of nature or science gone wrong, such as a monster deliberately or accidentally created by advanced technology, or from Earth under attack by extraterrestrial beings; in such cases use Horror in conjunction with Science fiction. The "monster" figure may not be one that properly inspires dread, but is simply perceived in that way by those around them (THE HUNCHBACK OF NOTRE DAME). Horror may also induce both shudders and laughs (THE CANTERVILLE GHOST), or be a straightforward comedy about monsters or a parody of the genre (ABBOTT AND COSTELLO MEET
THE KILLER, BORIS KARLOFF).
Feature examples: THE BEAST WITH FIVE FINGERS (with Adaptation); DRACULA (with Adaptation); DR. JEKYLL AND MR. HYDE (with Adaptation); THE FACE BEHIND THE MASK; THE FLY; FRANKENSTEIN (with Science fiction; Adaptation); GODZILLA; DER GOLEM / THE GOLEM (with Adaptation); THE INNOCENTS (with Adaptation); INVASION OF THE BODY SNATCHERS (with Science fiction); THE ISLAND OF LOST SOULS / THE ISLAND OF DR. MOREAU (with Science fiction; Adaptation); JAWS (with Adaptation); DAS KABINETT DES DR. CALIGARI / THE CABINET OF DR. CALIGARI; KING KONG (with Prehistoric); MURDERS IN THE RUE MORGUE (with Adaptation); PSYCHO (with Adaptation); ROSEMARY'S BABY (with Adaptation); THE UNINVITED (with Adaptation)
TV examples: AMERICAN GOTHIC; TALES FROM THE CRYPT.
The Juvenile Delinquency Film
Fictional work depicting criminal tendencies and actions among people in their teens and twenties. The setting is often in an urban slum or a school, with the characters becoming members of rival gangs, with events leading to violence. Such work is typically aimed largely at a younger audience, through
representations of misunderstood youth rebelling against the perceived restraints and hypocrisies of adults. Note: Not necessary to also use Youth, since that is implied by Juvenile delinquency. If the work concentrates on youth and older characters equally, then use such categories as Crime or Gangster (DEAD END).
See also: "The Youth Film.
Feature examples: BADLANDS (1973); BLACKBOARD JUNGLE; BOYS TOWN; LITTLE TOUGH GUYS; REBEL WITHOUT A CAUSE; ROCK AND ROLL HIGH SCHOOL; RUMBLEFISH; THE WILD ONE. TV examples: 21 JUMP STREET (with Police).
The Melodrama
Fictional work emphasizing emotional vicissitudes and tragic occurrences, traditionally presented in an overwrought manner. The plot usually concerns victimized or suffering protagonists and a mixture of difficulties among lovers, family, friends, or the community. The story typically encompasses both
familiar and romantic themes. Note: See also Fallen woman, Family, Historical, Maternal melodrama,
Romance, and Women. Narratives concentrating on a single family unit should use Family, while those emphasizing a single couple should use Romance. For a Melodrama that is a television series, in most cases Soap opera is the most appropriate term. Do not use Melodrama when that element is merely one
among many assorted subplots.
Feature examples: BROKEN BLOSSOMS; FLAMINGO ROAD; GIANT (with Adaptation); GRAND HOTEL; GREEN DOLPHIN STREET (with Historical; Adaptation); IMITATION OF LIFE (with Family; Women); THE JOY LUCK CLUB (with Historical; Adaptation); KINGS ROW (with Adaptation);
PEYTON PLACE (with Adaptation); STEEL MAGNOLIAS; THE SUN ALSO RISES (with Adaptation; Romance); TENDER IS THE NIGHT (with Adaptation; Romance); TERMS OF ENDEARMENT; THIS HAPPY BREED (with Historical); WAY DOWN EAST (with Adaptation); WRITTEN ON THE WIND; WUTHERING HEIGHTS (with Adaptation).
The Military Film
Fictional work concentrating on the military lifestyle and loyalty to the armed forces and its codes, predominantly set during peacetime. Among the hero's codes of conduct is a willingness to sacrifice the ease and the comfort of civilian life in favor of a devotion to duty. This may result, on the one hand, in facing life-threatening situations, but ultimately also brings its own internal rewards and camaraderie with others who have chosen this career.
Note: Work portraying military court-martials will usually also be listed under Legal. Work about the military life during wartime would go under War. Work set in the French Foreign Legion usually goes under Adventure.
Feature examples: BROTHER RAT (with Comedy); FROM HERE TO ETERNITY (with Adaptation); THE LONG GRAY LINE; NO TIME FOR SERGEANTS (with Comedy; Adaptation); AN OFFICER AND A
GENTLEMAN (with Romance); THE SEARCH; TOP GUN (with Aviation); UNDER SIEGE.
TV examples: EMERALD POINT, N.A.S.; GOMER PYLE (with Situation comedy); MAJOR DAD (with Domestic comedy); PRIVATE BENJAMIN (with Situation comedy).
Musical
Predominantly theatrical fiction work whose plot is structured around segments featuring combinations of music, song, and dance, including such various types as backstage, comedy, rock, and musical biographies. In the Hollywood context, musicals emerged with the coming of sound motion pictures, from
roots in stage musicals and operettas, revues, and vaudeville. Note: For musical westerns use Musical in conjunction with Western (ANNIE GET YOUR GUN; PAINT YOUR WAGON), but for a Western using a singing hero, such as Gene Autry, use Singing cowboy. Use Musical with Variety for musical revues. For filmed or televised productions of stage musicals, not adaptations, use the form Performance in conjunction with Musical; otherwise, use Music and the form Performance for recorded musical
performances.
Feature examples: ALEXANDER'S RAGTIME BAND; THE BAND WAGON (with Show business); CABIN IN THE SKY (with Ethnic; Fantasy); DANCE, GIRL, DANCE; THE DUKE IS TOPS / THE BRONZE VENUS (with Ethnic); FLOWER DRUM SONG (with Ethnic; Adaptation); 42ND STREET (with
Show business); GREASE (with Youth; Comedy); THE GREAT WALTZ; THE GREAT ZIEGFELD; JESUS CHRIST SUPERSTAR (with Religious; Adaptation); OKLAHOMA (with Romance; Western; Adaptation); ROMAN SCANDALS; SATURDAY NIGHT FEVER; SEVEN BRIDES FOR SEVEN
BROTHERS (with Western); SOUTH PACIFIC (with War; Romance; Social problem; Adaptation); YANKEE DOODLE DANDY (with Biographical) TV EXAMPLES: COP ROCK (with Police); FAME (with Youth).
The Mystery Film
Fictional work in which a detective (sometimes merely an endangered individual forced to "detect" for his own self-protection) attempts to solve a crime, usually a murder or theft. The detective may be an amateur, a private investigator, or a plainclothes member of a police force, but whatever the identity, the mystery places the emphasis on the search for clues and rationative power of the detective, rather than the efforts of police or lawbreakers. In the mystery, suspense derives from the narrative's puzzle-like structure, with a group of suspects, whose testimony and motives must all be investigated until, in the surprising conclusion, the intelligent detective perceives the flawed alibi or other clue betraying the culprit's identity. Popular mystery heroes from literature include Boston Blackie, Father Brown, Charlie Chan, Adam Dalgliesh, Nancy Drew, the Hardy Boys, Sherlock Holmes, Miss Marple, Hercule Poirot, Ellery Queen, The Saint, Michael Shayne, Philo Vance, Lord Peter Wimsey, Nero Wolfe, Mr. Wong, and The Thin Man. Hardboiled detectives including Philip Marlowe, Sam Spade, and Mike Hammer are
sometimes classified under Film Noir. Some mystery heroes cross with other genres, such as Torchy Blane with Journalism, and Hopalong Cassidy or the Cisco Kid, most of whose exploits are mysteries within a Western setting.
Note: Detectives whose primary identification is with the police force and whose work is primarily involved with police methodology, rather then their own unique method of solving a case, should be classified under Police.
See also Caper, Crime, Film noir, Gangster, Police, and Thriller.
Feature examples: DAUGHTER OF SHANGHAI; GREEN FOR DANGER (with Adaptation); I WAKE UP SCREAMING; KLUTE; LAURA (with Romance; Adaptation); MEET BOSTON BLACKIE; MURDER BY DEATH (with Parody); THE PENGUIN POOL MURDER; SECRET OF THE BLUE ROOM; AND THEN THERE WERE NONE / TEN LITTLE INDIANS (with Adaptation) TV examples: BARNABY JONES; CHARLIE'S ANGELS; COLUMBO; THE GALLERY OF MME. LIU-TSONG; GET CHRISTY LOVE (with Ethnic); HART TO HART; MOONLIGHTING; MURDER, SHE WROTE; REMINGTON STEELE; THE ROCKFORD FILES; 77 SUNSET STRIP.
The Film Parody
A Nonfiction or Fictional work which aims to humorously imitate another film, program, or story, or another genre's formula. Note: Not necessary to also use Comedy, since that is implied by the term
Parody.
Feature examples: THE ATOMIC CAFÉ; AIRPLANE! (with Disaster); CASINO ROYALE (with Espionage; Adaptation); HAIL THE CONQUERING HERO (with War); LAS HURDES / TIERRA SIN PAN / LAND WITHOUT BREAD / UNPROMISED LAND (with Documentary); DUCK SOUP (with Political); HOT SHOTS; I'M GONNA GET YOU SUCKA (with Ethnic); LOVE AT FIRST BITE (with Horror); THE PALEFACE (with Western); PARIS QUI DORT / THE CRAZY RAY (with Science fiction); THE PRINCESS AND THE PIRATE (with Adventure); THE THREE AGES; YOUNG FRANKENSTEIN (with Horror); ZORRO--THE GAY BLADE (with Adventure) TV examples: GET SMART (with Espionage); MYSTERY SCIENCE THEATER 3000 (with Science fiction); POLICE SQUAD (with Police); SLEDGE HAMMER! (with Police); SOAP (with Soap opera); WHEN THINGS WERE ROTTEN (with Adventure).
The Police Film
Fictional work portraying the activities and personalities of official law enforcement officers and agencies (from municipal police to F.B.I. to G-men) in tracking criminals. Narratives are often concerned with their excessive devotion to their work and police procedure as they cope with office routine, bureaucracy, and the death of fellow officers in the line of duty. Unlike detectives, policemen fear discovering that they will turn corrupt or are beginning to share traits in common with their criminal adversaries, by also adopting illegal tactics, although for the purpose of apprehending criminals. Note: Some police may operate as detectives, but their overall identification and responsibility remains to the police force, and they are not individuals accountable only to themselves, like the detectives in a Mystery.
See also Caper, Crime, Film noir, Gangster, Mystery, and Thriller.
Feature examples: THE BLUE LAMP; DETECTIVE STORY (with Adaptation); THE FBI STORY; THE FRENCH CONNECTION (with Adaptation); "G"-MEN; LETHAL WEAPON (with Buddy); THE NAKED
GUN (with Parody) TV examples: ADAM-12; THE BLUE KNIGHT; CAGNEY & LACEY; DEMPSEY AND MAKEPEACE; DICK TRACY; DRAGNET; HAWAII FIVE-0; HIGHWAY PATROL; IN THE HEAT OF THE NIGHT; KOJAK; MIAMI VICE; THE MOD SQUAD; NIGHT HEAT; POLICE WOMAN; PRIME SUSPECT; THE STREETS OF SAN FRANCISCO; THE SWEENEY; WISEGUY.
The Political Film
Fictional work centering on the political milieu, often of candidates, elections, and elective or appointive office. Some of the protagonists may be corrupt or dictatorial.
Note: For work emphasizing a specific issue or sociological viewpoint, see Social problem.
Feature examples: ADVISE AND CONSENT (with Adaptation); ALL THE KING'S MEN (with Adaptation); THE BEST MAN (with Adaptation); THE CANDIDATE; THE EMPEROR JONES (with Adaptation); THE LAST HURRAH (with Adaptation); MOON OVER PARADOR (with Comedy); MR. SMITH GOES TO WASHINGTON; SCANDAL (with Biographical); SEVEN DAYS IN MAY (with Thriller; Adaptation); STATE OF THE UNION TV examples: HOUSE OF CARDS; THE SENATOR; TANNER '88; YES, PRIME MINISTER (with Situation comedy).
The Prison Film
Fictional work set primarily behind bars, where life becomes strictly regimented, impacting the lives of guards and wardens as well as prisoners. Nonetheless, methods of evading control and supervision are found, and motifs include attempts to escape, prove innocence, or await the death penalty. With
the primary characters all criminals, one is bound to assume heroic status, if only because of differences from fellow criminals. Note: For work set in a prisoner-of-war camp, use War.
Feature examples: THE BIG HOUSE; BIRDMAN OF ALCATRAZ (with Adaptation); COOL HAND LUKE (with Adaptation); THE CRIMINAL CODE; ESCAPE FROM ALCATRAZ; ESCAPE FROM NEW YORK (with Science fiction); FOR THE TERM OF HIS NATURAL LIFE (with Adaptation); THE LAST MILE (with Adaptation); THE SHAWSHANK REDEMPTION; 20,000 YEARS IN SING SING TV examples: THE JERICHO MILE (with Sports); SIX AGAINST THE ROCK; WOMEN OF SAN QUENTIN.
The Science Fiction Film
Fictional work that relies on some type(s) of advanced technology, scientific development, or encounter with alien life, to make the narrative possible. Stories frequently have a prophetic nature, forecasting how technological changes may impact society in the years to come (METROPOLIS), often with a dehumanizing effect (THX-1138) or as part of an overall dystopian view (BLADE RUNNER). May be set on both Earth or in outer space, and (most often) in the future, although sometimes set in the present or past (TWENTY THOUSAND LEAGUES UNDER THE SEA; THE FIRST MEN IN THE MOON).
Note: Horror may overlap with Science fiction when advanced technology or alien life prove malevolent and terrifying.
Feature examples: BACK TO THE FUTURE; CLOSE ENCOUNTERS OF THE THIRD KIND; E.T.--THE EXTRA TERRESTRIAL; FAHRENHEIT 451 (with Adaptation); INVASION OF THE BODY SNATCHERS (with Horror); JOURNEY TO THE CENTER OF THE EARTH (with Adaptation); MAD MAX; THE MAN WHO FELL TO EARTH (with Adaptation); ON THE BEACH (with Adaptation); PLANET OF THE APES (with Adaptation); STAR WARS; THINGS TO COME (with Adaptation); THE TIME MACHINE (with
Adaptation); 2001--A SPACE ODYSSEY (with Adaptation); THE WAR OF THE WORLDS (with Adaptation); ZARDOZ. Serial examples: FLASH GORDON; BUCK ROGERS; THE PHANTOM
EMPIRE (with Singing cowboy); RADAR MEN FROM THE MOON TV examples: BLAKE'S 7; DR. WHO; FIREBALL XL-5); LOST IN SPACE; MAX HEADROOM; MY FAVORITE MARTIAN (with Situation comedy); OCEAN GIRL; SPACE: 1999; STAR TREK; THE WILD, WILD WEST (with Western); THE X FILES (with Horror).
The Social Problem Film
Fictional work dramatizing a specific societal ill, from alcoholism and drug addiction to racial and religious intolerance, to draw attention to the issue and take advantage of topical interest in a subject.
Feature examples: BILLY JACK; BLACK LEGION; BOYZ N THE HOOD (with Ethnic); CROSSFIRE (with Adaptation); THE DEFIANT ONES; DO THE RIGHT THING; THE EXILE (1931) (with Ethnic); DIE FREUDLOSE GASSE / THE JOYLESS STREET; FURY; GENTLEMAN'S AGREEMENT (with Adaptation); GUESS WHO'S COMING TO DINNER (with Romance; Family); HOW GREEN WAS MY VALLEY (with Family; Historical; Adaptation); I AM A FUGITIVE FROM A CHAIN GANG; INTRUDER IN
THE DUST (with Adaptation); THE LOST WEEKEND (with Adaptation); MISSISSIPPI BURNING; MR. DEEDS GOES TO TOWN (with Comedy); ON THE WATERFRONT; PINKY (with Adaptation); THE SCAR OF SHAME (with Ethnic); THE SNAKE PIT; TAXI DRIVER (with Crime). TV examples: BABY M; THE BURNING BED; DAWN: PORTRAIT OF A TEENAGE RUNAWAY (with Youth); ROE VS. WADE; SARAH T.: PORTRAIT OF A TEENAGE ALCOHOLIC (with Youth); SOMETHING
ABOUT AMELIA; TESTAMENT.
The Thriller
Fictional work frequently related to the crime genre in that the subject is usually some aspect of criminal activity, but with the emphasis away from a detective, gangster, caper, or even the crime itself. Instead, the narrative concentrates on suspense as an individual or group is placed in a dangerous situation whose outcome hinges on sudden reversals of fate. Frequent themes are political conspiracy, terrorism, innocents on the run, romantic triangles leading to murder, and individuals suffering from psychosis.
Note: See also Caper, Crime, Film noir, Gangster, Mystery, and Police.
Feature examples: CAPE FEAR; THE CONVERSATION; LE CORBEAU / THE RAVEN; DIABOLIQUE; DR. MABUSE DER SPIELER; FATAL ATTRACTION; GASLIGHT / ANGEL STREET / THE MURDER IN
THORNTON SQUARE; THE GENERAL DIED AT DAWN (with War); THE HUNT FOR RED OCTOBER (with Adaptation); THE LADY FROM SHANGHAI; M (with Social Problem); THE MANCHURIAN CANDIDATE (with Political; Adaptation); MR. ARKADIN / CONFIDENTIAL AGENT (with Adaptation); OBSESSION; THE PARALLAX VIEW (with Political); REBECCA (with Adaptation); SLEEPING WITH THE ENEMY; SPEED; SPELLBOUND; THE SPIRAL STAIRCASE; STRANGERS ON A TRAIN;
THE THIRD MAN; VERTIGO TV examples: THE ADVENTURES OF FU-MANCHU; THE FUGITIVE
(with Road); THE HIJACKING OF THE ACHILLE LAURO; HOSTAGE FLIGHT; THE PRISONER.
The War Film
Fictional work portraying military conflicts in the twentieth century, primarily the first and second world wars, but also other subsequent wars, such as Vietnam, as well as smaller conflicts. Includes not only portrayals of combat, but stories set in POW camps (THREE CAME HOME; STALAG 17), accounts
of the homefront (SINCE YOU WENT AWAY, with Family), and depictions of the difficulties of demobilization and the veteran returning to civilian life (THE BEST YEARS OF OUR LIVES; COMING HOME). The genre ranges from work enthusiastically dramatizing the war effort, with harsh portrayals of
the enemy, to denunciations of war. Note: Stories taking place in the military milieu in peacetime go under Military, and those depicting military conflicts prior to the 19th century usually go under Historical or Adventure. Not necessary to also use Historical since that is implied by War.
Feature examples: ALL QUIET ON THE WESTERN FRONT (with Adaptation); BATAAN; DAS BOOT / THE BOAT; BORN ON THE FOURTH OF JULY (with Biographical; Adaptation); THE BRIDGE OVER THE RIVER KWAI (with Adaptation); FOR WHOM THE BELL TOLLS (with Adaptation); LE GRANDE ILLUSION / THE GRAND ILLUSION; HITLER'S CHILDREN; IN WHICH WE SERVE; LIFEBOAT (with Survival); M*A*S*H (with Dark comedy; Medical); MRS. MINIVER; PLATOON; RAMBO: FIRST
BLOOD, PART II; ROMA CITTA APERTA / OPEN CITY; SEVEN BEAUTIES; SO PROUDLY WE HAIL (with Women); THE STEEL HELMET; TORA! TORA! TORA!; WESTFRONT 1918; WINGS (with
Aviation) TV examples: HOGAN'S HEROES (with Situation comedy); HOMEFRONT (with Family); MCHALE'S NAVY (with Situation comedy); THE RAT PATROL; TWELVE O'CLOCK HIGH (with Aviation).
The Western
Fictional work set in the period of American westward expansion. In the name of civilization, the wilderness is conquered and nature subordinated. Key thematic oppositions are between humankind and nature, law and anarchy, settler and nomad, and the new arrivals and the Native American. The hero is a person of integrity and principle, who tames the land, stands alone, faces danger, and is the fastest draw. Although usually set in the western United States from 1865-1900, settings in the Western may extend back to the era of America's colonial period (THE LAST OF THE MOHICANS), or as far
geographically as Mexico (THE WILD BUNCH), and into the first half of the 20th century
Note: For musical westerns use Musical in conjunction with Western (ANNIE GET YOUR GUN; PAINT YOUR WAGON), but for a Western using a singing hero, such as Gene Autry, use Singing cowboy. Not necessary to also use Historical since that is implied by Western.
Feature examples: CALAMITY JANE (with Musical; Romance; Biographical); CIMARRON (with Adaptation); THE COVERED WAGON (with Adaptation); DRUMS ALONG THE MOHAWK (with Adaptation); THE GOOD, THE BAD, AND THE UGLY; THE GUNFIGHTER; HELL'S HINGES; HIGH
NOON; THE IRON HORSE (with Adaptation); MY DARLING CLEMENTINE; NORTHWEST PASSAGE (with Adaptation); THE OX-BOW INCIDENT (with Social problem; Adaptation); THE PLAINSMAN; POSSE (with Ethnic); RED RIVER; SHANE; STAGECOACH; TRUE GRIT; UNFORGIVEN
TV examples: THE BIG VALLEY; BONANZA; CHEYENNE; THE CISCO KID; DR. QUINN, MEDICINE WOMAN (with Medical); F-TROOP (with Situation comedy); GUNSMOKE; RAWHIDE; THE TEXAN; WAGON TRAIN.
.
The Youth Film
Fictional work portraying aspects of the trajectory through adolescence, including high school years, peer pressure, first love, beach parties, and initial attempts at adulthood, along with strains in the relationship with family. Teenage years are usually emphasized, although younger characters may also be included in a mix of ages, or the work may cover the transition from pre-teen to teenager, depicting a coming-of-age. A frequent emphasis is on a school setting including these ages (TOM BROWN'S SCHOOLDAYS). Note: This category includes "Teen" films, usually aimed primarily at a teenage audience. Works depicting predominantly those of 12 years of age or under would go under Children's. A story with emphasis on familial relations would go under Family, while one set in a collegiate environment would go under College; if criminal tendencies are dominant, use Juvenile delinquent
Feature Examples: AMERICAN GRAFFITI (with Historical); ANDY HARDY GETS SPRING FEVER (with Family); BEACH BLANKET BINGO (with Musical); THE BREAKFAST CLUB (with Comedy); BREAKING AWAY; BUFFY THE VAMPIRE SLAYER (with Horror; Parody); CLUELESS (with Comedy); DEAD POETS SOCIETY; FAST TIMES AT RIDGEMONT HIGH; HEATHERS (with Dark comedy); MARGIE; RISKY BUSINESS (with Caper); SIXTEEN CANDLES (with Comedy); SOMMAREN MED MONIKA /
MONIKA / SUMMER WITH MONIKA (with Romance); TOL'ABLE DAVID.
TV examples: BEVERLY HILLS, 90210 (with Soap opera); HEAD OF THE
CLASS (with Situation comedy); THE MANY LOVES OF DOBIE GILLIS
(with Situation comedy); SAVED BY THE BELL (with Situation comedy).
.