Genre

Documentaries

Experimental and Animation

Fictional

Hollywood

Art

Most genres can be defined by their subject matter or setting--e.g., the western, gangster film, police thriller, science-fiction film, or social problem film. Others are classified according to the type of narrative form they exhibit. The musical, for example, often has a show business setting or theme, but it is not so narrowly restricted; it can be about almost any subject. The melodrama also encompasses many subjects and styles; it has even been combined with other genres--for example, with the western in Rancho Notorious (1952) and with the problem film in Ordinary People (1980).

The evolution of genres can be used to trace the history of Hollywood cinema and 20th-century American popular culture. Different genres have achieved popular success in different periods. Some, termed "cycles," are short-lived (e.g., the disaster cycle of the 1970s, which included Earthquake [1974] and The Towering Inferno [1974]); but even lasting genres go through phases of popularity. The western, for example, was well-established as a genre by the 1920s. It was particularly strong in the late 1940s and early '50s but not during the '30s. It resurged in the 1960s but subsided later in the '70s. Musicals came into prominence with the introduction of sound. They remained important until the late 1960s, when a number of expensive, overblown productions flooded theatres and met financial failure. Most film historians were ready to proclaim the genre dead, but several astounding successes in the late 1970s and early '80s caused them to revise their view of the musical and the culture it addresses.

The internal mutation of a genre reflects the changing tastes and mores of the public. The modern musical (All That Jazz, 1979; Fame, 1980; Coal Miner's Daughter, 1980) is more socially conscious and more serious than the colourful, vividly stylized, self-conscious musicals of the 1940s and '50s (Singin' in the Rain, 1952; The Band Wagon, 1953), which in turn are derived from, but upend, such early escapist masterpieces as 42nd Street (1933) and Top Hat (1935). Each phase can be seen as a response to the prevailing political, social, and economic conditions of its time.

The western is the genre most scrutinized for this evolution. Its classical phase (Stagecoach, 1939) mutated after World War II into a variant capable of dealing with social problems (High Noon, 1952) or with tortured heroes (Winchester 73, 1950). In the 1960s the Italian "spaghetti western" announced a decadent phase. The Good, the Bad, and the Ugly (1966) inverted character roles and culminated in a three-man gunfight. Audiences applauded both the attenuated spectacle of these films and their ironic perversion of the codes operating in the standard genre. Some scholars, citing the Star Wars trilogy (1977, 1980, 1983) as an example, have argued that in the 1970s the mutation went so far as to leap across the boundary of subject matter toward science fiction. Although some science-fiction films may share fascinating properties with the western, it is unlikely that the production or reception of such films was consciously affected by westerns. Genres with strong, well-defined iconographies rarely consciously influence or combine with one another, even when they are clearly related. When Hollywood remade Kurosawa's Seven Samurai (1954) into the western The Magnificent Seven (1960), production personnel and audiences were far more conscious of the new film's relationship to previous westerns than of its similarities to Japanese samurai pictures.