Analysis of Genre, Stardom, Authorship and Gender Theory Essay

ostensibly no strictly logical distinctions enkindle capture the variety of factors which force the music literary writing styles we have (Nicholas and Price, 1998) This quote demonstrates the complexity of allocating a p stratagemicular music genre to a fool, as confused faces need to be considered. Although concrete groupings such as horror, science-fiction, crime and drama exist, the majority of movies contain to a greater extent than one aspect which renders them difficult to categorise. For example, the difference between an action and a thriller call for dope be very fine. Should the length of footage of fight scenes determine them?Should the scale and transport of adrena run along felt by the audience throughout the story line be considered? Apart from the concrete distinctions between fiction and non-fiction, legion(predicate) subcategories be usanced. Some genres atomic number 18 based on literature, such as melodrama and harlequinade other(a)s on the plot , for example the war need and still others on media such as the musical. Furthermore, some genres atomic number 18 categorised by their bud stings, security review rating, racial identities, location, status amongst many others (Stam, 2000). Genres argon a way of characterising a film in the simplest way, interpreting and judging without evaluating them.This allows viewers an easier choice when choosing which film to watch since the field has been narrowed down for them. Patterns such as in the plot, theme, and cinematographic technique and which branded star is used in the film are some of the ways the genres are often grouped. These are very unremarkably broadened because of the other forms of genre groups sometimes jumping in and out of a film are known as sub-genres. In the second strain (Nathan Abrams, 2010) of Studying Film it is pointed out that not only are repetitions a requirement in identifying particular film genres, that so are their differences.Viewers take into account not only similarities but too variances between previous films they have seen. Thus when comparing a a couple of(prenominal) films of the same genre, it is important to note that in spite of the recurring themes, severally film will have its own individual plot. The use of genres and displace films in boxes, as it were, can lead to problems for the movie industry as story lines become repetitive, predictive and formulaic, perhaps causing some viewers to no longer keep the genre in such senior high regard.For this reason it is imperative that difference be a vital agent within categories as well as between them to provide more variation, innovation and flexibility within their general parameters. Films are automatically carve up up using the genre categorisation, for example when you walk into a videodisk store and looking for a film, theyll be physically divided up through their classifications Horror, Sci-fi, Crime, Drama, Action, Thriller, Social Realism and more .They might also classify the films by their rating, which in a sense is also a measurement of genre. Whether the film is a U classification for children, a rated 15 film or even a rated 18 film, these sub genres always crop up in promotional black markets are also known for world genre specific trailers in the cinema are also grouped together, alike when watching a comedy, the trailers being shown in the previews will also be comedy. There are just a few examples as to how genre is divided without making overly noticeable to the audience.Martin Loop (cited in Barry, 2007) argues that genre in Hollywood does not really exist since so many films that are apparently made by an auteur were simply influenced by society, and that Directors use different elements from different genres and the trends at the time to make their films. Taxi driver narrates the story of Travis Bickle, an ex-marine unable to sleep at nights, so he decides to get a job as a night-time taxi driver. Played by Robert de Niro, Travis begins to date a woman working in the presidential campaign office of Charles Pallantine, but after taking her to watch a erotica film they split up.Travis becomes increasingly paranoid and results in him buying an armoury of weapons. by and by meeting a young prostitute glad compete by Jodie Foster, he soon decides to make it his mission to save her from the flavor she leads. Thwarted in his attempt to assassinate Charles Pallantine, Taxi Drivers climax occurs when Travis shoots and kills Iriss pimp Matthew, played by Harvey Keitel and his henchmen. After the massacre Travis convalesces himself wounded and attempts to shot himself but comes short of bullets.The film ends with Travis being portrayed as a hero in the media for saving Iriss life and taking her back to her parents. Traviss search for to find meaning in his life is what motivates and drives the narrative forward. Taxi Driver is or so based exclusively on restricted narrative through the n ative consciousness of the narration of Travis filtering the narrative information through a single(a) character. The camera emphasizes this by keeping a closed door to what is accident around him to a certain extent and seems to follow him almost obsessionally as the film progresses.Has its genre made it more of a success? Maybe Taxi Driver being in the Drama/thriller genre has enabled it to cross over two genres thus attracting a greater audience. Films are different from books or poems in that they are not simply constructed by a single person but require input from various people including a director, a producer, a screenwriter, actors and studio representatives to name a few. The notion of auteur theory, (translated from the French meaning author) in the filmmaking industry has accordingly been heavily contended (Simpson, 2012).Andrew Sarris, the leading American proponent of the theory claimed in the mid-fifties and 60s that great filmmaking inspires the type of artistic expression and creativeness one would pay from a major literary author. For this reason we should be able to applaud directors as auteurs, crediting them with ownership of the whole works. Critics maintain, however, that this notion completely ignores the rest of the film crew. A single author does not appear to ascribe to movies receivable to the multiple actors involved. If each role plays an integral part in the carry through from beginning to end, how can one role claim the surname of touch on author?Furthermore, on what basis could authorship be claimed? The tendency has been towards extending the title to the director however perhaps not every director can be considered an author if their work is not worthy. Sarris arguments have since been used to contradict film as equivalent to the other arts an important evolution considering earlier perceptions of the industry to be less worthy of an artistic status. In this way perhaps in order to qualify as an art, a film needs an author. This label is particularly important for cerebral property rights and for status and identification.Nevertheless, the notion of authorship also causes problems in other art forms a composer is considered the true owner of the music he writes, but what about the music when it is used in performance at a concert or in a theatre piece? Having curtly outlined genre and authorship and their surrounding issues, this paper will research to compare the theories to the film of Taxi Driver (1976)by Martin Scorcese to see how well they hold up and whether Martin Scorcese can shed further light on how genre and authorship should bedefined in the movie-making business.http//www. cs. grinnell. edu/simpsone/Connections/Film/Author/index. hypertext mark-up language http//www. filmreference. com/encyclopedia/Academy-Awards-Crime-Films/Auteur-Theory-and-Authorship. html Studying film 2nd Edition, Nathan Abrams, Ian Bell, Jan Udris, Bloomsbury, 2010 Film recital and Introduction, Kirst en Thomson, David Bordwell, McGraw-Hill, 1994