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Lost and Genre

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Lost and Genre

Angela Ndalianis. “Lost in Genre: Chasing the White Rabbit to Find a White Polar Bear.” Reading Lost

Marc Dolan, “Lost.” Essential Cult TV Reader (forthcoming U P Kentucky, 2009). Ed. David Lavery.

Dictionary

genre |ˈ zh änrə|

Noun

a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter.

ORIGIN early 19th cent.: French, literally ‘a kind’ (see gender ).

Thesaurus

Noun

historical fiction is my favorite genre of literature

category, class, classification, group, set, list; type, sort, kind, breed, variety, style, model, school, stamp, cast, ilk.

Megagenre: A large, all encompassing, umbrella genre, having no distinct subject matter or style or iconography or formulae. The megagenres of the movies might be thought of as non-fiction (documentary) film, fiction film, animated film, and experimental / underground film.

•Action

•Adventure

•Comedy

•Crime/Gangster

•Drama

•Epics/Historical

•Musicals

•Science Fiction

•War

•Westerns

Major Movie Genres(according to Tim Dirks [filmsite.org])

•Biopics

•Chick Flicks

•Detective/Mystery

•Disaster

•Fantasy

•Film Noir

•Guy Films

•Melodrama

•Road Films

•Romance

•Sports

•Supernatural

•Thrillers/Suspense

Major Movie Sub-Genres(according to Tim Dirks [filmsite.org])

•Aviation

•Buddy

•Caper

•Chase

•Espionage

•Fallen Woman

•Jungle

•Legal

•Martial Arts

•Medical

•Parody

•Police

Minor Movie Sub-Genres(according to Tim Dirks [filmsite.org])

•Political

•Prison

•Religious

•Slasher

•Swashbucklers

Movie Genres/SubgenresAction Adventure—Jungle | Martial Arts | Mountain | Spy | SwashbucklerArt—Any genre or subgenre may be an "art" filmComedy—Buddy | Black Comedy | Mocumentary | Parody | Road | Romantic Comedy | Satire | Screwball Comedy | SlackerCrime—Blaxploitation | Caper | Film Noir | Gangster | Hardboiled Detective | Police Procedural | Prison | Private-Eye | Trial FilmsCult—Any genre or subgenre may be a "cult" filmDrama—Domestic | Education | Historical | PoliticalEpic--Biblical | Greek MythGender—Gay and Lesbian | Rape-Revenge | Women’s PicturesHorror—Demonic Possession | Haunted House | Monster | Serial Killer | Slasher | VampireLife Story—Autobiography | Biopic | Diary FilmMelodrama—Disease/Disability | Ethnic Family Saga | Weepie | Yuppie RedemptionMusic—Concert Films | Musicals | RocumentaryScience Fiction and Fantasy—Cyber Punk | Disaster | Dystopia | Fantasy | Post-Apocalypse | Prehistorical | Space Opera | Supermen and Other Mutants | Time TravelSports—Auto Racing | Baseball | Basketball | Boxing | Football | Horse Racing | Track | WrestlingTeen Films—Pre-Teen Comedy | Teen Sex Comedy | Coming of AgeWar—Aerial Combat | Civil War | Korean | Prisoner of War | Submarine | Viet Nam | World War I | World War IIWestern—Cattle Drive | Indian War | Gunfighter

Action Animation Children’s Programs

Cop Shows

Costume Drama Documentary Drama Educational Programming

Hospital Infotainment Lifeys Miniseries

Music News Quick Show The Single Play

Soap Operas Sports Talk Shows Teen Shows

Telenovelas Western

Creeber’s Classification of Television Genres

“The classification of texts is not just the province of academic specialists, it is a fundamental aspect of the way texts of all kinds are understood.” (Neale in Creeber p. 1)

“In many cases, of course, it is likely that audiences will have some idea in advance of the kind of film (or play or programme) they are going to watch. They will have made an active choice either to watch or, if their preferences dictate, to avoid it. They will have done so on the basis of information supplied by advertising, by reviews, and previews, perhaps by a title (such as Singin’ in the Rain) or by the presence of particular performers. They are therefore likely to bring with them a set of expectations, and to anticipate that these expectations will be met in one way or another.” (Neale in Creeber 1)

Relevant Terms for Genre from Hans Robert Jauss, German Reception Theorist/Reader-Response

Critic

“generic audience”

“generic frustration”

“generic tension”

“In English-speaking countries, the term ‘genre’ came to be applied to literary works during the nineteenth century, at a point in history at which art of all kinds began to be industrialized, mass-produced for a popular public (Cohen, 1986, 120).”--Neale in Creeber 2)

The “repertoire of elements” that identify genres (Lacey [2000], cited by Neale in Creeber 3):

•Character Types

•Setting

•Iconography

•Narrative

•Style

Institutional Aspects of Genre:

•Scheduling

•Modes of Production

•Demands of Advertisers

•Demands of Audiences

•Developments in Adjacent Entertainment Institutions/Media (Neale in Creeber 4)

Zapping/grazing/channel surfing feeds genre recognition (Feuer, 1992, p. 158--cited by Neale in Creeber 4).

Umberto Eco speaks of the “instinctive semioticians” who use RCDs.

“For those who study television, genre is a means of managing TV’s notorious extensiveness as a cultural form by breaking it up into more discrete or comprehensible segments” (Turner in Creeber 5).

Complaints Against Genre Criticism:

1) Circularity--critics dismiss texts for failing to meet criteria they have themselves established.

2) Prescriptiveness--critics dismiss genre shows/series for departing from Platonic “ideal” versions. (Turner in Creeber 6)

Hybridity: The now common tendency to “splice” together different genres.

Todd Gitlin (Inside Prime Time [1985]) uses a genetics metaphor when he speaks of the rise of “recombinant programming” in the 1980s.

“Genres came to be identified with impersonal, formulaic, commercial forms and distinguished from individualized art. Ironically, this represented a reversal of previous characterizations, which saw ‘high art’ as rule-bound and ordered (as evident in genres lke the sonnet and tragedy) and ‘low art’ as unconstrained by the rules of decorum (Cohen, 1986, 120).”--Neale in Creeber 2

Dictionary

|ˌfôrmyəˈlāik| Adjective--constituting or containing a verbal formula or set form of words : a formulaic greeting. ・ produced in accordance with a slavishly followed rule or style; predictable : much romantic fiction is stylized, formulaic, and unrealistic.

Thesaurus

Adjective--the homes here are not the products of a formulaic design conventional, stock, unoriginal, stereotypical, uninspired, cliched, paint-by-number.

Formulaic

“Some important new critical theories have challenged the primacy of genre as a basic critical concept. The next important task of genre theory is to examine these objections in order to discover to what extent they require revision of the theory of popular genres and to what extent they may require us to go ‘beyond genre’” (John Cawelti, “The Question of Popular Genres Revisited” [1997]).

Thomas Schatz's life history of a genre (from Hollywood Genres) :

“an experimental stage, during which its conventions are isolated and established, a classic stage, in which the conventions reach their ‘equilibrium’ and are mutually understood by artist and audience, an age of refinement, during which certain formal and stylistic details embellish the form, and finally a baroque (or ‘mannerist,’ or ‘self-reflexive’) stage, when the form and its establishments are accented to the point where they ‘themselves become the “substance” or “content” of the work.’” (37-38)

Genre films essentially ask the audience, "Do you still want to believe this?" Popularity is the audience answering, "Yes." Change in genre occurs when the audience says, "That's too infantile a form of what we believe. Show us something more complicated." And genres turn to self-parody to say, "Well, at least if we make fun of it for being infantile, it will show how far we've come." Films and television have in this way speeded up cultural history.

--Leo Braudy, The World in a Frame

Lavery, David. “The Island’s Greatest Mystery: Is Lost Science Fiction?” The Essential Science Fiction TV Reader. Edited by J. P. Telotte. Lexington: U P of Kentucky, 2008: 283-298.

Lost and Genre

Cult Television

The Essential Cult Television ReaderEdited by David LaveryUniversity Press of Kentucky

Introduction: How Cult TV Became Mainstream—David Lavery1. 24 (US, 2001- )—Steven Peacock2. Absolutely Fabulous (UK, 1992-1996, 2001-2005)—Angelina I. Karpovich3. Adventures of Brisco County, The, Jr. (US, 1993-1994)—Bartley Porter and Lynnette Porter4. Alias (US, 2001-2005)—Henrik Örnebring5. Angel (US, 1999-2004)—Joyce Millman6. Avengers, The (UK, 1961-1969)—Angelina I. Karpovich7. Battlestar Galactica (US, 2005-2008)—Ian Maull and David Lavery8. Blake’s 7 (UK, 1978-1981)—Steve Duckworth9. Buffy the Vampire Slayer (US, 1997-2003)—Milly Williamson10. The Comeback (US, 2005)—Joanne Morreale11. Daily Show, The (1996- ) and The Colbert Report (2005- ) (US)—Sam Ford12. Dark Shadows (US, 1966-1971, 1991)—Jonathan Lampley

The Essential Cult Television ReaderEdited by David LaveryUniversity Press of Kentucky

13. Dexter (US, 2006- )—Michele Byers14. Doctor Who (UK, 1963-1989; 1996; 2005- )—Matt Hills15. Farscape (Australia/US, 1999-2003)—Jes Battis16. Firefly (US, 2002)—J. P. Telotte17. Freaks and Geeks (US, 1999-2000)—Jonathan Gray18. Heroes (US, 2006- )—Nikki Stafford19. League of Gentlemen (UK, 1999-2002)—Leon Hunt20. Life on Mars (UK, 1996-1997)—Robin Nelson21. Lost (US, 2004-2010)—Marc Dolan22. Miami Vice (US, 1984-1989)—Jon Stratton23. Monty Python’s Flying Circus (UK, 1969-1974)—Marcia Landy24. My So-Called Life (US, 1994-1995)—Michele Byers25. Mystery Science Theater 3000 (US, 1989-1999)—Robert Holtzclaw26. The Prisoner (UK, 1967-1968)—Douglas L. Howard

The Essential Cult Television ReaderEdited by David LaveryUniversity Press of Kentucky

27. Quantum Leap (US, 1989-1993)—Lynnette Porter28. Red Dwarf (UK, 1988-1999)—De Amy-Chinn29. Roswell (US, 1999-2002)—Stan Beeler30. The Simpsons (US, 1989- )—Jonathan Gray31. South Park (US, 1997- )—Jason Jacobs32. The Star Trek Franchise (US, 1966-1969)—Rhonda Wilcox33. Stargate SG-1 (US, 1997-2007)—Angela Ndalianis34. Supernatural (US, 2005- )—Alison Peirse35. This Life (UK, 1996-1997)—Stephen Lacey36. Torchwood (UK, 2007- )—Matt Hills37. Twilight Zone (US, 1959-1964)—Jonathan Lampley38. Twin Peaks (US, 1990-1991)—David Bianculli39. Ultraviolet (UK, 1998)—Stacey Abbott40. Veronica Mars (US, 2004-2007)—Sue Turnbull41. Wonderfalls (US, 2004)—Stan Beeler42. The X-Files (US, 1993-2002)—Mikel J. Koven43. Xena: Warrior Princess (US/New Zealand, 1995-2001)—Carolyn Skelton

The Essential Cult Television ReaderEdited by David LaveryUniversity Press of Kentucky

Lost and Genre

“Cult television’s imaginary universes support an inexhaustible range of narrative possibilities, inviting, supporting and rewarding close textual analysis, interpretation, and inventive reformulations.”--Jones and Pearson

Cult Television

Cult Television

Lost and Genre

That: cult tv has evolved into “a meta-genre that caters to intense, interpretive audience practices,” affording “fans enormous scope for further interpretation, speculation and invention.”--Jones and Pearson

Cult Television

Lost and Genre

We should focus on “analyzing and defining cult TV as a part of broader of broader patterns within changing TV industries” (Matt Hills, “Defining Cult TV” 522).

Cult Television

Lost and Genre

“hyperdiegesis”: ”the creation of a vast and detailed narrative space, only a fraction of which is ever directly seen or encountered within the text . . .” (Matt Hills, Fan Cultures 137)

Cult Television

Lost and Genre

Cult television is most readily identifiable by “[t]he fervency of a program’s audience support, the degree to which its ‘language’ and catchphrases enter its audience’s vocabulary, fans’ determination to amass collectibles and memorabilia, and conventions at which likeminded souls can congregate and share their passion” (Robert Holtzclaw, recapitulating TV Guide, in his essay on Mystery Science Theater 3000)

Cult Television

Lost and Genre

Is it possible that a dip in a show’s quality may actually enhance its cult appeal? (we’re looking at you 24).

Lost and Genre

Cult Television Questions

Lost and Genre

What obligation do the makers of cult series have to answer the clamor of fans for more involvement?

Cult Television Questions

Lost and Genre

Does the presence of a star with cult street cred or a cult of personality guarantee cult status?

Cult Television Questions

Lost and Genre

What is the relationship of camp and cult-ivation? Of badness—what Steven Duckworth calls “the sheer crappiness of the series and the crappiness it attributes to the universe” in his essay on Blake's 7—and cult tv?

Cult Television Questions

Lost and Genre

What are the specific relations between genre hybridity/genre bending and cult status?

Cult Television Questions

Lost and Genre

Does “brilliant but cancelled” status (the name of a website on the subject) actually enhance cul thood?

Lost and Genre

Cult Television Questions

Lost and Genre

Why is the fantastic, “left of real” (J. J. Abrams’ term), such a fertile ground for television cult shows?

Cult Television Questions

Lost and Genre

How does the strategic use of the cameo amp the possibilities of cult?

Cult Television Questions

Lost and Genre

Is it possible for a television show to gain cult status largely through nostalgia?

Cult Television Questions

Lost and Genre

Would the current conversation about cult television have transpired without the validation of TV on DVD?

Cult Television Questions

Lost and Genre

Would the current conversation about cult television have transpired without the validation of TV on DVD?

Cult Television Questions

Lost and Genre

Are “B.Y.O subtext” shows (Joss Whedon’s phrase) ipso facto cult shows? What role do intertextuality, metaxtextuality, and seriality play in the growth of cult television?

Cult Television Questions

Lost and Genre

Is cult tv always counter-cultural? (Is the reverse true?)

Cult Television Questions

Lost and Genre

Has SHOWTIME consciously positioned itself (against its “not TV” rival HBO) as a cult TV venue?

Cult Television Questions

Lost and Genre

Does cult television exhibit a unique approach to character investment?

Cult Television Questions

Lost and Genre

Is it still true that your standard issue television cult work, in keeping with the tradition, “represents a disruptive rather than a conservative force” (Kawin)?

Cult Television Questions

Lost and Genre

How does cult television differ—in subject matter, audience, marketing, narrative—from cult film?

Cult Television Questions

Lost and Genre

Do cult shows by their very nature record seismic shifts in the evolution of television programming?

Cult Television Questions

Lost and Genre

How will the emergence of multiple platforms for television programming change the nature of cult television?

Cult Television Questions

Lost and Genre

Are there narrative forms unique to cult television, and if they exist, how have they influenced all of series television?

Cult Television Questions

Lost and Genre

Are there narrative forms unique to cult television, and if they exist, how have they influenced all of series television?

Cult Television Questions

Lost and Genre

Are there narrative forms unique to cult television, and if they exist, how have they influenced all of series television?

Cult Television Questions

Lost and Genre

What is the place of the “conspiracy theory” in fostering/sustaining cult TV?

Cult Television Questions

Lost and Genre

Are the traditional youth demographics of cult television changing?

Cult Television Questions

Lost and Genre

To what degree has cult television created “transnational” languages and viewing practices and furthered globalization?

Cult Television Questions