Chapter 9 of Film Art focused primarily on film genres, and their role in categorizing films, shaping audience expectations, and serving as both artistic tools and marketing techniques. 

Movie Genres Explained — Types of Films & the Art of Subverting Film Genres

The chapter discusses how genres, whether horror, western, musical, action, comedy, etc…, are more than just labels, but rather, as the following Backstage Magazine article describes the term,  “A movie genre categorizes films according to their core elements. Genres provide filmmakers with structures, patterns, settings, characters, narratives, and cinematography to play within and push against while crafting their films. They give actors a good idea of the type of performance that will be required of them for a role.”

Film Genres: An Introduction to Basic Movie Categories | Backstage

The way genres are established can vary, with some genres being strictly conventional and following idealistic rules, while others could bend these conventions into more complex forms. Moreover, the purpose of genres is not solely entertainment, for they are also reflective of cultural, social, and historical values.

Throughout our course, we have explored films of different genres, some sticking to the conventions of the genres, while others more unconventional. For instance, Rear Window by Alfred Hitchcock, includes a combination of multiple genres, primarily drama and thriller, following some subgenres of romance and comedy. All of these genres are portrayed through Jeff’s apartment, where he witnesses nearly all key components of the conventional thriller genre – mystery, danger, suspense, and tension. However, Hitchcock manipulates these conventions by focusing on the theme of voyeurism, in which both Jeff and the audience just “watch” all the events unfold, instead of being directly involved.

Moreover, Singin’ in the Rain by Gene Kelly and Stanley Donen, is the textbook definition of a musical, in which music and dances are used for both entertainment and to present the plot. The film is an explicit example of what Film Art describes as a film using performance to express emotions that characters cannot regularly portray. The directors stick to the conventional rules of the genre throughout. Similarly, All that Heaven Allows by Douglas Sirk, shows a traditional melodrama that similarly stays within the genre conventions; emotional intensity, family conflict, and societal pressure are used to portray the social values and norms of that era.

Then, lastly, there’s films like The Grand Budapest Hotel by Wes Anderson, in which there is a totally unconventional implementation of genres. As the film is presented, it seems to be categorized as an adventure and comedy, but as it progresses, elements of crime and historical drama also become evident. This multifaceted implementation of genre demonstrates the idea that combining contrasting genres can result in a uniquely enjoyable perspective of the film. Throughout the film, Anderson is bending the rules of genre, which in addition to the highly prominent visuals and narrative structures, allow for its uniqueness. 

All in all, these films demonstrate how genres serve not just as a set of rules but as flexible tools that allow directors to reflect on society and innovate creativity. Chapter 9 of Film Art demonstrates how prominent genre is in defining the film and the themes it reflects.