电影流派理论genre theory-cultural approach.pdf

A Cultural Approach to Television Genre Theory by Jason Mittell This essay argues that genres are cultural categories that surpass the boundaries of media texts and operate within industry, audience, and cultural practices as well. Offering a television-specific approach, the article explores media genres by incor- porating contemporary cultural theory and exemplifying its discursive approach with a brief case study. Every aspect of television exhibits a reliance on genre. Most texts have some ge- neric identity, fitting into well-entrenched generic categories or incorporating genre mixing (as in “dramedies,” such as Ally McBeal , or blends, such as Make Me Laugh, a comedy/game show). Industries rely on genres in producing programs, as well as in other central practices such as self-definition (channels such as ESPN or Car- toon Network) and scheduling (locating genres within time slots, as in daytime soap operas). Audiences use genres to organize fan practices (generically deter- mined organizations, conferences, and Websites), personal preferences, and ev- eryday conversations and viewing practices. Likewise, academics use generic distinctions to delineate research projects and to organize special topic courses, while journalistic critics locate programs within common frameworks. Even video stores and TV Guide reveal that genre is the primary way to classify television’s vast array of textual options. But despite this virtual omnipresence of genre within TV, little theoretical research has explained the role of genres specifically in the context of television. A number of factors explain this lack of theoretical exploration. Some scholars may view the vast body of genre theory produced within literary and film studies as sufficient, able to explain genre in any medium. Much literary and film genre theory, however, does not account for some of the industry and audience practices unique to television, as well as for th