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Genre
From Wikipedia, the free encyclopedia
This article is about the concept of genres. For a list of genres, see List of genres. For genre studies or genre
theory, see Genre studies. For other uses, see Genre (disambiguation).

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Genre (/r/, /nr/ or /dnr/; from French genre [()], "kind" or "sort", from Latin genus (stem gener-),
Greek , gs) is any category of literature, music, or other forms of art or entertainment, whether written or
spoken, audio or visual, based on some set of stylistic criteria. Genres form by conventions that change over time as
new genres are invented and the use of old ones is discontinued. Often, works fit into multiple genres by way of
borrowing and recombining these conventions.
Genre began as an absolute classification system for ancient Greek literature. Poetry, prose, and performance each
had a specific and calculated style that related to the theme of the story. Speech patterns for comedy would not be
appropriate for tragedy, and even actors were restricted to their genre under the assumption that a type of person
could tell one type of story best. In later periods genres proliferated and developed in response to changes in
audiences and creators. Genre became a dynamic tool to help the public make sense out of unpredictable art.
Because art is often a response to a social state, in that people write/paint/sing/dance about what they know about, the
use of genre as a tool must be able to adapt to changing meanings.
Genre suffers from the same ills of any classification system. Genre is to be reassessed and scrutinized, and to weigh
works on their unique merit. It has been suggested that genres resonate with people because of the familiarity, the
shorthand communication, as well as the tendency of genres to shift with public mores and to reflect the zeitgeist. While
the genre of storytelling has been relegated as lesser form of art because of the heavily borrowed nature of the
conventions, admiration has grown. Proponents argue that the genius of an effective genre piece is in the variation,
recombination, and evolution of the codes.
Contents
1
2
3
4
5
6
7
8

Visual arts
Literature
Film
Music
Popular culture and other media
Linguistics
Rhetoric
History
8.1 Classical and Romance genre theory
9 Culture
10 Audiences
11 Subgenre
12 See also
13 References
14 Further reading
15 External links

Visual arts

[ edit ]

Kiswahili
Latvieu
Ltzebuergesch
Lietuvi

The term "genre" is much used in the history and criticism of visual art, but in art history has meanings that overlap
rather confusingly. Genre painting is a term for paintings where the main subject features human figures to whom no
specific identity attaches in other words, figures are not portraits, characters from a story, or allegorical
personifications. These are distinguished from staffage: incidental figures in what is primarily a landscape or
architectural painting. Genre painting may also be used as a wider term covering genre painting proper, and other

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Magyar

specialized types of paintings such as still-life, landscapes, marine paintings


and animal paintings.

Bahasa Melayu

Nederlands

The concept of the "hierarchy of genres" was a powerful one in artistic theory,
especially between the 17th and 19th centuries. It was strongest in France,
where it was associated with the Acadmie franaise which held a central role in
academic art. The genres in hierarchical order are:

Norsk bokml
Norsk nynorsk
Ozbekcha/

Shqip
Simple English
Slovenina
/ srpski
Srpskohrvatski /

Suomi
Svenska

History painting, including narrative religious mythological and allegorical


A genre painting (Peasant Dance, c.
subjects
1568, by Pieter Brueghel the Elder)
Portrait painting
Genre painting or scenes of everyday life
Landscape (landscapists were the "common footmen in the Army of Art" according to the Dutch theorist Samuel van
Hoogstraten) and cityscape
Animal painting
Still life

Literature

[ edit ]

Main articles: Literary genre and List of literary genres

Ting Vit

emaitka

Edit links

A literary genre is a category of literary composition. Genres may be


determined by literary technique, tone, content, or even (as in the case of
fiction) length. Genre should not be confused with age category, by which
literature may be classified as either adult, young-adult, or children's.
They also must not be confused with format, such as graphic novel or
picture book. The distinctions between genres and categories are flexible
and loosely defined, often with subgroups.
The most general genres in literature are (in loose chronological order)
epic, tragedy,[1] comedy, novel, and short story. They can all be in the
genres prose or poetry, which shows best how loosely genres are defined.
Additionally, a genre such as satire might appear in any of the above, not
only as a subgenre, but as a mixture of genres. Finally, they are defined
by the general cultural movement of the historical period in which they
were composed. In popular fiction, which is especially divided by genres,
genre fiction is the more usual term.

Literature

Major forms
Novel Poem Drama Short story Novella
Genres
Comedy Drama Epic Erotic Nonsense
Lyric Mythopoeia Romance Satire
Tragedy Tragicomedy
Media
Performance (play) Book
Techniques
Prose Poetry
History and lists
History (modern)
Outline Glossary of terms
Books Writers Literary awards (poetry)
Discussion
Criticism Theory (critical theory) Sociology
Magazines

In literature, genre has been known as an intangible taxonomy. This


taxonomy implies a concept of containment or that an idea will be stable
forever.The earliest recorded systems of genre in Western history can be
traced back to Plato and Aristotle. Grard Genette, a French literary
Literature portal
theorist and author of The Architext, describes Plato as creating three
v t e
Imitational genres: dramatic dialogue, pure narrative and epic (a mixture
of dialogue and narrative). Lyric poetry, the fourth and final type of Greek
literature, was excluded by Plato as a non-mimetic mode. Aristotle later revised Plato's system by eliminating the pure
narrative as a viable mode and distinguishing by two additional criteria: the object to be imitated, as objects could be
either superior or inferior, and the medium of presentation such as words, gestures or verse. Essentially, the three
categories of mode, object, and medium can be visualized along an XYZ axis.
Excluding the criteria of medium, Aristotle's system distinguished four types of classical genres: tragedy (superiordramatic dialogue), epic (superior-mixed narrative), comedy (inferior-dramatic dialogue), and parody (inferior-mixed
narrative). Genette continues by explaining the later integration of lyric poetry into the classical system during the
romantic period, replacing the now removed pure narrative mode. Lyric poetry, once considered non-mimetic, was
deemed to imitate feelings, becoming the third leg of a new tripartite system: lyrical, epical, and dramatic dialogue. This
system, which came to "dominate all the literary theory of German romanticism (and therefore well beyond)" (38), has
seen numerous attempts at expansion or revision. However, more ambitious efforts to expand the tripartite system
resulted in new taxonomic systems of increasing scope and complexity.
Genette reflects upon these various systems, comparing them to the original tripartite arrangement: "its structure is
somewhat superior tothose that have come after, fundamentally flawed as they are by their inclusive and hierarchical
taxonomy, which each time immediately brings the whole game to a standstill and produces an impasse" (74).
Taxonomy allows for a structured classification system of genre, as opposed to a more contemporary rhetorical model
of genre. The concept of "genre" has been criticized by Jacques Derrida.

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Film

[ edit ]

Main article: Film genre


The basic genres of film can be regarded as drama, in the feature film and most cartoons, and documentary. Most
dramatic feature films, especially from Hollywood fall fairly comfortably into one of a long list of film genres such as the
Western, war film, horror film, romantic comedy film, musical, crime film, and many others. Many of these genres have a
number of subgenres, for example by setting or subject, or a distinctive national style, for example in the Indian
Bollywood musical.

Music

[ edit ]

Main article: Music genre


A music genre is a conventional category that identifies pieces of music as belonging to a shared tradition or set of
conventions.[2] It is to be distinguished from musical form and musical style, although in practice these terms are
sometimes used interchangeably.[citation needed] There are numerous genres in Western classical music and popular
music, as well as musical theatre and the music of non-Western cultures. The term is now perhaps over-used to
describe relatively small differences in musical style in modern rock music, that also may reflect sociological differences
in their audiences.[citation needed] Timothy Laurie suggests that in the context of rock and pop music studies, the "appeal
of genre criticism is that it makes narratives out of musical worlds that often seem to lack them."[3]
Music can be divided into different genres in several ways. The artistic nature of music means that these classifications
are often arbitrary and controversial, and some genres may overlap. There are several academic approaches to
genres. In his book Form in Tonal Music, Douglass M. Green lists madrigal, motet, canzona, ricercar, and dance as
examples of genres from the Renaissance period. According to Green, "Beethoven's Op. 61 and Mendelssohn's Op.
64 are identical in genre both are violin concertos but different in form. However, Mozart's Rondo for Piano, K. 511,
and the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."[4] Some, like
Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of
music that share a certain style or "basic musical language".[5]
Others, such as Allan F. Moore, state that genre and style are two separate terms, and that secondary characteristics
such as subject matter can also differentiate between genres.[6] A music genre or subgenre may be defined by the
musical techniques, the styles, the context, and content and spirit of the themes. Geographical origin is sometimes
used to identify a music genre, though a single geographical category will often include a wide variety of subgenres.
Several music scholars have criticised the priority accorded to genre-based communities and listening practices. For
example, Laurie argues that "music genres do not belong to isolated, self-sufficient communities. People constantly
move between environments where diverse forms of music are heard, advertised and accessorised with distinctive
iconographies, narratives and celebrity identities that also touch on non-musical worlds."[3]

Popular culture and other media

[ edit ]

This section does not cite any sources. Please help improve this section by
adding citations to reliable sources. Unsourced material may be challenged and
removed. (May 2010) (Learn how and when to remove this template message)
The concept of genre is often applied, sometimes rather loosely, to other media with an artistic element, such as video
game genres. Genre, and numerous minutely divided subgenres, affect popular culture very significantly, not least as
they are used to classify it for publicity purposes. The vastly increased output of popular culture in the age of electronic
media encourages dividing cultural products by genre to simplify the search for products by consumers, a trend the
Internet has only intensified.

Linguistics

[ edit ]

In philosophy of language, figuring very prominently in the works of philosopher and literary scholar Mikhail Bakhtin.
Bakhtin's basic observations were of "speech genres" (the idea of heteroglossia), modes of speaking or writing that
people learn to mimic, weave together, and manipulate (such as "formal letter" and "grocery list", or "university lecture"
and "personal anecdote"). In this sense genres are socially specified: recognized and defined (often informally) by a
particular culture or community. The work of Georg Lukcs also touches on the nature of literary genres, appearing
separately but around the same time (1920s1930s) as Bakhtin. Norman Fairclough has a similar concept of genre
that emphasizes the social context of the text: Genres are "different ways of (inter)acting discoursally" (Fairclough,
2003: 26).
A text's genre may be determined by its:

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1.
2.
3.
4.

Linguistic function.
Formal traits.
Textual organization.
Relation of communicative situation to formal and organizational traits of the text (Charaudeau and
Maingueneau, 2002:278280).

Rhetoric

[ edit ]

In the field of rhetoric, genre theorists usually understand genres as types of actions rather than types or forms of
texts.[7] On this perspective, texts are channels through which genres are enacted. Carolyn Miller's[8] work has been
especially important for this perspective. Drawing on Lloyd Bitzer's concept of rhetorical situation,[9] Miller reasons that
recurring rhetorical problems tend to elicit recurring responses; drawing on Alfred Schtz,[10] she reasons that these
recurring responses become "typified" that is, socially constructed as recognizable types. Miller argues that these
"typified rhetorical actions" (p. 151) are properly understood as genres.
Building off of Miller, Charles Bazerman and Clay Spinuzzi have argued that genres understood as actions derive their
meaning from other genres that is, other actions. Bazerman therefore proposes that we analyze genres in terms of
"genre systems,"[11] while Spinuzzi prefers the closely related concept of "genre ecologies."[12]
This tradition has had implications for the teaching of writing in American colleges and universities. Combining
rhetorical genre theory with activity theory, David Russell has proposed that standard English composition courses are
ill suited to teach the genres that students will write in other contexts across the university and beyond.[13] Elizabeth
Wardle contends that standard composition courses do teach genres, but that these are inauthentic "mutt genres" that
are often of little use outside of composition courses.[14]

History

[ edit ]

This concept of genre originated from the classification systems created by Plato. Plato divided literature into the three
classic genres accepted in Ancient Greece: poetry, drama, and prose. Poetry is further subdivided into epic, lyric, and
drama. The divisions are recognized as being set by Aristotle and Plato; however, they were not the only ones. Many
genre theorists added to these accepted forms of poetry.

Classical and Romance genre theory [ edit ]


The earliest recorded systems of genre in Western history can be traced back to Plato and Aristotle. Grard Genette
explains his interpretation of the history of genre in "The Architext". He described Plato as the creator of three
imitational, mimetic genres distinguished by mode of imitation rather than content. These three imitational genres
include dramatic dialogue, the drama; pure narrative, the dithyramb; and a mixture of the two, the epic. Plato excluded
lyric poetry as a non-mimetic, imitational mode. Genette further discussed how Aristotle revised Plato's system by first
eliminating the pure narrative as a viable mode. He then uses two additional criteria to distinguish the system. The first
of the criteria is the object to be imitated, whether superior or inferior. The second criterion is the medium of
presentation: words, gestures, or verse. Essentially, the three categories of mode, object, and medium can be
visualized along an XYZ axis. Excluding the criteria of medium, Aristotle's system distinguished four types of classical
genres: tragedy, epic, comedy, and parody.
Genette explained the integration of lyric poetry into the classical system by replacing the removed pure narrative
mode. Lyric poetry, once considered non-mimetic, was deemed to imitate feelings, becoming the third "Architext", a
term coined by Gennette, of a new long-enduring tripartite system: lyrical; epical, the mixed narrative; and dramatic, the
dialogue. This new system that came to "dominate all the literary theory of German romanticism" (Genette 38) has seen
numerous attempts at expansion and revision. Such attempts include Friedrich Schlegel's triad of subjective form, the
lyric; objective form, the dramatic; and subjective-objective form, the epic. However, more ambitious efforts to expand
the tripartite system resulted in new taxonomic systems of increasing complexity. Gennette reflected upon these various
systems, comparing them to the original tripartite arrangement: "its structure is somewhat superior to most of those that
have come after, fundamentally flawed as they are by their inclusive and hierarchical taxonomy, which each time
immediately brings the whole game to a standstill and produces an impasse".

Culture

[ edit ]

Genre is embedded in culture, but may clash with it at times. There are occasions in which a cultural group may not be
inclined to keep within the set structures of a genre. Anthony Pare's studied Inuit social workers in "Genre and Identity:
Individuals, Institutions and Ideology". In this study, Pare described the conflict between the genre of Inuit social
workers' record keeping forms and the cultural values that prohibited them from fully being able to fulfill the
expectations of this genre. Amy Devitt further expands on the concept of culture in her 2004 essay, "A Theory of

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Genre" by adding "culture defines what situations and genres are likely or possible" (Devitt 24).
Genre not only coexists with culture, but also defines its very components. Genres abound in daily life and people often
work within them unconsciously; people often take for granted their prominence and ever present residence in society.
Devitt touches on Miller's idea of situation, but expands on it and adds that the relationship with genre and situation is
reciprocal. Individuals may find themselves shaping the rhetorical situations, which in turn affect the rhetorical
responses that arise out of the situation. Because the social workers worked closely with different families, they did not
want to disclose many of the details that are standard in the genre of record keeping related to this field. Giving out
such information would violate close cultural ties with the members of their community.

Audiences

[ edit ]

Although genres are not always precisely definable, genre considerations are one of the most important factors in
determining what a person will see or read. The classification properties of genre can attract or repel potential users
depending on the individual's understanding of a genre.
Genre creates an expectation in that expectation is met or not. Many genres have built-in audiences and
corresponding publications that support them, such as magazines and websites. Inversely, audiences may call out for
change in an antecedent genre and create an entirely new genre.
The term may be used in categorizing web pages, like "news page" and "fan page", with both very different layout,
audience, and intention (Rosso, 2008). Some search engines like Vivsimo try to group found web pages into
automated categories in an attempt to show various genres the search hits might fit.

Subgenre

[ edit ]

A subgenre is a subordinate within a genre.[15][16] Two stories being the same genre can still sometimes differ in
subgenre.
For example, if a fantasy story has darker and more frightening elements of fantasy, it would belong in the subgenre of
dark fantasy; whereas another fantasy story that features magic swords and wizards would belong to the subgenre of
sword and sorcery.

See also

[ edit ]

List of genres

References

[ edit ]

Bakhtin, Mikhail M. (1983). "Epic and Novel". In Holquist, Michael. The Dialogic Imagination: Four Essays . Austin:
University of Texas Press. ISBN 0-292-71527-7.
Charaudeau, P.; Maingueneau, D. and Adam, J. Dictionnaire d'analyse du discours Seuil, 2002.
Devitt, Amy J. "A Theory of Genre". Writing Genres. Carbondale: Southern Illinois University Press, 2004. 132.
Fairclough, Norman. Analysing Discourse: Textual Analysis for Social Research Routledge, 2003.
Genette, Grard. The Architext: An Introduction. 1979. Berkeley: University of California Press, 1992.
Jamieson, Kathleen M. "Antecedent Genre as Rhetorical Constraint". Quarterly Journal of Speech 61 (1975): 406
415.
Killoran, John B. "The Gnome In The Front Yard and Other Public Figurations: Genres of Self-Presentation on
Personal Home Pages". Biography 26.1 (2003): 6683.
.. : . : .
, 2007
LaCapra, Dominick. "History and Genre: Comment". New Literary History 17.2 (1986): 219221.
Miller, Carolyn. "Genre as Social Action". Quarterly Journal of Speech. 70 (1984): 15167.
Rosso, Mark. "User-based Identification of Web Genres". Journal of the American Society for Information Science
and Technology 59 (2008): 10531072.
1. ^ Bakhtin 1983, p. 3.
2. ^ Samson, Jim. "Genre" . In Grove Music Online. Oxford Music Online. Accessed March 4, 2012.
3. ^ a b Laurie, Timothy (2014). "Music Genre As Method" . Cultural Studies Review. 20 (2), pp. 283-292.
4. ^ Green, Douglass M. (1965). Form in Tonal Music. Holt, Rinehart, and Winston, Inc. p. 1. ISBN 0-03-020286-8.
5. ^ van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford:
Clarendon Press. p. 3. ISBN 0-19-316121-4.
6. ^ Moore, Allan F. "Categorical Conventions in Music Discourse: Style and Genre" . Music & Letters, Vol. 82, No. 3 (Aug.
2001), pp. 432442.
7. ^ Bawarshi, A. S., & Mary Jo Reiff. (2010). Genre: An Introduction to History, Theory, Research, and Pedagogy. chs. 5
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8.
9.
10.
11.
12.
13.
14.
15.
16.

and 6
^ Miller, C. R. (1984). Genre as social action. Quarterly Journal of Speech, 70(2), 151167.
^ Bitzer, L. F. (1968). The Rhetorical Situation. Philosophy and Rhetoric, 1(1), 114.
^ Schutz, A., & Luckmann, T. (1973). The Structures of the Life-World. Evanston, IL: Northwestern University Press.
^ Bazerman, C. (1994). Systems of Genre and the Enactment of Social Intentions. In Genre and the New Rhetoric (pp. 79
101). London/Bristol: Taylor & Francis.
^ Spinuzzi, C., & Zachry, M. (2000). Genre Ecologies: An Open-System Approach to Understanding and Constructing
Documentation. ACM Journal of Computer Documentation, 24(3), 169181.
^ Russell, D. R. (1995). Activity theory and its implications for writing instruction. In J. Petraglia (Ed.), Reconceiving writing,
rethinking writing instruction (pp. 5178). Hillsdale, NJ: Erlbaum.
^ Wardle, E. (2009). "Mutt Genres" and the Goal of FYC: Can we Help Students Write the Genres of the University?
College Composition and Communication, 60(4), 765789.
^ "subgenre" . dictionary.com.
^ "Subgenre" . The Free Dictionary. Farlex.

Further reading

[ edit ]

Pare, Anthony. "Genre and Identity". The Rhetoric and Ideology of Genre: Strategies for Stability and Change. Eds.
Richard M. Coe, Lorelei Lingard, and Tatiana Teslenko. Creskill, N.J. Hampton Press, 2002.
Sullivan, Ceri (2007) "Disposable elements? Indications of genre in early modern titles", Modern Language Review
102.3, pp. 64153

External links

[ edit ]

Genres of film at the Internet Movie Database


Helping Children Understand Literary Genres
Rhetorica Genre
Museum of Broadcast Communications
Dictionary.com

Look up genre in Wiktionary,


the free dictionary.
Wikidata has a property,
P136, for genre (see uses)
Library resources about
Genre
Resources in your library

v t e

Film genres

By style

By theme

Action (Arthouse Heroic bloodshed Hong Kong action) Adventure (Survival) Art Biographical Comedy (Black
Commedia all'italiana Commedia sexy all'italiana Bromantic Dramedy Gross out Horror Parody Mo lei tau
Thriller Remarriage Romantic Sex Screwball Silent Slapstick) Documentary (Animated Docudrama
Mockumentary Mondo Pseudo Semi Travel) Drama (Dramedy Historical Legal Melodrama (Korean) )
Erotic (Commedia sexy all'italiana Pink Sexploitation Thriller) Educational Social guidance Epic
(Sword-and-sandal) Experimental Exploitation Fantasy (Comic Contemporary Dark Fairy tale Fantastique
High Historical Magic realism Science) Film noir (Bad girl Neo-noir Occult detective Pulp noir Tech noir)
Horror (Body Cannibal Comedy Eco Fantastique Found footage German underground Ghost Giallo
Hixploitation Japanese Korean Mumblegore Natural New French Extremity Occult detective Psycho-biddy
Psychological Religious Science Fiction Slasher Splatter Satanic) Musical (Backstage Jukebox
Musicarello Operetta Sceneggiata) Mystery (Giallo Occult detective) Pornographic Propaganda Reality
Romantic (Comedy (Bromantic) Gothic Paranormal Thriller) Science fiction (Comic Cyberpunk Fantastique
Fantasy Gothic Horror Military Mundane New Wave Parallel universe Planetary romance Space opera
Steampunk) Thriller (Comedy Conspiracy Erotic Financial Giallo Legal New French Extremity Political
Psychological Romantic Techno) Transgressive (Cinema of Transgression New French Extremity) Trick
Animals Beach party Blaxploitation Body swap Bourekas Buddy (Buddy cop Female) Cannibal Chicano
Colonial Coming-of-age Concert Crime (Gentleman thief Gong'an Heist Hood Mob Poliziotteschi Yakuza)
Dance Disaster (Apocalyptic) Drug (Psychedelic Stoner) Dystopian Ethnographic Extraterrestrial
Food and drink Funny animal Gendai-geki Ghost Goona-goona epic Gothic (Romance Southern Space
Suburban Urban) Hentai Homeland Hip hop Jidaigeki LGBT Luchador Martial arts (Bruceploitation
Chopsocky Girls with guns Gun fu Kung fu Wuxia) Mecha Mexploitation Mob film (Mafia comedy Yakuza
Gokud) Monster (Giant monster Jiangshi Kaiju Vampire Werewolf Zombie) Mountain Mouth of Garbage
Muslim social Nature (Environmental issues) Opera Outlaw biker Ozploitation Pirate Prison (Women) Race
Rape and revenge Road Rubble Rumberas Samurai Sexploitation (Bavarian porn Mexican sex comedy
Nazi exploitation Pornochanchada Nunsploitation Sex report) Shomin-geki Slavery Slice of life Snuff (Crush)
South Seas Sports Spy (Eurospy) Superhero Surfing Swashbuckler Sword-and-sandal Sword and sorcery
Travel Trial Vigilante War (Anti-war Macaroni / Euro Submarine) Western (Acid Epic Florida Meat pie
Northern Ostern revisionist Space Spaghetti Weird Zapata) Zombie (Zombie comedy)
Absolute Australian New Wave Auteur films Berlin School Bourekas Brighton School British New Wave
(Kitchen sink realism) Budapest school Cannibal boom Cinma du look Cinema Novo
Cinema of Transgression Cinma pur Commedia all'italiana Documentary Film Movement Dogme 95
Erra Cinema European art cinema Film gris Free Cinema French New Wave German Expressionist
German underground horror Nigerian Golden Age Grupo Cine Liberacin Heimatfilm Hollywood on the Tiber
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By movement
or period

By audience

By format,
technique,
approach,
or production

Hong Kong New Wave Iranian New Wave Italian futurist Italian neorealist Japanese New Wave
Kammerspielfilm L.A. Rebellion Letterist Mumblecore (Mumblegore) Neorealist New French Extremity
New German New Generation New Hollywood New Nigerian New Queer No wave Nuevo Cine Mexicano
Parallel Cinema Persian Film Poetic realist Polish Film School Poliziotteschi Praka filmska kola
Prussian film Pure Film Movement Remodernist Romanian New Wave Spaghetti Western Socialist realist
Social realist (Kitchen sink realism) Soviet Parallel Structural Surrealist Sword-and-sandal Telefoni Bianchi
Third Cinema Yugoslav Black Wave
Chick flick Children's Guy-cry Teen Woman's
3D Actuality Animation (Anime computer Stop motion traditional) Anthology Art B movie Black-and-white
Blockbuster Bollywood Cinma vrit Classical Hollywood cinema Collage Color Compilation Composite
Cult (Midnight movie) Database cinema Docufiction Ethnofiction Experimental (Abstract) Feature Featurette
Film clef Film noir Film-poem Found footage Grindhouse Hyperlink cinema Independent
(Guerrilla filmmaking) Interstitial art Live action (Animation) Low-budget Major studio Making-of Masala
Message picture Meta-film Mockbuster Musical short Mythopoeia Neorealist No budget Paracinema
Participatory Poetry Postmodernist Sceneggiata Semidocumentary Serial Shinpa Short Silent
Socialist realist Sound Underground

v t e

Lists of music genres and styles

Music styles

AF GM NR SZ Cultural and regional

Genres and
movements

Brass & Military Children's Classical and art music traditions (European classical music Opera) Electronic
(Ambient Breakbeat Drum and bass Electro Electroacoustic Electronica (EDM) Eurodance Hardcore
(Hardstyle Mkina) Hi-NRG House (Chicago Electro (Moombahton) Ghetto Hard Microhouse) Industrial
Rock (Alternative dance) Synthpop Techno Trance (Goa Hard Psychedelic Uplifting) Trip hop UK garage
(Dubstep Grime) ) Folk (Traditional) Religious Stage & Screen (Cabaret Music Hall Musical Soundtrack)
Popular (Blues Country (Bluegrass Rock) Dance Disco Electronic Funk Hip hop (East Coast Midwest
Southern West Coast) Jazz (Afro-Cuban Dixieland Fusion (Acid jazz Jazz rap Smooth jazz) Modal
West Coast) Latin Pop (C-pop Europop) Reggae R&B Rock (Alternative (Britpop (Post-Britpop) Grunge
(Post-grunge) Indie rock (Indie pop (Dunedin Sound) Post-punk revival) ) Metal (Extreme (Black Death Doom
Thrash) Glam Grindcore Industrial Metalcore Nu Power Progressive) Progressive Psychedelic Punk
(Anarcho Folk Hardcore Post-hardcore Emo Screamo) ) Ska) Soul

Categories: Genres Fiction Narratology Theme

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