Skip to main content
SpringerLink
Log in

Formen und Funktionen von Genrebenennungen

  • Living reference work entry
  • First Online:
Handbuch Filmgenre

Part of the book series: Springer Reference Geisteswissenschaften ((SPREFGEIST))

Zusammenfassung

Der Artikel zeigt auf, inwiefern Genrebenennungen aufgrund ihrer wesenhaften Heterogenität und Wandelbarkeit kein taxonomisches System zur Klassifikation von Filmen bereitstellen. Er beschreibt sie stattdessen als flexible Verständigungsbegriffe, deren Funktion und Bedeutung sich verändert, je nachdem, in welchen historischen, kulturellen, pragmatischen und wissenschaftlichen Kontexten sie verwendet werden.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution

Institutional subscriptions

Literatur

  • Altman, Rick. 1987. The American film musical. Bloomington: Indiana University Press.

    Google Scholar 

  • Altman, Rick. 1998. Reusable packaging. Generic products and the recycling process. In Refiguring American film genres, Hrsg. Nick Browne, 1–41. Berkeley/Los Angeles/London: University of California Press.

    Google Scholar 

  • Altman, Rick. 1999. Film/Genre. London: British Film Institute.

    Google Scholar 

  • Bazin, André. 1953. Le western, ou, le cinéma américain par excellence. Vorwort zu Le western, ou le cinéma américain par excellence, Hrsg. Jean-Louis Rieupeyrout, 5–16. Paris: Éditions du Cerf.

    Google Scholar 

  • Bazin, André. 1955. Évolution du western. Cahiers du cinéma 54:22–27.

    Google Scholar 

  • Bordwell, David. 1989. Making meaning. Inference and rhetoric in the interpretation of cinema. Cambridge/London: Harvard University Press.

    Google Scholar 

  • Bordwell, David. 2006. The way Hollywood tells it: Story and style in modern movies. Berkeley: University of California Press.

    Google Scholar 

  • Bordwell, David, Janet Staiger, und Kristin Thompson. 1985. The classical Hollywood cinema: Film style and mode of production to 1960. New York: Columbia University Press.

    Book  Google Scholar 

  • Bowser, Eileen. 1990. The transformation of cinema: 1907–1915. New York: Charles Scribner’s Sons.

    Google Scholar 

  • Brown, Noel. 2012. The Hollywood family film: A history, from Shirley Temple to Harry Potter. London/New York: I.B. Tauris.

    Google Scholar 

  • Brown, Noel. 2014. The feel-good film: A case study in contemporary genre classification. The Quarterly Review of Film and Video 32(3): 269–286.

    Article  Google Scholar 

  • Bruns, John. 2008. The polyphonic film. New Review of Film and Television Studies 6:189–212.

    Article  Google Scholar 

  • Buckland, Warren. 2009. Introduction: Puzzle plots. In Puzzle films. Complex storytelling in contemporary cinema, Hrsg. Warren Buckland, 1–12. Malden: Wiley-Blackwell.

    Google Scholar 

  • Casetti, Francesco. 2001. Filmgenres, Verständigungsvorgänge und kommunikativer Vertrag. montage/av 3(2): 155–173.

    Google Scholar 

  • Collins, Jim. 1993. Genericity in the Nineties: Eclectic irony and the new sincerity. In Film theory goes to the movies, Hrsg. Jim Collins, Hilary Radner und Ava Preacher Collins, 242–263. New York/London: Routledge.

    Google Scholar 

  • Desser, David. 2012. Global noir: Genre film in the age of transnationalism. In Film genre reader IV, Hrsg. Barry Keith Grant, 628–648. Austin: University of Texas Press.

    Google Scholar 

  • Dissanayake, Wimal. 1993. Melodrama and Asian cinema. New York: Cambridge University Press.

    Book  Google Scholar 

  • Doane, Mary Ann. 1987. The desire to desire: The woman’s film of the 1940s. Bloomington: Indiana University Press.

    Book  Google Scholar 

  • Eig, Jonathan. 2003. A beautiful mind(fuck): Hollywood structures of identity. Jump Cut: A Review of Contemporary Media 46. http://www.ejumpcut.org/archive/jc46.2003/eig.mindfilms/index.html. Zugegriffen am 30.10.2015.

  • Elsaesser, Thomas. 1973. Tales of sound and fury: Observations on the family melodrama. Monogram 4:2–15.

    Google Scholar 

  • Elsaesser, Thomas. 2009. The mind-game film. In Puzzle films. Complex storytelling in contemporary cinema, Hrsg. Warren Buckland, 13–41. Malden: Wiley-Blackwell.

    Google Scholar 

  • Foucault, Michel. 1974. Die Ordnung der Dinge. Eine Archäologie der Humanwissenschaften. Frankfurt a. M.: Suhrkamp.

    Google Scholar 

  • Fowler, Alastair. 1982. Kinds of literature. An introduction to the theory of genre and modes. Cambridge: Harvard University Press.

    Google Scholar 

  • Gledhill, Christine, Hrsg. 1987a. Home is where the heart is. Studies in melodrama and the woman’s film. London: British Film Institute.

    Google Scholar 

  • Gledhill, Christine. 1987b. Introduction. In Home is where the heart is. Studies in melodrama and the woman’s film, Hrsg. Christine Gledhill, 1–4. London: British Film Institute.

    Google Scholar 

  • Gledhill, Christine. 2000. Rethinking genre. In Reinventing film studies, Hrsg. Linda Williams und Christine Gledhill, 221–243. London/New York: Bloomsbury.

    Google Scholar 

  • Gopal, Sangita, und Sujata Moorti. 2008. Introduction: Travels of Hindi song and dance. In Global Bollywood. Travels of Hindi song and dance, Hrsg. Sangita Gopal und Sujata Moorti, 1–60. Minneapolis/London: University of Minnesota Press.

    Google Scholar 

  • Grindon, Leger. 2012. Cycles and clusters: The shape of film genre history. In Film genre reader IV, Hrsg. Barry Keith Grant, 42–59. Austin: University of Texas Press.

    Google Scholar 

  • Hediger, Vinzenz, und Patrick Vonderau. 2005. Landkarten des Vergnügens. Genre und Filmvermarktung. In Demnächst in Ihrem Kino. Grundlagen der Filmwerbung und Filmvermarktung, Hrsg. Vinzenz Hediger und Patrick Vonderau, 240–249. Marburg: Schüren.

    Google Scholar 

  • Hettich, Katja. 2008. Die Melancholische Komödie. Hollywood außerhalb des Mainstreams. Marburg: Schüren.

    Google Scholar 

  • Johnson, Steven. 2006. Everything bad is good for you. How today’s popular culture is actually making us smarter. London: Penguin.

    Google Scholar 

  • King, Geoff. 2002. Film comedy. London: Wallflower.

    Google Scholar 

  • Klein, Amanda Ann. 2011. American film cycles. Reframing genres, screening social problems & defining subculture. Austin: University of Texas Press.

    Google Scholar 

  • Klinger, Barbara. 1994. ‚Local‘ genres: The Hollywood adult film in the 1950s. In Melodrama: stage, picture, screen, Hrsg. Jacky Bratton, Jim Cook und Christine Gledhill, 134–146. London: British Film Institute.

    Google Scholar 

  • Langford, Barry. 2005. Film genre: Hollywood and beyond. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Lukow, Gregory, und Steven Ricci. 1984. The ‚audience‘ goes public: Inter-textuality, genre and the responsibilities of film literary. On Film 12:29–36.

    Google Scholar 

  • MacArthur, Colin. 1972. Underworld USA. London: Secker & Waburg.

    Google Scholar 

  • MacDowell, James. 2005. The ‚quirky‘ new wave. Alternate Takes. http://www.alternatetakes.co.uk/?2005,7,7. Zugegriffen am 30.10.2015.

  • Maltby, Richard. 2003. Genre. In Hollywood Cinema, 2. Aufl., 74–110. Malden: Blackwell.

    Google Scholar 

  • Mar Azcona, María del. 2010. A genre is born: The multi-protagonist film. Malden: Wiley-Blackwell.

    Google Scholar 

  • McHugh, Kathleen, und Nancy Abelmann, Hrsg. 2005. South Korean golden age melodrama: Gender, genre, and national cinema. Detroit: Wayne State University Press.

    Google Scholar 

  • Musser, Charles. 1984. The travel genre in 1903–1904: Moving toward fictional narratives. Iris 2(1): 47–59.

    Google Scholar 

  • Naremore, James. 1998. More than night: Film noir in its contexts. Berkeley/Los Angeles: University of California Press.

    Google Scholar 

  • Neale, Steve. 1990. Questions of genre. Screen 31(1): 45–66.

    Article  Google Scholar 

  • Neale, Steve. 1993. Melo talks: On the meaning and use of the term ‚melodrama‘ in the American trade press. Velvet Light Trap 32:66–89.

    Google Scholar 

  • Neale, Steve. 2000. Genre and Hollywood. London/New York: Routledge.

    Google Scholar 

  • Perkins, Claire. 2012. American smart cinema. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Quart, Alyssa. 2005. Networked: Don Roos and ‚Happy Endings‘. Film Comment 41(4): 48–51.

    Google Scholar 

  • Sadlier, Darlene J., Hrsg. 2009. Latin American melodrama: passion, pathos, and entertainment. Urbana/Chicago: University of Illinois Press.

    Google Scholar 

  • Schatz, Thomas. 1981. Hollywood genres: formulas, filmmaking, and the studio system. Philadelphia: Temple University Press.

    Google Scholar 

  • Scheinpflug, Peter. 2014. Formelkino. Medienwissenschaftliche Perspektiven auf die Genre-Theorie und den Giallo. Bielefeld: Transcript.

    Book  Google Scholar 

  • Schweinitz, Jörg. 2006. Film und Stereotyp: eine Herausforderung für das Kino und die Filmtheorie. Berlin: Akademie Verlag.

    Book  Google Scholar 

  • Sconce, Jeffrey. 2002. Irony, nihilism and the new American ‚smart‘ film. Screen 43(4): 349–369.

    Article  Google Scholar 

  • Staiger, Janet. 1997. Hybrid or inbred: The purity hypothesis and Hollywood genre history. Film Criticism 22(1): 5–20.

    Google Scholar 

  • Staiger, Janet. 2008. Film noir as male melodrama. The politics of genre labeling. In The shifting definitions of genre. Essays on labeling films, television shows and media, Hrsg. Lincoln Garaghty und Mark Jancovich, 71–91. Jefferson: McFarland.

    Google Scholar 

  • Thomas, Deborah. 2000. Beyond genre. In Melodrama, comedy and romance in Hollywood films. Moffat: Cameron & Hollis.

    Google Scholar 

  • Todorov, Tzvetan. 1970. Introduction à la littérature fantastique. Paris: Éditions du Seuil.

    Google Scholar 

  • Tröhler, Margrit. 2007. Offene Welten ohne Helden. Plurale Figuren-Konstellationen im Film. Marburg: Schüren.

    Google Scholar 

  • Tudor, Andrew. 1973. Genre. In Theories of film, 131–150. New York: Viking Press.

    Google Scholar 

  • Warshow, Robert. 1962[1948a]. The gangster as tragic hero. In The immediate experience. Movies, comics, theatre and other aspects of popular culture, 127–133. New York: Atheneum.

    Google Scholar 

  • Warshow, Robert. 1962[1948b]. Movie chronicle: The western. In The immediate experience. Movies, comics, theatre and other aspects of popular culture, 135–154. New York: Atheneum.

    Google Scholar 

  • Williams, Linda. 1998. Melodrama revised. In Refiguring American film genres. History and theory, Hrsg. Nick Browne, 42–88. Berkeley/Los Angeles/London: University of California Press.

    Google Scholar 

Download references

Author information

Authors and Affiliations

  1. Romanisches Seminar, Ruhr-Universität Bochum, Bochum, Deutschland

    Katja Hettich

Authors
  1. Katja Hettich
    View author publications

    You can also search for this author in PubMed Google Scholar

Editor information

Editors and Affiliations

  1. Dekra Hochschule für Medien , Berlin, Berlin, Germany

    Marcus Stiglegger

Rights and permissions

Reprints and permissions

Copyright information

© 2018 Springer Fachmedien Wiesbaden GmbH

About this entry

Check for updates. Verify currency and authenticity via CrossMark

Cite this entry

Hettich, K. (2018). Formen und Funktionen von Genrebenennungen. In: Stiglegger, M. (eds) Handbuch Filmgenre. Springer Reference Geisteswissenschaften. Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-09631-1_2-1

Download citation

  • DOI: https://doi.org/10.1007/978-3-658-09631-1_2-1

  • Received:

  • Accepted:

  • Published:

  • Publisher Name: Springer VS, Wiesbaden

  • Print ISBN: 978-3-658-09631-1

  • Online ISBN: 978-3-658-09631-1

  • eBook Packages: Springer Referenz Naturwissenschaften

Publish with us

Policies and ethics

Search

Navigation