10. Genre Film: A Classical Experience

Abstract

In their book An Illustrated Glossary of Film Terms. Harry M. Geduld and Ronald Gottesman define as a category, kind, or form of film distinguished by subject matter, theme, or techniques. They list more than seventy-five genres of film, both fiction and non-fiction. There are categories within categories and categories which overlap and are not mutually exclusive. In light of the difficulty of accurately defining the individual genres, I would rather side-step the problem by considering the Fictional Genre Film as a single category which includes all that is commonly held to be genre film, i.e. the Western, the Horror film, the Musical, the Science Fiction film, the Swashbuckler, etc., in order to show that all of these films have a common origin and basic form. Bound by a strict set of conventions, tacitly agreed upon by filmmaker and audience, the genre film provides the experience of an ordered world and is an essentially classical structure predicated upon the principles of the Classical world view in general, and indebted to the Poetics of Aristotle in particular; in the genre film the plot is fixed, the characters defined, the ending satisfyingly predictable. Because the genre film is not realistic, because it is so blatantly dramatic, it has been condescendingly treated by many critics for its failure to be relevant to contemporary issues, philosophies, and aesthetics. Yet the truth of the matter is that the genre film lives up to the guiding principle of its Classical origins: there is nothing new under the sun, and truth with a capital T is to be found in imitating the past. The contemporary and the particular are inimical to the prevailing idea in Classical thought that knowledge is found in the general conclusions which have stood the test of time. Thus originality, unique subject matter, and a resemblance to actual life are denigrated as values, while conformity, adherence to previous models, and a preoccupation with stylistic and formal matters are held to be the criteria for artistic excellence. The subject matter of a genre film is a story. It is not about something that matters outside the film, even if it inadvertently tells us something about the time and place of its creation. Its sole justification for existence is to make concrete and perceivable the configurations inherent in its ideal form. That the various genres have changed, gone through cycles of popularity, does not alter the fact that the basic underlying coordinates of a genre are maintained time after time. From Porter's The Great Train Robbery to The Cowboys or True Grit, the Western has maintained a consistency of basic content; tne motifs, plots, settings, and characters remain the same. What is true of the Western is also true of the Adventure film, the Fantasy film, the Crime film, and the Musical, or any fictional genre one can identify. Any particular film of any definable group is only recognizable as part of that group if it is, in fact, an imitation of that which came before. It is only because we have seen other films that strongly resemble the particular film at hand that we can say, Yes, this is a Horror fMm or a Thriller or a Swashbuckler. Consciously or unconsciously, both the genre filmmaker and the genre audience are aware of the prior films and the way in which each of these concrete examples is an attempt to embody once again the essence of a well-known story. This use of well-known stories is clearly a classical practice. Homer, the Greek dramatists, Racine, Pope, Samuel Johnson, and all the other great figures of the classical and neo-classical periods used prior sources for their stories. The formative principle behind the creation of classical art has always been the known and the familiar. The Greeks knew the stories of the gods and the Trojan War in the same way we know about hoodlums and gangsters and G-men and the taming of the frontier and the never-ceasing struggle of the light of reason and the cross with the powers of darkness, not through firsthand experience but through the media. …

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