Daniel Chandler- Conventional definitions of genres tend to
be based on the notion that they constitute particular conventions of content
(such as themes or settings) and/or form (including structure and style) which
are shared by the texts which are regarded as belonging to them.
Tom Ryall (1978) – Genre provides a framework of structuring
rules, in the shape of patterns/forms/styles/structures, which act as a form of
‘supervision’ over the work of production of filmmakers and the work of reading
by the audience. John Fiske defines genres as ‘attempts to structure some order
into the wide range of texts and meanings that circulate in our culture for the
convenience of both producers and audiences.
Steve Neale (1990) argues that Hollywood’s generic regime
performs two inter-related functions:to guarantee meanings and pleasures for
audiences ii) to offset the considerable economic risks of industrial film
production by providing cognitive collateral against innovation and difference.
Jonathan Culler (1978) – generic conventions exist to
establish a contract between creator and reader so as to make certain
expectations operative, allowing compliance and deviation from the accepted
modes of intelligibility. Acts of communication are rendered intelligible only
within the context of a shared conventional framework of expression
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