The structural influence: New directions in film genre study

Schatz, Thomas

doi:10.1080/10509207709391357

Cited by 8 publications

(3 citation statements)

References 2 publications

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“…This essay considers comedies, because as Vivian Sobchack and others have noted, scholars have devoted considerably little attention to the role of comedic genres in the popularization of science (Sobchack, 2004;Schatz, 2003;Weingart et al, 2003;Jones, 2001). It examines the following six popular films from 1961 to 1965: the Disney family films, The Absent-Minded Professor (1961) and its sequel Son of Flubber (1963), as well as The Misadventures of Merlin Jones (1964) and its sequel The Monkey 's Uncle (1965); the slapstick comedy of Jerry Lewis's The Nutty Professor (1963); and the political satire, Dr. Strangelove (1964).…”

Section: Introductionmentioning

confidence: 99%

Scrambled eggheads: ambivalent representations of scientists in six Hollywood film comedies from 1961 to 1965

Terzian

Grunzke

2007

Public Underst Sci

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The American public's longstanding preference for intelligence over intellect informed ambivalent portrayals of American scientists in the postwar era. This essay considers how six popular Hollywood films from a largely neglected genre-comedy-projected ambivalent images of scientists from 1961 to 1965. It argues that scientists were often respected for their intelligence, but were mocked or even feared for their intellect. In the comedic subgenres of the family film and slapstick, scientists who were safely contained at institutions of higher education committed merely social transgressions and became objects of mockery. In the political satire of Dr. Strangelove, however, the direct threat of nuclear annihilation cast the scientist as an object of fear and a real threat to the security of the nation. This discussion of popular comedies thus accounts for an under-studied cultural barometer and powerful medium in the popularization of science.

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Section: Introductionmentioning

confidence: 99%

Scrambled eggheads: ambivalent representations of scientists in six Hollywood film comedies from 1961 to 1965

Terzian

Grunzke

2007

Public Underst Sci

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“…Disaster film, with its exciting plot, thrilling scenes, incisively and vividly disaster landscape, profound and profound cultural expression, has become a type of commercial film and art film, is one of the most popular film types of the majority of audiences, The disaster film, as a natural disaster film, should reflect the conflict between nature and human beings [2]. Thomas Schatz, a genre researcher, says that the narrative framework of any genre is rooted in a predetermined system [3]. Disaster films could be broadly divided into realist disaster films and science fiction disaster films.…”

Section: Definition Of Disaster Filmsmentioning

confidence: 99%

Aesthetic Comparison of Chinese and Western Disaster Films

Qin

2022

Advances in Social Science, Education and Humanities Research

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The frequent occurrence of natural disasters and the lack of a spiritual have become major issues for human reflection. As a means of human expression, art and aesthetics should assume the responsibility of saving the crisis of the human body and mind. As one of the typical types of Hollywood, disaster films should convey deeper cultural connotations. However, the Hollywood disaster films with commercial spirit as the core and image technology as the pillar are not enough to inspire human reflection. There are obvious differences in the aesthetic expression of disaster films between China and the West. Both Chinese and Western cultures provide valuable ideological resources for the world to deal with ecological crises. This paper will compare the different development of disaster films in China and the West, and find more ways for the future development of the two cultures. This research is helpful to understand the aesthetics of humans and nature and plays an irreplaceable role in the mutual learning of Chinese and Western aesthetic thoughts.

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“…The operating principles governing how to produce programming for the multitude of media channels seldom change. The classical principle of the golden mean still guides design, and ancient myths, archetypes, and narrative structures are still embedded in popular culture narratives (Schatz, 1995). In use since communication began, these will no doubt remain important principles in the future.…”

Section: Digital Aestheticsmentioning

confidence: 99%

The Muse Pixeliope

Olson

Pollard

2004

American Behavioral Scientist

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Most media literacy programs fail to take into account the dramatic nature of digitalization, focusing on analog-native media such as the newspaper or digital-native media such as computers and overlooking the process through which these forms are blending and converging. Those trends and ideas includenew digital aesthetics and new social effects caused by digitalization, both of which need to be taken into account in media literacy programs. The aesthetics of digitalization include prepurposing and repurposing content, virtual experience, sampling, interactivity, and manipulation. The new social effects include nonlinearity and content on demand. Digitalization will not immediately replace analog- and digital-oriented programs but needs to be considered as a part of thorough media literacy education.

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The structural influence: New directions in film genre study

Cited by 8 publications

References 2 publications

Scrambled eggheads: ambivalent representations of scientists in six Hollywood film comedies from 1961 to 1965

Scrambled eggheads: ambivalent representations of scientists in six Hollywood film comedies from 1961 to 1965

Aesthetic Comparison of Chinese and Western Disaster Films

The Muse Pixeliope

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