Genre Text
Genre Speech: Rear Window vs. The Real Inspector Hound
When you think of the term ‘genre’, what does it exactly mean to you? Well I’m sure it’s without a doubt that you all commonly believe it constitutes either a kind or category of text, but in actual fact does it really? Good morning Year 11. The prime focus of your studies during the HSC course next year, I’m going to discuss how the genre of crime fiction has extended through time, whereby a variety of notions and characteristics exhibited throughout a text may either reinforce, challenge or extend on genre parameters.
So what is genre then? Although genre is quite difficult to define, there are numerous interpretations of the term since the confines between genres are constantly evolving due to changing values. As Daniel Chandler states, “defining genres may not initially seem particularly problematic but it should already be apparent that it’s a theoretical minefield.” However, Jane Feuer believes “genre is ultimately an abstract conception.” These critics therefore prove that yes, while it may be easy to classify a text to a particular genre, we must understand genre as a concept that can apply to varying applications rather than its fundamental relevance to a text. In saying this, as changing contexts and values have developed over time, resulting in new-found conventions, I’ve come to agree with Stephen Neale’s understanding; “Genres are instances of repetition and difference...difference is absolutely essential to the economy of genre.” (Neale, 1980). This my friends, effectively reflects constant changing cultural values and attitudes in our social milieu, don’t you think?
Hence, my aim today is to focus on the conventions of the genre of crime fiction and how they have been recreated in a number of ways to reflect the social and cultural aspects that are dynamic to their survival within the popularity of a text. As Neale further suggests, “genres exist to assist in shaping values.” Subsequently,
When you think of the term ‘genre’, what does it exactly mean to you? Well I’m sure it’s without a doubt that you all commonly believe it constitutes either a kind or category of text, but in actual fact does it really? Good morning Year 11. The prime focus of your studies during the HSC course next year, I’m going to discuss how the genre of crime fiction has extended through time, whereby a variety of notions and characteristics exhibited throughout a text may either reinforce, challenge or extend on genre parameters.
So what is genre then? Although genre is quite difficult to define, there are numerous interpretations of the term since the confines between genres are constantly evolving due to changing values. As Daniel Chandler states, “defining genres may not initially seem particularly problematic but it should already be apparent that it’s a theoretical minefield.” However, Jane Feuer believes “genre is ultimately an abstract conception.” These critics therefore prove that yes, while it may be easy to classify a text to a particular genre, we must understand genre as a concept that can apply to varying applications rather than its fundamental relevance to a text. In saying this, as changing contexts and values have developed over time, resulting in new-found conventions, I’ve come to agree with Stephen Neale’s understanding; “Genres are instances of repetition and difference...difference is absolutely essential to the economy of genre.” (Neale, 1980). This my friends, effectively reflects constant changing cultural values and attitudes in our social milieu, don’t you think?
Hence, my aim today is to focus on the conventions of the genre of crime fiction and how they have been recreated in a number of ways to reflect the social and cultural aspects that are dynamic to their survival within the popularity of a text. As Neale further suggests, “genres exist to assist in shaping values.” Subsequently,