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Abstract: This essay argues that genres are cultural categories that surpass the boundaries of media texts and operate within industry,
audience, and cultural practices as well. Offering a television-specific approach, the article explores media genres by incorporating
contemporary cultural theory and exemplifying its discursive approach with a brief case study.
Abstract: Genre-bending films rely on viewers' habitual responses to generic codes, misleading audiences into expecting conventional
outcomes. "The French Connection" (1971) exploits spectators' expectations of police-detective-film formulas and thereby catches
viewers offguard, creating a more unsettling experience than the genre traditionally provides.
Abstract: Fred Schepisi's "Six Degrees of Separation" (1993) is an art-house film that plays with the buddy film formula, highlighting
its inconsistencies and its contrived resolutions of complex issues surrounding racial and sexual anxieties and looking relations.
Kevin S. Sandler
Abstract: In 1990, the Motion Picture Association of America (MPAA) replaced the X rating with the NC-17 category--No Children 17 and
under Admitted. The new designation took effect immediately and was copyrighted so that adult filmmakers--who appropriated
the X for pornography in 1968--could no longer unilaterally apply it to their films. MGM/UA's "Henry & June" became the first
major studio film to receive the outermost rating since 1979. The NC-17's immediate inheritance of the veneer of the X rating,
and the subsequent box-office failure of "Showgirls" (1995), reaffirmed the economic liability of the rating system's adults-only
William Friedman Fagelson
Abstract: American soldiers watching movies near the front lines during World War II talked back to the screen, interacting with the
texts and with each other.
Eric Schaefer, Dan Streible
Paula J. Massood, Anne Morey