This book covers the key concepts central to understanding recent developments in media and communications studies. Wide-ranging in scope and accessible in style it sets out a useful, clear map of the important theories, methods, and debates.
The entries critically explore the limits of a key concept as much as the traditions that define it. They include clear definitions, are introduced within the wider context of the field and each one is fully cross-referenced, is clearly illustrated with relevant examples, and provides a guide to further reading and an index.
This book is an essential resource for students in media and communications and for those studying sociology, cultural sociology, cultural studies, and sociology of media.
A ‘genre film’ today is accepted industry parlance for the most routine formulaic products of that culture industry. The genre categories used are similar to those [Page 86]in programme guides, DVD shops and popular cultural criticism – romantic comedy, action, thriller and so on. Thus, audience members are routinely educated in the use of these terms. Even at this level, there is a kind of understanding between producers and audiences about the formal conventions that constitute such genres. From this quite conservative aesthetic perspective, violation of genre conventions risks audience disappointment or incomprehension. Commercial film producers now infamously test screen films in order to anticipate such communicative breakdowns.
The role of criticism and critique in this ...