Narrative and genre : key concepts in media studies / Nick Lacey

By:

Lacey, Nick, 1961-

Material type: Text

TextLanguage: English Publication details: New York : St. Martin's Press, 2000 Description: ix, 268 pages ; 23 cmISBN:

0312230133
9780312230135

Subject(s):

DDC classification:

401/.41

LOC classification:

P 302.7 L131n 2000

Contents:

Introduction to Narrative Theory -- Once upon a time -- openings -- What is narrative? -- Todorov and narrative structure -- Propp's narrative functions -- Levi-Strauss and binary oppositions -- Barthes's narrative codes -- A History of Narrative -- The Epic of Gilgamesh -- Aristotle's theory of art -- The oral tradition -- Le Morte D'Arthur (The Death of Arthur) -- Shakespeare -- The novel -- Romanticism -- Modernism -- Postmodernism -- Theory of Narrative 2 -- More advanced narrative theory -- Narrative voice -- Ideological narrative analysis -- The Searchers -- Alternative narrative systems -- Alternative narrative and documentary -- Theory of Genre 1 -- Generic conventions -- The basic schema of genre -- Genre and society -- Film noir and 'hard-boiled' crime novels -- the repertoire of elements -- The TV cop genre: NYPD Blue -- oppositions in genre -- Science fiction -- repertoire of elements and history -- Melodrama -- a genre and a style -- Genre and format -- Theory of Genre 2 -- Genre -- the chicken or the egg? -- Twelve generic approaches to media texts -- Genre as Jungian myth -- Genre and gender -- soap opera -- Generic cycles -- Non-realistic genres -- horror -- Genre and semiotics -- Ideology and genre criticism -- Genres and scheduling -- Conclusion: narrative and genre -- Basic Instinct (Paul Verhoeven, 1992) -- Nora Prentiss (Vincent Sherman, 1947) -- Psycho (Alfred Hitchcock, 1960) -- The Searchers (John Ford, 1956) -- Strange Days (Kathryn Bigelow, 1995) -- The Usual Suspects (Bryan Singer, 1995).

Summary: It then moves on to offer an extensive analysis of the basic schema and conventions of genre, drawing on the film noir, the TV cop genre and science fiction for examples, and showing how the repertoire of elements of each ranges across setting, character, narrative, iconography, style and stars

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Holdings
Item type	Current library	Home library	Collection	Shelving location	Call number	Copy number	Status	Date due	Barcode
Libro	Biblioteca Juan Bosch	Biblioteca Juan Bosch	Humanidades	Humanidades (4to. Piso)	P 302.7 L131n 2000 (Browse shelf(Opens below))	1	Available		00000000220

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Introduction to Narrative Theory --
Once upon a time --
openings --
What is narrative? --
Todorov and narrative structure --
Propp's narrative functions --
Levi-Strauss and binary oppositions --
Barthes's narrative codes --
A History of Narrative --
The Epic of Gilgamesh --
Aristotle's theory of art --
The oral tradition --
Le Morte D'Arthur (The Death of Arthur) --
Shakespeare --
The novel --
Romanticism --
Modernism --
Postmodernism --
Theory of Narrative 2 --
More advanced narrative theory --
Narrative voice --
Ideological narrative analysis --
The Searchers --
Alternative narrative systems --
Alternative narrative and documentary --
Theory of Genre 1 --
Generic conventions --
The basic schema of genre --
Genre and society --
Film noir and 'hard-boiled' crime novels --
the repertoire of elements --
The TV cop genre: NYPD Blue --
oppositions in genre --
Science fiction --
repertoire of elements and history --
Melodrama --
a genre and a style --
Genre and format --
Theory of Genre 2 --
Genre --
the chicken or the egg? --
Twelve generic approaches to media texts --
Genre as Jungian myth --
Genre and gender --
soap opera --
Generic cycles --
Non-realistic genres --
horror --
Genre and semiotics --
Ideology and genre criticism --
Genres and scheduling --
Conclusion: narrative and genre --
Basic Instinct (Paul Verhoeven, 1992) --
Nora Prentiss (Vincent Sherman, 1947) --
Psycho (Alfred Hitchcock, 1960) --
The Searchers (John Ford, 1956) --
Strange Days (Kathryn Bigelow, 1995) --
The Usual Suspects (Bryan Singer, 1995).

It then moves on to offer an extensive analysis of the basic schema and conventions of genre, drawing on the film noir, the TV cop genre and science fiction for examples, and showing how the repertoire of elements of each ranges across setting, character, narrative, iconography, style and stars

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