Peculiarities of genre formation in 21st century cinematography

UDC 791.43.01

Violeta Demeschenko

Institute for Cultural Research, National Academy of Arts of Ukraine, Kyiv.
ORCID ID 0000-0001-8296-4628

DOI: https://doi.org/10.37627/2311-9489-23-2023-1.55-67

Keywords: genre, genre structure, genre morphology, traditional genres, hybrid genres, artistic form, film art, animadoc.

Abstract.

This scientific exploration is an attempt to consider the theoretical problems of genre development in modern cinema. Even today in the 21st century, modern cinematography remains one of the art forms that continues to develop dynamically. It is this development that continues to transform its genre classification rather quickly. This process occurs because the large number of modern films does not fit into the traditional genre classification and creates the need to search for new principles regarding the formation of the genre as such. The process of genre creation takes place permanently, both in cinematography and in art in general.

In relation to this process it is important to highlight the clarification and understanding of the specifics of existing film genres, the classification of which must be constantly reviewed in order to understand the directions of the development of modern film art and to realize its specifics. Solving such a task requires taking into consideration the evolution of the genre system, which has turned into a continuous process that lasts throughout the 20th-21st centuries. Moreover, with regard to this process it is crucial to define the main trends related to the tradition of genre creation, which is influenced by artistic and socio-cultural factors.

Authors Biography.

Violeta Demeschenko, Ph.D. (Theory and History of Culture), associate professor, Institute for Cultural Research, National Academy of Arts of Ukraine, Kyiv.

vio150569@gmail.com

References:

Baudrillard, J. (2017). Simuljakry i simuljacija [Simulacra and simulation]. Translation from French А. Kachalov. Moscow: POSTUM. 320 p. (In Russian)

Beige, A. (2009). When documentaries get graphic: animation Meets Actuality. Retrieved from https://www.documentary.org/feature/when-documentaries-get-graphic-animation-meets-actuality.

Bona, Bones. (2015). The uses and functionality of animationin documentary filmmaking. Retrieved from https://www.academia.edu/40593231.

Demeschenko, V. V. (2008). Problemy zhanru v kinomystetstvi [Problems of the genre in filmmaking]. Mystetstvoznavchi zapysky, 13. P. 111–116. (In Ukrainian)

Eisner, W. (1990). Comics and sequential art. Paramus, NJ. Poorhouse Press. P. 166.

Ekinci, B. T. (2017). A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) movie. CINEJ Cinema Journal. Vol. 6.1. P. 4–24. DOI: https://doi.org/10.5195/cinej.2017.144

Entsyklopediia suchasnoi Ukrainy [Encyclopedia of modern Ukraine]. (No date). Retrieved from https://esu.com.ua/search_articles.php?id=20330 (In Ukrainian)

Giżycki, M. (2018). Animowany dokument. Nowy gatunek czy chwyt marketingowy? Kwartalnik Filmowy, 101/102. S. 300–306.

Gunning, T. (2007). Moving away from the index: cinema and the impression of reality. Differences: A Journal of Feminist Cultural Studies. 18 (1). P. 29–52. DOI: https://doi.org/10.1215/10407391-2006-022

Gunning, T. (2008). What’s the point of an index? Or, faking photographs. Still moving: between cinema and photography. Durham, NC: Duke University Press. P. 23–40.

Heimerske kino [Gamer movie]. (No date). Opublikovano reitynh krashchykh filmiv, zniatykh za motyvamy kompiuternykh ihor. Retrieved from https://nv.ua/ukr/art/hejmerske-kino-opublikovanij-rejtinh-krashchikh-filmiv-znjatikh-za-motivami-kompjuternikh-ihor-2464614.htm (In Ukrainian)

Kartashov, A. (2020). Ot mokjumentari do hroniki: vse vidy dokumentalnogo kino [From mockumentaries to chronicles: all types of documentary cinema]. Retrieved from https://arzamas.academy/materials/1712 (In Russian)

Komiksy. Filmy. Arkhivy [Comics. Movies. Archives]. (No date). UA Geek. Retrieved from https://uageek.space/kino/kinokomiksy/#gs.5p90xz (In Ukrainian)

Margolis, H. (2019). Animacja autorska w PRL w latach 1957–1968. Ukryty projekt Kazimierza Urbańskiego Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego. 178 s.

Mizhnarodnyi festyval aktualnoi animatsii ta media-mystetstva LINOLEUM [International festival of current animation and media art LINOLEUM]. (No date). Retrieved from https://uaculture.org/organisations/mizhnarodnyj-festyval-aktualnoyi-animacziyi-ta-media-mystecztva-linoleum-2/ (In Ukrainian)

Moskalenko-Vysotska, O. M. (2019). Zhanrovo-tematychni osoblyvosti filmiv «Ukrkinokhroniky» 2011–2013 rokiv [Genre and thematic features of the films “Ukrkinochroniki” 2011–2013]. Visnyk Natsionalnoi akademii kerivnykh kadriv kultury i mystetstv, 1. P. 425–428. (In Ukrainian)

Naihuchnishi serialy Marvel 2021 roku: try istorii kinokomiksiv, yaki otrymaly vysoki reitynhy [Marvel’s hottest series of 2021: Three highly rated comic book stories]. (No date). Retrieved from https://kino.24tv.ua/nayguchnishi-seriali-marvel-2021-roku-tri-istoriyi-kinokomiksiv_n1814931 (In Ukrainian)

Rhodes, Н. D., & Springer, J. P. (2006). Docufictions: essays on the intersection of documentary and fictional filmmaking. McFarland & Company. 304 p.

Roe, Н. A. (2011). Absence, excess and epistemological expansion: towards a framework for the study of animated documentary. Animation. 6 (3). P. 215–230. DOI: https://doi.org/10.1177/1746847711417954

Roe, H. А. (2013). Animated Documentary. London: Palgrave McMillan. 194 р.

Roe, H. A. (2013). Nieobecność, nadmiar i rozwinięcie epistemologiczne: w poszukiwaniu ram badawczych dla dokumentu animowanego [Absence, excess and epistemological expansion: Towards a framework for the study of animated ocumentary] (M. Bokiniec, Trans.). Panopticum. (12). P. 27–45.

Samye redkie zhanry kino [The rarest movie genres]. (No date). Interesnye fakty. Retrieved from https://billionnews.ru/8695-samye-redkie-zhanry-kino.html (In Russian)

Tasker, Y. (1993). Spectacular bodies: Gender, genre and the action cinema. A Comedi book published by Routledge London and New York. 191 p.

Тakahashi, T. (2011). Experiments in documentary animation: Anxious Borders, Speculative Media. Animation: An Interdis­ciplinary Journal, 6.3. P. 231–245. DOI: https://doi.org/10.1177/1746847711417934

Viren, D. G. (2021). Dokumentalnaja animacija ili animacionnaja dokumentalistika? Razmyshlenija ob ee istorii i sovremennoj situacii na primere Polshi i drugih stran [Documentary animation or animated documentary? Reflections on its history and current situation on the example of Poland and other countries]. Nauka televidenija, 17.1. M.C. P. 101–135. (In Russian) DOI: https://doi.org/10.30628/1994-9529-2021-17.1-101-135

Waugh, T. (2011). The right to play one-self: looking back on documentary film. Minneapolis: University of Minnesota Press. P. 71–92.

Winston, B. (2008). Claiming the Real II: documentary: Grierson and Beyond. London: BFI ; New York, NY: Palgrave Macmillan. 336 р.

Zelvenskij, S. (2002). Mocumentary: istorija voprosa [Mocumentary: Background]. Masterskaja «Seans». Retrieved from http://seance.ru/n/32/mockumentary/mocumentary/ (In Russian)

Published: 2023.04.04.

PDF (Ukrainian).

Vol 23 No 1 (2023).

Section: THEORY AND HISTORY OF CULTURE.