THE MOVING IMAGE GENRE-FORM GUIDE
Moving Image Genre list
Contents | Introduction | Examples | Bibliography | Forms
Appendices: Experimental | Animation | Advertising
Genre Terms
Genres
Abstract see Experimental; Animation (form)
Action-adventure see such genres as Adventure, Ancient world,
Animal, Aviation, Caper, Crime, Disaster, Espionage, Fantasy, Gangster,
Jungle, Martial arts, Mystery, Police, Prehistoric, Prison, Science
fiction, Singing cowboy, Sports, Survival, Thriller, War, Western,
Yukon
Nonfiction work made prior to 1910, usually of a very short length,
that demonstrates the capacity of moving pictures to advance over
still photography by recording a world in motion. The typical content
of actualities were scenes of everyday life, people, and events,
usually authentic but sometimes manipulated.
Note: Not necessary to also use Documentary, since that is implied
by the term Actuality.
Examples: L'ARRIVEE D'UN TRAIN EN GARE DE LA CIOTAT / TRAIN ARRIVING
IN THE STATION; ELECTROCUTING AN ELEPHANT; NEW YORK CITY "GHETTO" FISH
MARKET; PRESIDENT MCKINLEY TAKING THE OATH; LA SORTIE DES USINES
LUMIERE / WORKERS LEAVING THE LUMIERE FACTORY
Fiction or nonfiction work taken from a work already existing
in another medium, such as a book, short story, comic strip, radio
program, or play. This involves such questions as fidelity to the
original text and the manner in which the adaptation has condensed
or abridged aspects of the original work (or, on rare occasions,
expanded it) to the standard length of a movie or television program.
Note: Do not include work derived from non-written sources, such
as Greek and Roman mythology (HERCULES; JASON AND THE ARGONAUTS);
for such work see also Fantasy. Use only for specific works adapted
to film or television, not for original exploits written for the
screen that utilize characters but not plots created in another
medium, such as most of the Charlie Chan or Perry Mason series,
or the many Frankenstein sequels. Do not include works which were
also written for the first time in prose form for promotional purposes
at the time of the work's release in such editions as movie tie-in
paperbacks or photoplay editions.
Feature examples: ANNA KARENINA (with Romance; Historical); BARRY
LYNDON (with Historical); THE BRIG (1964) (with Experimental);
CAMELOT (with Musical; Romance; Adventure); CHIMES AT MIDNIGHT
/ FALSTAFF (with Historical); THE DIARY OF ANNE FRANK (with Biographical;
War); HAMLET; HENRY V (with Biographical); THE LAST TYCOON (with
Show business; Historical); MAN OF LA MANCHA (with Musical; Parody;
Historical); OTHELLO (with Romance; Historical); THE RAVEN (with
Horror); THE RAZOR'S EDGE; ROMEO AND JULIET (with Romance; Historical);
WAR AND PEACE (with Historical)
TV examples: GULLIVER'S TRAVELS (with Fantasy); SHIRLEY TEMPLE'S
STORYBOOK
Adult see Erotic; Pornography
Fictional work set in a historical period, from the middle ages
through the 19th century, typically dramatizing the exploits of
actual historical figures or incidents, including kings and battles,
rebellion, piracy and the Spanish Main, travel, exploration, and
the creation of empires. Larger ideological issues are mythicized
and conflicts personalized over historical accuracy. Adventure
usually involves a courageous, altruistic and patriotic hero willing
to fight for his beliefs, who becomes involved in a struggle for
freedom by overcoming oppression and helping to create a more just
society.
Used for Swashbuckler.
Note: Not necessary to also use Historical, since that is implied
by Adventure. If work includes supernatural or magic, use Fantasy.
Other genres often confused with Adventure include Ancient world,
Animal, Aviation, Crime, Thriller, Science fiction, Survival, and
War; for a comprehensive list, examine the see references under
Action-adventure.
Examples: THE ADVENTURES OF ROBIN HOOD; AGUIRRE DER ZORN GOTTES
/ AGUIRRE--THE WRATH OF GOD; AROUND THE WORLD IN 80 DAYS (with
Adaptation; Comedy); BEAU GESTE (with Adaptation); CAPTAIN BLOOD
(with Adaptation); CAPTAIN FROM CASTILE (with Adaptation); CAPTAIN
HORATIO HORNBLOWER; ELEPHANT BOY (with Adaptation); GUNGA DIN (with
Adaptation); KING OF THE KHYBER RIFLES (with Adaptation); LANCELOT
DU LAC; LORD JIM (with Adaptation); MUTINY ON THE BOUNTY; OMAR
KHAYYAM; THE PRISONER OF ZENDA (with Adaptation); THE SEA WOLF
(with Adaptation); THE THREE MUSKETEERS (with Adaptation); TREASURE
ISLAND (with Adaptation); WHITE SHADOWS OVER THE SOUTH SEAS (with
Adaptation)
TV examples: THE BUCCANEERS (1956-57); THE LAST PLACE ON EARTH
(with Adaptation); ROBIN HOOD (1955-58); SEARCH FOR THE NILE; 77TH
BENGAL LANCERS; SHARPE'S RIFLES (with Adaptation); THE SWAMP FOX;
ZORRO
Nonfiction work on the exploration of untamed lands and remote
regions and the challenges of living in such areas, often surviving
against harsh natural surroundings and the clashing of the explorer,
usually from the West, with the cultural traditions of the indigenous
people. Utilizing a realist tradition, such work may nonetheless
be narrativized in a pseudo- documentary fashion, presenting a
story of representative characters and incidents in a locale, rather
than actual individuals or events. Includes the films of such adventurers
as Frank Buck, collecting wild animals for zoos (BRING 'EM BACK
ALIVE; WILD CARGO; FANG AND CLAW), Martin and Osa Johnson (SIMBA--THE
KING OF THE BEASTS; CONGORILLA; I MARRIED ADVENTURE), and scientific
explorer Thor Heyerdahl (KON- TIKI; THE RA EXPEDITIONS); along
with many lesser, exploitation-oriented works, such as INGAGI.
Used for Expedition; Exploration.
Note: Not necessary to also use Documentary, since that is implied
by the term Adventure (Nonfiction).
Feature examples: CHANG; PAUL J. RAINEY'S AFRICAN HUNT; SCOTT'S
LAST VOYAGE / 90 DEGREES SOUTH--WITH SCOTT TO THE ANTARCTIC [Herbert
Ponting]; THE SECRET LAND; THE SILENT WORLD; TABU; TO THE ROOF
OF THE WORLD; WITH BYRD AT THE SOUTH POLE; WITH WILLIAMSON BENEATH
THE SEA
TV examples: ADVENTURE CALLS; BOLD JOURNEY; EXPEDITION; HIGH ROAD
TO ADVENTURE; I SEARCH FOR ADVENTURE; PASSPORT TO ADVENTURE
African American see Ethnic
American Indian see Ethnic
Fictional work usually set during Roman times, or occasionally
during another early civilization, such as that of Greece or Egypt.
Most often the work emphasizes the opulence, cruelty, and decadence
of ancient political and cultural life.
Note: Many of the stories are loosely derived from the Bible or
depict the life of Christ as an element, and so can also have the
genre heading Religious. Not necessary to also use Historical,
since that is implied by Ancient world.
Feature examples: BEN-HUR (with Religious; Adaptation); CLEOPATRA
(with Biographical); THE EGYPTIAN (with Adaptation); THE FALL OF
THE ROMAN EMPIRE / LA CAIDA DEL IMPERIO ROMANO / LA CADUTA DELL'IMPERIO
ROMANO; LAND OF THE PHARAOHS; QUO VADIS (with Religious; Adaptation);
THE ROBE (with Religious; Adaptation); SAMSON AND DELILAH (with
Religious; Romance; Adaptation); THE SIGN OF THE CROSS (with Religious);
SPARTACUS (with Biographical); THE TEN COMMANDMENTS (1956) (with
Religious; Adaptation); THE 300 SPARTANS
TV examples: I, CLAUDIUS (with Biographical; Adaptation); MASADA;
MOSES THE LAWGIVER (with Religious; Adaptation)
Fictional work concentrating on the exploits of an animal, as
part of the wild, or who may participate in the lives of humans
in a remarkable way (FLIPPER), or emphasizing the loving role the
animal serves within a family (LASSIE). Includes also stories of
persons whose lives center on working with animals; become dedicated
to wildlife conservation; or learn the importance of coexisting
with their surrounding environment.
Note: For non-fiction work, use Nature.
Film examples: BABE; BAMBI (with the form Animation); BENJI; BORN
FREE (with Adaptation); THE CAT FROM OUTER SPACE (with Science
fiction); CLARENCE THE CROSS-EYED LION; DOCTOR DOOLITTLE (with
Musical; Adaptation); FREE WILLY; GORILLAS IN THE MIST (with Biographical);
THE INCREDIBLE JOURNEY (with Children's); HATARI!; NEVER CRY WOLF
(with Adaptation); OLD YELLER (with Adaptation); RESCUED BY ROVER;
RHUBARB (with Comedy; Sports); THE YEARLING (with Adaptation)
TV examples: ALL CREATURES GREAT AND SMALL (with Adaptation);
DAKTARI; GENTLE BEN; MR. ED (with Fantasy); MY FRIEND FLICKA (with
Adaptation)
Anthropological see Documentary; Ethnographic
Nonfiction work focusing on artists and arts such as painting,
sculpture, architecture, photography, and ceramics. Types of films,
programs, and video on art include biographical profiles of individual
artists; histories of particular arts, schools of art, or movements;
documentation of museum exhibitions or collections; and educational
or even instructional work on artistic processes and techniques.
Note: Not necessary to also use Documentary, since that is implied
by the term Art.
Do not use for avant-garde or so-called classic and foreign "art
films." For work on the performing arts, see Dance, Music, Opera,
Operetta, and Variety.
Film examples: LE MYSTERE PICASSO (with Biographical (Nonfiction));
OF TIME, TOMBS AND TREASURES: PAINTERS PAINTING; THE TREASURES
OF TUTANKHAMUN (with Sponsored)
TV examples: AMERICA BY DESIGN; CIVILISATION (with Educational);
THE LOUVRE: A GOLDEN PRISON
Video examples: ON ASSIGNMENT: A VIDEO SERIES FOR PHOTOGRAPHERS
(with Instructional); OUTDOOR SCULPTURE AND ITS CARE: PRESERVING
THE HIRSHHORN MUSEUM'S COLLECTION (with Instructional)
Avant-garde see Experimental
Fictional work centering on both military and civilian characters
who have an overriding love of flying, with an ardent dedication
to such tasks as the air mail, test flying, or airplane racing.
Flying becomes the guiding force in all aspects of their career
and personal life, even at the cost of loss of romantic love, or
probable death in a plane crash. Pilots often share a unique combination
of rivalry and respect, and one or more of their number is usually
killed during the narrative, bringing about a reawakening to new
values in a fellow flyer's life.
Feature examples: AIR MAIL; FLIGHT FOR FREEDOM (with Women); GOD
IS MY CO-PILOT (with War; Adaptation); THE GREAT WALDO PEPPER;
NO HIGHWAY IN THE SKY; ONLY ANGELS HAVE WINGS; THE TARNISHED ANGELS
(with Romance); TEST PILOT; THOSE MAGNIFICENT MEN IN THEIR FLYING
MACHINES (with Comedy)
Serial examples: THE AIRMAIL MYSTERY; CAPTAIN MIDNIGHT; THE MYSTERIOUS
PILOT; TAILSPIN TOMMY
TV examples: BAA BAA BLACK SHEEP (with War); PIECE OF CAKE (with
War; Adaptation); RIPCORD; TUSKEGEE AIRMEN (with War)
Award ceremony see Television special (form)
Backstage see Show business
Biblical see Religious; Ancient World
Fictional work dramatizing the life (or portion thereof) of an
actual historical figure (often including their family and/or associates),
and told with varying degrees of accuracy.
Note: If the emphasis is on larger events or several prominent
historical individuals, rather than an individual or family, use
Historical. Not necessary to use Historical with Biographical,
since Historical is implied by the term Biographical.
Feature examples: ABE LINCOLN IN ILLINOIS (with Adaptation); AMADEUS
(with Musical; Adaptation); BUGSY (with Gangster); EL CID (with
Adventure); GIVE 'EM HELL, HARRY! (with Political; the form Performance);
THE GLEN MILLER STORY (with Musical); JUAREZ (with Political);
LADY JANE; THE LAST EMPEROR; LAWRENCE OF ARABIA (with War); THE
LIFE OF EMILE ZOLA (with Social problem); MALCOLM X (1992) (with
Ethnic); MARIE ANTOINETTE; OHM KRUGER / UNCLE KRUGER (with Propaganda);
PATTON (with War); SILKWOOD (with Social problem); STARS AND STRIPES
FOREVER (with Musical); SUNRISE AT CAMPOBELLO (with Disability;
Political; Adaptation); VIVA ZAPATA
TV examples: THE KAREN CARPENTER STORY (with Social problem);
THE KENNEDYS OF MASSACHUSETTS; PETER THE GREAT; PROFILES IN COURAGE;
SHAKA ZULU
Nonfiction work documenting the life and career (or portion thereof)
of an individual or small group of related persons such as a family.
Note: Not necessary to also use Documentary, since that is implied
by the term Biographical (Nonfiction).
Film examples: ALBERT SCHWEITZER; THE AMERICAN FILM INSTITUTE
SALUTE TO BARBARA STANWYCK; ANGELA DAVIS: PORTRAIT OF A REVOLUTIONARY
(with Ethnic (Nonfiction)); THE ELEANOR ROOSEVELT STORY; FUEGO
DE TIERRA (with Experimental); THE GREAT WALLENDAS; JOHN F. KENNEDY:
YEARS OF LIGHTNING, DAY OF DRUMS (with Sponsored); KING: A FILMED
RECORD ... MONTGOMERY TO MEMPHIS (with Ethnic (Nonfiction)); THE
LIFE AND TIMES OF KLAUS BARBIE; MILLHOUSE: A WHITE COMEDY (with
Parody); PAUL ROBESON--TRIBUTE TO AN ARTIST (with Ethnic (Nonfiction));
REMBRANDT: A SELF-PORTRAIT (with Art); ROBERT FROST--A LOVER'S
QUARREL WITH THE WORLD; A STRAVINSKY PORTRAIT (with Music)
TV examples: BIOGRAPHY; THE ORIGINALS: WOMEN IN ART; PROFILES
IN COURAGE; THE REBELS: MONTGOMERY CLIFT
Video examples: GABRIEL GARCIA MARQUEZ: LA MAGIA DE LO REAL /
MAGIC AND REALITY; HITLER: A CAREER
Black see Ethnic
Black comedy see Dark comedy
Fictional work focusing primarily on the camaraderie between two
individuals, usually two men or two women. Often their relationship
develops as they are thrown together while traveling or as professional
partners. Although perhaps starting out as strangers, or even enemies,
a bond usually comes to exist between the pair as they become friends
or at least allies.
Note: Do not use Buddy for work in which a character simply has
a "sidekick," or a friendship is one of many subsidiary plot elements,
but only when it is dominant. Because this genre traditionally
uses another plot formula as its background, the term Buddy would
most often be used in conjunction with other genres (such as BUTCH
CASSIDY AND THE SUNDANCE KID (with Western), LETHAL WEAPON (with
Police), or THELMA AND LOUISE (with Road)).
Feature examples: BOOM TOWN; JULIA (with War); MANPOWER; MIDNIGHT
COWBOY; PARDNERS (with Comedy; Western); ROAD TO ZANZIBAR (with
Comedy)
Burlesque see Erotic; Performance (form)
Campaign see Public affairs
Fictional work concentrating on the planning and eventual execution
of a single major crime, such as a robbery of a bank vault or museum,
requiring meticulous preparation and perfect organization and timing.
The task is usually undertaken by a diverse gang to bring together
the skills and specializations required, and they often have uneasy
personal relations. Suspense derives from the question of whether
or how the plans will succeed or fail (by accident or a factor
overlooked), what will become of the loot, and whether some or
all of the criminals will escape.
Related terms: Thriller; Crime.
Feature examples: THE ASPHALT JUNGLE; GAMBIT; HOW TO STEAL A MILLION
(with Comedy); THE KILLING (with Film Noir); THE LAVENDER HILL
MOB (with Comedy); RESERVOIR DOGS (with Police); RIFIFI; THE STING
(with Buddy); TOPKAPI
Cartoon see Animation (with the form Short)
Short, early work, generally made before 1912, in which an incident,
often the result of a misunderstanding, results in someone, who
may or may not be guilty of a misdeed, being chased. An outraged,
motley, steadily-growing group pursues the individual from one
location to another until finally an event brings the chase to
a sudden end. The conclusion may range from the capture of the
pursued to a comical catastrophe for the pursuers.
Examples: THE ALMIGHTY DOLLAR; CHEVAL EMBALLE / THE RUNAWAY HORSE;
A DARING DAYLIGHT BURGLARY (with Crime); DESPERATE POACHING AFFRAY;
GLUED; HIS ONLY PAIR OF TROUSERS (with Crime; Comedy); JACK THE
KISSER; THE MANIAC CHASE; LE MARIAGE DE VICTORINE / HOW BRIDGET'S
LOVER ESCAPED; MIND YOUR OWN BUSINESS (with Family); PERSONAL (with
Romance; Comedy); THE POLICEMAN'S LITTLE RUN (with Comedy); STOP
THIEF!; WIFE WANTED (with Romance; Comedy)
Chicano see Ethnic
Work whose view of the world or narrative presentation indicate
they are aimed predominantly at a young, preteen audience. Frequently
children, or older individuals or animals, presented in a child-like
manner, are the primary protagonists, with adults either absent
or relatively remote or menacing secondary characters.
Note: This genre refers largely to the intended audience, rather
than a specific narrative formula, and may frequently be noted
in combination with a more specifically formulaic genre.
Related terms: Family; Youth.
Feature examples: BABES IN TOYLAND (with Musical; Fantasy; Adaptation);
CHARLOTTE'S WEB (with Animal; Adaptation); DUMBO (with the form
Animation); THE MONKEY'S UNCLE (with Slapstick comedy); PECK'S
BAD BOY; PETER PAN (with Fantasy; Adaptation); WILLY WONKA AND
THE CHOCOLATE FACTORY (with Adaptation)
TV examples: BARNEY; CAPTAIN KANGAROO; THE HOWDY-DOODY SHOW; GUMBY
(with the form Animation); THE MICKEY MOUSE CLUB (with Variety);
MIGHTY MORPHIN POWER RANGERS (with Science fiction); ROMPER ROOM
Cinéma vérité see Documentary
Circus see Show business; Performance (form)
Fictional work that depicts life in colleges and universities,
most often concentrating on athletics, socializing, fraternity
or sorority life, or student escapades. This genre was most common
during the 1920s and 1930s when higher education was less widespread
and seemed more unusual to audiences.
Feature examples: ANIMAL HOUSE (with Slapstick comedy); COLLEGE
(1927) (with Comedy); THE FRESHMAN (with Comedy); FRATERNITY ROW;
THE HALF-BACK (with Sports); HIGHER LEARNING (with Social problem;
Ethnic); HORSE FEATHERS (with Comedy); MOST PRECIOUS THING IN LIFE
(with Maternal melodrama); HOUSE PARTY (with Comedy; Ethnic); REVENGE
OF THE NERDS (with Comedy); SCHOOL DAZE (with Ethnic); START CHEERING
(with Comedy); A YANK AT OXFORD
TV examples: THE PAPER CHASE (with Legal)
Combat see War
Work in which the overall intent is to amuse, although the humor
may have a serious, even pessimistic side. Although many works
in different genres may contain humorous moments, a work is considered
to be a comedy when the intent and the expression of the plot itself
is humorous or when the tone of the entire work is overwhelmingly
comic.
Used for Comedy-drama; Farce.
Note: For more specific types of comedy, see also Dark comedy,
Parody, Screwball comedy, Slapstick comedy, and Sophisticated comedy;
do not use different types of comedy in conjunction with one another.
For romantic comedy, use Screwball comedy, Sophisticated comedy,
or Comedy in conjunction with Romance. Most fictional television
comedy would go under Situation comedy, or if it centers on a family,
Domestic comedy. Comedy television shows that consist of a series
of comic sketches would use Comedy and Variety (SATURDAY NIGHT
LIVE; IN LIVING COLOR). For work which shows the performance of
a comedian, usually delivered in a monologue fashion, and without
separate comedic skits, use Comedy in conjunction with the form
Performance, such as the Television specials BILL COSBY--HIMSELF
(with the form Performance) or THE MARK RUSSELL COMEDY SPECIAL
(with the form Performance).
Film examples: THE BANK DICK; THE BLUES BROTHERS (with Musical);
BUCK BENNY RIDES AGAIN (with Western); CITY LIGHTS; THE COCOANUTS;
CROCODILE DUNDEE; HOLD ME WHILE I'M NAKED (1966) (with Experimental);
HONEY, I SHRUNK THE KIDS (with Family; Science fiction); MISTER
ROBERTS (with War); MY FAVORITE BLONDE; MY LITTLE CHICKADEE (with
Western); NINE TO FIVE; PILLOW TALK (with Romance); RICHARD PRYOR--HERE
AND NOW (with the form Performance); SOME LIKE IT HOT (with Gangster);
SOMMARNATTENS LEENDE / SMILES OF A SUMMER NIGHT (with Romance)
Comedy-drama see Comedy
Coming-of-age see Youth
Commentary see Public affairs; Sports (Nonfiction)
Concert see Music (with the form Performance)
Contest see Game; Television special (form)
Costume see Adventure; Ancient world; Biographical; Historical;
War; Western
Courtroom see Legal
Fictional work depicting a narrative descent into the underworld
of syndicates, criminals, and their lawless activities, such as
the drug trade, or bootlegging during the Prohibition era. The
plot turns on such questions as how a criminal will be caught or
who stole the object of value.
Note: Some crime work has the flavor of adventure in the use of
exotic locales and the search for wealth, but the primary activity
leads to crime and involves criminals as antagonists (VALLEY OF
THE KINGS; MARA MARU; BOY ON A DOLPHIN; BEYOND MOMBASA; THE DEEP;
SPHINX; ROMANCING THE STONE; the television series SEA HUNT). Use
more specific types of the crime formula when possible, such as
Caper, Film Noir, Gangster, Mystery, Police, or Thriller, if one
of those aspects is the primary situation or character. For true
crime, use Reality-based.
Feature examples: THE AMAZING DOCTOR CLITTERHOUSE; CRIME AND PUNISHMENT
(with Adaptation); DEATH WISH; DIE HARD WITH A VENGEANCE (with
Buddy); THE GRIFTERS (with Adaptation); KIND HEARTS AND CORONETS
(with Comedy); KING OF GAMBLERS (1937); THE LADYKILLERS (with Comedy);
LEM HAWKINS' CONFESSION / BRAND OF CAIN (with Ethnic; Social problem);
THE PHENIX CITY STORY; PRIZZI'S HONOR (with Dark comedy; Adaptation);
PULP FICTION (with Dark comedy); RAFFLES (with Adaptation); THE
SHADOW (with Fantasy; Adaptation); TRAFFIC IN SOULS (with Social
problem; Exploitation); WISDOM; WITNESS
TV examples: BATMAN (with Science fiction; Parody); CRIME STORY;
GANGBUSTERS; THE GREEN HORNET; THE UNTOUCHABLES
Crime (Nonfiction) see Reality-based
Nonfiction work primarily concerned with dance, dancers, and choreography,
including types of dance such as ballet, jazz, modern, ballroom,
tap, folk, ethnic, and vaudeville. Dance work may be biographical,
ethnographic, educational, or instructional in nature.
Note: Not necessary to also use Documentary, since that is implied
by the term Dance. For work documenting single or multiple dance
performances, concerts, or events, use Dance in conjunction with
the form Performance. For variety programs and films in which dance
is featured substantially, use Dance with Variety. Provide access
for specific types of dance presented through subject headings.
Film examples: ANNABELLE'S BUTTERLY DANCE (with the form Performance);
BLACK TIGHTS (with the form Performance); BOLSHOI BALLET TOURS
AMERICA; BUTOH (with Ethnographic); DANCE IN THE SUN (with Experimental);
DANCERS IN SCHOOL; THE DANCING FLEECE (with Sponsored); FATIMA'S
DANSE DU VENTRE (with the form Performance); HE MAKES ME FEEL LIKE
DANCIN' (with Biographical (Nonfiction)); INDIA'S DANCE QUEENS;
NINE VARIATIONS ON A DANCE THEME (with Experimental); PLISETSKAYA
DANCES; RITUAL IN TRANSFIGURED TIME (with Experimental); SOUTH
AFRICA NATIVE DANCES (with Ethnographic; the form Performance);
A STUDY IN CHOREOGRAPHY FOR CAMERA (1945) (with Experimental)
TV examples: DANCE IN AMERICA (with the form Performance); AN
EVENING WITH THE ALVIN AILEY AMERICAN DANCE THEATER (with the form
Performance); THE DANNY KAYE SHOW (with Music; Variety); THE NUTCRACKER
(with the form Performance); A TIME TO DANCE
Video examples: CHARLES WEIDMAN, ON HIS OWN (with Biographical
(Nonfiction)); HOW TO SALSA (with Instructional); SCAPE-MATES (with
Experimental)
Fictional work which treats serious and often tragic subjects,
such as illness, war, or death, in a comic fashion.
Used for Black comedy.
Feature examples: DR. STRANGELOVE (with Political); EATING RAOUL;
THE GRADUATE (with Romance); THE GREAT DICTATOR (with Political);
THE LOVED ONE; M*A*S*H (with War); MONSIEUR VERDOUX (with Crime);
THE PRODUCERS (with Show business); LE ROMAN D'UN TRICHEUR / THE
STORY OF A CHEAT; THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING
(with Social problem); SEVEN BEAUTIES (with War); TO BE OR NOT
TO BE (with War); THE TROUBLE WITH HARRY (with Mystery)
Debates see Public affairs
Detective see Film Noir; Mystery; Police
Direct cinema see Documentary
Fictional work depicting an individual suffering from a physical
or psychological handicap, or coping with a disease or similar
affliction. The personal and social consequences of the disability
are examined, both as it impacts the victim as well as those around
them. The plot relates how they recover or overcome the handicap,
or attempt but fail to do so, facing death with equanimity.
Used for Disease.
Note: Themes such as alcoholism and drug addiction are classified
with Social problem. Often Disability stories are based on the
actual life of an individual, but only necessary to include the
term Biographical if the person also won notice in another field,
such as Sports or Show business figures.
Feature examples: BANG THE DRUM SLOWLY (with Sports); BRIGHT VICTORY;
CHILDREN OF A LESSER GOD (with Romance); COMING HOME (with War);
JOHNNY BELINDA; THE MEN (with War); THE MIRACLE WORKER (with Biographical);
MY LEFT FOOT; THE OTHER SIDE OF THE MOUNTAIN; PHILADELPHIA (with
Social problem); PRIDE OF THE MARINES (with War); WATERDANCE
TV examples: BRIAN'S SONG (with Sports; Biographical); THE FOUR
DIAMONDS (with Fantasy); GO TOWARD THE LIGHT; NOBODY'S CHILD; THE
PATRICIA NEAL STORY (with Biographical); THE RYAN WHITE STORY;
WITHOUT WARNING: THE JAMES BRADY STORY (with Biographical)
Fictional work depicting a large-scale natural or man-made calamity,
such as an airplane crash or a wreck at sea, that isolates a group
of people in imminent danger. They must devise at least part of
their method of escape (sometimes outside assistance awaits) with
only minimal materials at hand. Principle source of tension is
in the question of how the extraordinary measures necessary for
a rescue will be implemented and which of the varied and often
self-destructive characters will have the inner resources to endure
the ordeal.
Related term: Survival.
Feature examples: AIRPORT (with Aviation); ABANDON SHIP!; EARTHQUAKE;
THE HURRICANE; KRAKATOA--EAST OF JAVA (with Historical); A NIGHT
TO REMEMBER (with Historical); THE POSEIDON ADVENTURE; SAN FRANCISCO
(with Historical); THE TOWERING INFERNO
TV examples: THE BIG ONE: THE GREAT LOS ANGELES EARTHQUAKE; FIRE!
TRAPPED ON THE 37TH FLOOR
Discussion see Interview; Public affairs; Sports (Nonfiction)
Disease see Disability
Docudrama see Historical
Nonfiction work defined by documentary pioneer John Grierson as
the creative treatment of actuality. Grounded in some aspect of
real life, documentaries may vary from a very deliberate account
of facts to an extremely interpretive rendering of a subject, advocating
a particular viewpoint on a political, social, or historical issue.
In Documentary, actuality should still be dominant over the creative
treatment, which, while often staged for the camera, should not
go so far as to be dramatized for emotional impact and belong to
such genres as Historical fiction or Propaganda. Documentaries
may include re-enactments, such as showing the movements of armies,
or brief scenes of individuals and dialogue, but do not include
films that merely use a realistic technique in telling a fictional
story.
Used for Cin‚ma v‚rit‚; Direct cinema.
Note: For other, more specific nonfiction terms, see also Actuality,
Adventure
(Nonfiction), Art, Biographical (Nonfiction), Dance, Educational,
Ethnic (Nonfiction), Ethnographic, Home shopping, Industrial, Instructional,
Interview, Magazine, Medical (Nonfiction), Music, Nature, News, Propaganda,
Public access, Public affairs, Reality-based, Religion, Social guidance,
Speculation, Sponsored, Sports (Nonfiction), Talk, Training, Travelogue,
War (Nonfiction). For uncut footage recording an event, such as a
scientific experiment, a congressional hearing, or funeral of a famous
individual, use Unedited.
Examples: BERKELEY IN THE SIXTIES; BEST BOY; CITY OUT OF WILDERNESS;
COSAS DE MI VIDA (with Experimental); F FOR FAKE (with Parody);
FOR ALL MANKIND; HARLAN COUNTY, U.S.A.; THE JOHNSTOWN FLOOD; MAN
OF ARAN; THE MURDER OF FRED HAMPTON (with Experimental); NANOOK
OF THE NORTH (with Ethnic (Nonfiction)); NIGHT MAIL; NUIT ET BROUILLARD
/ NIGHT AND FOG; ON COMPANY BUSINESS (with Experimental); THE PANAMA
DECEPTION; THE PLOW THAT BROKE THE PLAINS (with Sponsored); POINT
OF ORDER; PRIMARY; ROGER & ME; A THIN BLUE LINE; THE TIES THAT
BIND (1984) (with Experimental)
TV examples: THE AMERICAN EXPERIENCE; THE CIVIL WAR (1991); FRONTLINE;
HARVEST OF SHAME; NOVA; THE SELLING OF THE PENTAGON; WIDE WIDE
WORLD
Domestic see Family
Fictional work for television, normally running a half hour in
length, which finds humor in domestic situations and promotes traditional "family-type
values." The setting is normally in the home, and the show revolves
around the everyday problems of family life which are typically
resolved by the show's end. The program usually features a middle-class
family, more often than not in a suburban setting. Typical plots
center on problems arising from school, work, or inter-family relationships
which the father or mother figure solve by dispensing good advice
to their children or to each other.
Related terms: Situation comedy; Family.
Examples: THE BRADY BUNCH; THE COSBY SHOW; THE DONNA REED SHOW;
FAMILY AFFAIR; FAMILY TIES; FATHER KNOWS BEST; THE LIFE OF RILEY;
MY THREE SONS
Drama see such genres as Ancient world, Animal, Aviation, Biographical,
Buddy, College, Disability, Espionage, Ethnic, Exploitation, Fallen
woman, Family, Film noir, Historical, Journalism, Juvenile delinquency,
Legal, Maternal melodrama, Medical, Melodrama, Military, Political,
Propaganda, Religious, Road, Romance, Show business, Soap opera,
Social problem, Sports, Survival, War, Women, Youth
Editorial see Public affairs
Largely nontheatrical work intended for teaching and related informational
purposes. Educational work includes classroom films and videos,
historical recreations and dramatizations primarily intended to
educate rather than entertain, and video or television broadcasting
courses; they may be sponsored as well. Historically prolific producers
of educational films include Eastman Kodak, Encyclopaedia Britannica,
Coronet, and PBS.
Note: Not necessary to also use Documentary, since that is implied
by the term Educational.
Related terms: Educational, Industrial, Instructional, Social
guidance, and Training.
Film examples: CHRONICLES OF AMERICA; HEMO THE MAGNIFICENT (with
Sponsored); THE LIVING CELL
TV examples: DISCOVERY; PSYCHOLOGY I; SESAME STREET (with Children's);
YOU ARE THERE
Video examples: HAVE A HEALTHY BABY; VIDEO MATH TUTOR SERIES
Empire see Adventure; Adventure (Nonfiction); Historical; Romance
Epic see Biographical; Historical; Religious; War
Sexually oriented material that is not of an explicit nature.
Related term: Pornography.
Feature examples: EMMANUELLE; EXTASY / SYMPHONIE DER LIEBE / ECSTASY
(1933); FLESH GORDON (with Science fiction); FUSES (1967) (with
Experimental); HENRY AND JUNE (with Biographical; Romance); THE
LOVER; 9 1/2 WEEKS; THE STORY OF O; WR--MISTERISTE ORGANIZMA /
WR--THE MYSTERIES OF THE ORGANISM (with Documentary); WILD ORCHID
TV examples: DELTA OF VENUS (with Adaptation); RED SHOE DIARIES
Video examples: BEHIND THE SCENES WITH PENTHOUSE; CHIPPENDALES;
NUDE YOGA; THE PINK PIMPERNEL (with Experimental); PLAYBOY PLAYMATE
WORKOUT (with Instructional); PLAYBOY VIDEO MAGAZINE
Fictional work depicting spies and secret agents seeking to uncover
or maintain secrets from each other and for one country or for
the benefit of another. Living a masquerade, spies are usually
cynical, amoral, deceitful, alienated, and ready to betray another
person or cause, although these are often seen as merely the means
to achieve a patriotic goal. Although the secrets often have a
military application, the setting can be either during wartime
or in the Cold War.
Used for Spy.
Feature examples: DR. NO (with Adaptation); FIVE FINGERS (with
War); FOREIGN CORRESPONDENT (with War); FROM RUSSIA WITH LOVE (with
Adaptation); THE HOUSE ON 92ND STREET (with War); JOURNEY INTO
FEAR (with Adaptation); MATA HARI (with Historical); MINISTRY OF
FEAR (with War); NEVER SAY NEVER AGAIN (with Adaptation); NORTH
BY NORTHWEST; NOTORIOUS; SABOTEUR; SECRET AGENT (with Adaptation);
THE SPY WHO CAME IN FROM THE COLD (with Adaptation); THE STRANGER;
THE THIRTY-NINE STEPS (with Adaptation); TRUE LIES
TV examples: THE AVENGERS; GET SMART (with Parody); I SPY; THE
MAN FROM U.N.C.L.E.; MISSION: IMPOSSIBLE; REILLY--ACE OF SPIES
(with Historical); THE SANDBAGGERS; SMILEY'S PEOPLE (with Adaptation);
TINKER, TAILOR, SOLDIER, SPY (with Adaptation)
Fictional work typically made for viewing by ethnic audiences
most prominently African American, Yiddish, and Latino. Similar
work has also been made in much smaller quantities for such groups
as Ukrainian, Armenian, Italian, Greek, Polish, Japanese, Chinese,
Vietnamese, and Native Americans. Although many of these films
have inherent crossover appeal, some ethnic work has strived to
go beyond its own members and reach a wide audience. Fictional
narratives typically present situations unique to the specific
group, and are often based on classical ethnic plays and stories,
or feature performers who are stars within their community, but
may not be as well known to a broader public. Ethnic work is often
made and distributed outside the commercial mainstream. The designation
of this genre term does not necessarily connote the veracity of
the portrayals, but rather, indicates the main focus of the subject
matter.
Used for fictional African American; American Indian; Black; Chicano;
Hispanic; Jewish; Latino; Native American; Race movies; Yiddish.
Note: To trace images of different races and ethnic groups, use
the appropriate subject headings.
Feature examples: ARSHIN MAL ALAN; THE BALLAD OF GREGORIO CORTEZ
(with Biographical); THE BIRTH OF A RACE; CARMEN JONES (with Musical;
Adaptation); CHICANA; THE COLOR PURPLE (with Melodrama; Adaptation);
COSSACKS IN EXILE; DAUGHTERS OF THE DUST (with Family); DER DIBUK
/ DER DIBEK / THE DYBBUK (with Adaptation); EAT A BOWL OF TEA (with
Romance; Melodrama); HALLELUJAH; IN THE LAND OF THE WAR CANOES:
KWAKIUTL INDIAN LIFE ON THE NORTHWEST COAT / IN THE LAND OF THE
HEADHUNTERS; LADY SINGS THE BLUES (with Biographical; Musical);
THE LEARNING TREE; LJUBAV I STRAST / LOVE AND PASSION; NAVAJO;
EL NORTE; SHE'S GOTTA HAVE IT; SUPERFLY (with Crime); SWEET SWEETBACK'S
BAADASSSSS SONG; WINDWALKER; WITHIN OUR GATES (with Social problem);
YIDDISH KING LEAR (with Adaptation)
TV examples: A DIFFERENT WORLD (with College; Situation comedy);
GOOD TIMES (with Situation comedy); MI HERMANO (with Soap opera);
THE MYSTIC WARRIOR; SANFORD AND SON (with Domestic comedy); SHAFT
(with Mystery); THE WOMEN OF BREWSTER PLACE
Nonfiction work that focuses on issues and individuals relating
to the American ethnic experience.
Note: Not necessary to also use Documentary, since that is implied
by the term Ethnic (Nonfiction).
Examples: ADAM CLAYTON POWELL (with Biographical (Nonfiction));
AGUEDA MARTINEZ (with Biographical (Nonfiction)); BLACK MEN--UNCERTAIN
FUTURES; BROKEN TREATY AT BATTLE MOUNTAIN; ETHNIC NOTIONS (with
Experimental); THE HARLEM GLOBETROTTERS--SIX DECADES OF MAGIC (with
Sports (Nonfiction)); INCIDENT AT OGLALA; ISHI: THE LAST YAHI (with
Biographical); LIBERATORS--FIGHTING ON TWO FRONTS IN WORLD WAR
II (with War (Nonfiction)); MYTHS AND THE MOUNDBUILDERS; OUR SACRED
LAND; REFLECCIONES; UNZERE KINDER / OUR CHILDREN; THE VANISHING
RACE; YO SOY CHICANO / I AM CHICANO
Nonfiction work documenting specific cultures or types of peoples,
including field footage by cultural anthropologists or researchers
and edited, analytical work seeking to understand the beliefs,
customs, and social systems of various cultures or ethnic groups.
Note: Do not use for general histories or analyses of man. For
superficial appearances of cultures in work focusing on travel
and places, use Travelogue. Not necessary to also use Documentary,
since that is implied by the term Ethnographic.
Film examples: THE AX FIGHT; DANCE OF THE TISKIOUINE FROM THE
GUIDMIOUA TRIBE; GRASS; THE HOLY GHOST PEOPLE; MOANA; NAKED SPACES:
LIVING IS ROUND (1985) (with Experimental); NANOOK OF THE NORTH;
NETSILIK ESKIMO SERIES; THE NUER; SONG OF CEYLON
TV examples: AN AMERICAN FAMILY; BUSHMEN OF THE KALAHARI
Video examples: META MAYAN II (with Experimental); ITAM HAKIM
HOPIIT (with Experimental)
Exercise see Instructional
Expedition see Adventure (Nonfiction)
Work that seeks to expand traditional form, structure, and content,
usually subjective in approach. Largely non-commercial, experimental
work is often made by a single filmmaker or a small group.
Used for Avant-garde.
Note: A list of subdivisions is offered in Appendix A for the
use of specialized collections.
Examples: AUTUMN FIRE; DANSE MACABRE; THE FALL OF THE HOUSE OF
USHER (1928) (with Adaptation); THE HEARTS OF AGE; JAMMIN' THE
BLUES; THE LIFE AND DEATH OF 9413--A HOLLYWOOD EXTRA (with Show
business); LIVES OF PERFORMERS; MESHES OF THE AFTERNOON; MOTHLIGHT;
A MOVIE; RED SHIFT; SCORPIO RISING; TRIBULATION 99
Fictional or loosely nonfictional work which offered subject matter
that was taboo in mainstream cinema. Such work was frequently presented
under the guise of preachy expos‚s, sex education, morality plays,
and pseudo-documentaries. Standard topics included the dangers
of premarital sex, the vice racket, nudist cults, or the dangers
of narcotics. The work was made to exploit a subject for quick
profit, and usually produced on a low budget by a small company.
By pandering to an audience's curiosity or prurient interest, such
work is on the borderline of censorship restrictions and recognizable
for its emphasis on sensational aspects with little interest in
artistic or social merit.
Related terms: Erotic and Pornography.
Feature examples: BECAUSE OF EVE; THE BURNING QUESTION / TELL
YOUR CHILDREN / REEFER MADNESS; CHILD BRIDE; CITY OF MISSING GIRLS;
CRUSADE AGAINST RACKETS (with Crime); ESCORT GIRL; GUILTY PARENTS;
HIGH SCHOOL GIRL (with Youth); MAD YOUTH (with Youth); MOM AND
DAD; NO GREATER SIN (with Medical); SECRETS OF A MODEL; TEST TUBE
BABIES; WHAT PRICE INNOCENCE?; WILD WEED; YOUTH AFLAME
Exploration see Adventure (Nonfiction)
Factual see such genres as Actuality; Adventure (Nonfiction);
Art; Biographical (Nonfiction); Dance; Educational; Ethnic (Nonfiction);
Ethnographic; Industrial; Instructional; Interview; Magazine; Medical
(Nonfiction); Music; Nature; News; Propaganda; Public affairs;
Reality-based; Social guidance; Sponsored; Sports (Nonfiction);
Talk; Training; Travelogue; War (Nonfiction)
Fairy tale see Fantasy
Fictional type of melodrama centered around a woman who commits
adultery or has premarital sex, causing her to leave the security
of her family. This results either in her becoming an outcast and
declining to a humiliating life on the street, or using men to
gain wealth through becoming a courtesan, "kept woman" or "gold
digger." Class differences may help to make a woman susceptible
to such a fate (TESS), although, on occasion, she may be redeemed
by true love. Such work was generally made before 1950 or depicts
the pre-1950 era and its mores, using a historical setting.
Related terms: Family; Historical; Maternal melodrama; Melodrama;
Women.
Feature examples: ANNA KARENINA (with Historical; Adaptation);
BABY FACE; BACK STREET; CAMILLE (with Historical; Adaptation);
FORBIDDEN (1932); GENTLEMEN PREFER BLONDES (with Adaptation); THE
GREEKS HAD A WORD FOR THEM (with Comedy); I'M NO ANGEL (with Comedy);
KITTY FOYLE (with Adaptation); MADAME BOVARY (with Historical;
Adaptation); MOLL FLANDERS (with Historical; Adaptation); NANA
(with Historical; Adaptation); OF HUMAN BONDAGE (with Adaptation);
RAIN (with Adaptation); RED DUST; RED HEADED WOMAN (with Comedy);
SADIE THOMPSON (with Adaptation); THE SCARLET LETTER (with Historical;
Adaptation); SUSAN LENOX: HER FALL AND RISE (with Adaptation);
WATERLOO BRIDGE
Fictional work depicting inter-family relations between parents,
offspring, siblings, and in- laws, relating how the family endures
or dissolves through such emotions as love, jealousy, rivalry,
and hatred.
Used for Domestic.
Note: The term Family refers to the theme, not necessarily the
intended audience. If the emphasis is on an individual woman's
experience, use Women; for Television series, see also Soap opera.
For television comedies centered on the family, use Domestic comedy.
Related terms: Fallen woman and Maternal melodrama.
Feature examples: AUTUMN SONATA; CAT ON A HOT TIN ROOF (with Adaptation);
FATHER OF THE BRIDE; THE GOOD EARTH; HANNAH AND HER SISTERS (with
Comedy; Romance); HOME FROM THE HILL; KRAMER VS. KRAMER; LIFE WITH
FATHER; LONG DAY'S JOURNEY INTO NIGHT (with Adaptation); THE MAGNIFICENT
AMBERSONS (with Adaptation); MEET ME IN ST. LOUIS (with Musical);
ON GOLDEN POND; THE PARENT TRAP (with Comedy); PARENTHOOD; SENSE
AND SENSIBILITY (with Romance; Historical; Adaptation); A TREE
GROWS IN BROOKLYN (with Adaptation)
TV examples: AVONLEA (with Historical; Adaptation); FAMILY; PARTY
OF FIVE; THE WALTONS (with Historical)
Fictional work set in a netherworld where events trespass physical
laws and the bounds of human possibility, mixing the otherwise
separate worlds of the natural and the supernatural. The hero often
undergoes mystical experiences, and must call on powerful, extra-human
forces outside themselves to prevail, such as a genie, and use
such tools as a flying carpet, a magic sword or spell, or ancient
religious relics. Often set in bizarre or imaginary lands, like
Shangri-La or Brigadoon, among lost races, with monstrous creatures
representing the divine or the diabolical, utilizing Greek mythology
or Arabian Nights-type narratives.
Used for Sword and sorcery.
Note: If the primary intent is to frighten the audience in the
use of the supernatural, such as with a story of vampires, use
Horror. If the narrative relies on advanced technology, even if
presented in a fantastic manner (STAR WARS), use Science fiction.
Feature examples: BARON MUNCHAUSEN (with Adaptation); BRIGADOON
(with Musical); A CHRISTMAS CAROL (with Adaptation); CLASH OF THE
TITANS (with Ancient world); CONAN THE BARBARIAN (with Adaptation);
A CONNECTICUT YANKEE IN KING ARTHUR'S COURT (with Adaptation; Comedy);
EXCALIBUR (with Adaptation); A FLORIDA ENCHANTMENT; HARVEY (with
Adaptation); HEAVEN CAN WAIT; IT'S A WONDERFUL LIFE; LOST HORIZON
(with Adaptation); MARY POPPINS (with Musical; Adaptation); PEGGY
SUE GOT MARRIED; RAIDERS OF THE LOST ARK; SHE (with Adaptation);
DET SJUNDE INSEGLET / THE SEVENTH SEAL; SPLASH (with Romance);
THE THIEF OF BAGDAD; THE THREE WORLDS OF GULLIVER (with Adaptation);
TIME BANDITS; TOPPER (with Comedy); THE WIZARD OF OZ (with Musical;
Adaptation)
TV examples: BEWITCHED (with Situation comedy; Family); FANTASY
ISLAND; THE GREATEST AMERICAN HERO; HERCULES; ROBIN HOOD / ROBIN
OF SHERWOOD / ROBIN HOOD--THE LEGEND (1984-86); SUPERMAN (with
Adaptation); TALES OF THE GOLD MONKEY; XENA--WARRIOR PRINCESS
Farce see Comedy
Film art see Experimental
Fictional work using the crime formula, but in which crime becomes
a dark metaphor that is symptomatic of what is wrong with society,
rather than simply a single aberration from the norm. The film
noir world is one of disillusionment and full of pervasive evil,
guilt, fear, and paranoia. The protagonists are frequently anti-heroic
hardboiled detectives, and are surrounded by corrupt characters
that may include a femme fatale. Narratives are frequently convoluted
and characterized by the use of flashbacks, voice-over narration,
and echoed by visual devices reminiscent of German expressionism,
such as shadows, low key lighting, and oblique, unbalanced compositions.
Unlike mysteries, identifying the culprit proves less significant
than revelations that justify the hero's cynical perspective.
Note: Film noir was primarily made in a cycle during the 1940s
and into the 1950s, but includes work made in previous and subsequent
years that invoke the feel and mood of classical film noir (BODY
HEAT; CHINATOWN), including television.
Related terms: Caper, Crime, Gangster, Mystery, Police, and Thriller.
Feature examples: AGAINST ALL ODDS; THE BIG SLEEP (with Adaptation);
THE BLUE DAHLIA (with Adaptation); D.O.A.; DOUBLE INDEMNITY (with
Adaptation); KISS ME DEADLY (with Adaptation); THE LADY FROM SHANGHAI;
THE MALTESE FALCON (1941) (with Adaptation); MURDER, MY SWEET (with
Adaptation); OUT OF THE PAST; SCARLET STREET; TOUCH OF EVIL (with
Adaptation)
TV examples: DANTE'S INFERNO; M SQUAD; MARLOWE--PRIVATE EYE (with
Adaptation); PETER GUNN
Film poetry see Experimental
Television work in which contestants participate in various types
of competitive activities for prizes, usually by answering questions
on given topics. The prizes can range from automobiles to cash
awards to "dates," and the mediating role of the host with contestants
and celebrities is an important entertainment element.
Used for Quiz show.
Examples: THE DATING GAME; FAMILY FEUD; HOLLYWOOD SQUARES; JEOPARDY;
TWENTY ONE; WHAT'S MY LINE; WHEEL OF FORTUNE
Fictional work telling a crime story concentrating on the lawbreaker,
utilizing his point of view, often portraying and glorifying his
rise and fall. The criminal may be either an individual or part
of a gang; their rivalry with other criminals is as significant
to them as their concern about police apprehension. Gangsters are
often excessively ambitious, materialistic, street-wise, and immoral,
and suffer from megalomania and various complexes that help lead
to their destruction; they fail to understand that they are living
an inversion of the dream of wealth and success, and are doomed
to failure.
Related terms: Caper, Crime, Film noir, Mystery, Police, and Thriller.
Feature examples: ANGELS WITH DIRTY FACES; BONNIE AND CLYDE (with
Biographical); DARK MANHATTAN (with Ethnic); THE GODFATHER (with
Adaptation); GOODFELLAS; HIGH SIERRA (with Adaptation); LITTLE
CAESAR (with Adaptation); MANHATTAN MELODRAMA; MARRIED TO THE MOB
(with Comedy); THE PUBLIC ENEMY; SCARFACE; WHITE HEAT
TV examples: BLOOD VOWS: THE STORY OF A MAFIA WIFE; THE DON; THE
GANGSTER CHRONICLES; GANGSTERS; LADY MOBSTER; OUR FAMILY BUSINESS
Hispanic see Ethnic
Fictionalized work set in a certain specified time in the past.
Historical "fiction" is regarded as fiction because it most typically
follows one of two formulas. Most common is the portrayal of an
imaginary character interacting with real people or events as a
background (A TALE OF TWO CITIES). Less common is the dramatization
of a specific actual event, imagining dialogue and other aspects
of the actions of real individuals (THE PRIVATE LIVES OF ELIZABETH
AND ESSEX). Accuracy is usually sacrificed to the personalizing
or mythicizing of complex political forces, and actual chronology
is telescoped and often transposed. The reliance is on the trappings
of a period setting (costume, decor, locale) to lend verisimilitude,
rather than accurately reproducing the complexity of historical
individuals or incidents.
Used for Docudrama.
Note: If the work concentrates on a specific actual individual,
use Biographical. See also genres whose setting is inherently historical:
Adventure; Ancient world; Prehistoric; War; Western. Not necessary
to use Historical with those genres.
Feature examples: THE AGONY AND THE ECSTASY (with Adaptation);
APOLLO 13; LA BATTAGLIA DI ALGERI / THE BATTLE OF ALGIERS (with
Propaganda; War); GONE WITH THE WIND (with Romance; Adaptation);
IN OLD CHICAGO (with Family; Romance; Disaster); IL GATTOPARDO
/ LE GUEPARD / THE LEOPARD; LLOYDS OF LONDON (with Adventure; Romance);
A MAN FOR ALL SEASONS (with Adaptation); MATEWAN; MONSIEUR BEAUCAIRE
(with Comedy; Adaptation); ORPHANS OF THE STORM (with Family; Adaptation);
SARABAND FOR DEAD LOVERS (with Melodrama); 1776 (with Musical;
Adaptation); SI VERSAILLES M'ETAIT CONTE / ROYAL AFFAIRS IN VERSAILLES
TV examples: BLACK ADDER (with Situation comedy); ARTHUR OF THE
BRITONS; FALL OF EAGLES; THE JEWEL IN THE CROWN (with Melodrama;
Adaptation); POLDARK (with Adaptation); ROOTS (with Family; Ethnic;
Adaptation); THE VOYAGE OF CHARLES DARWIN (with Biographical);
THE YOUNG INDIANA JONES CHRONICLES
Television work in which hosts display various types of merchandise
that the viewer can then purchase by using the telephone.
Fictional work portraying the dark side of life, the unknown,
the forbidden, and the supernatural, with the primary aim of frightening
the viewer in an entertaining, cathartic manner. Frequently, haunted
houses, ghosts, werewolves, zombies, vampires, or the diabolical
are depicted. The menace may also come through the horrific impact
of nature or science gone wrong, such as a monster deliberately
or accidentally created by advanced technology, or from Earth under
attack by extraterrestrial beings; in such cases use Horror in
conjunction with Science fiction. The "monster" figure may not
be one that properly inspires dread, but is simply perceived in
that way by those around them (THE HUNCHBACK OF NOTRE DAME). Horror
may also induce both shudders and laughs (THE CANTERVILLE GHOST),
or be a straightforward comedy about monsters or a parody of the
genre (ABBOTT AND COSTELLO MEET THE KILLER, BORIS KARLOFF).
Note: Unlike Horror, Fantasy may also use the supernatural, but
not for the purpose of frightening the audience. When the source
of the horror is a result of advanced technology or alien life,
use Horror in conjunction with Science fiction.
Related term: Slasher.
Feature examples: THE BEAST WITH FIVE FINGERS (with Adaptation);
DRACULA (with Adaptation); DR. JEKYLL AND MR. HYDE (with Adaptation);
THE FACE BEHIND THE MASK; THE FLY; FRANKENSTEIN (with Science fiction;
Adaptation); GODZILLA; DER GOLEM / THE GOLEM (with Adaptation);
HUSH ... HUSH, SWEET CHARLOTTE; THE INNOCENTS (with Adaptation);
INVASION OF THE BODY SNATCHERS (with Science fiction); THE ISLAND
OF LOST SOULS / THE ISLAND OF DR. MOREAU (with Science fiction;
Adaptation); JAWS (with Adaptation); DAS KABINETT DES DR. CALIGARI
/ THE CABINET OF DR. CALIGARI; KING KONG (with Prehistoric); MURDERS
IN THE RUE MORGUE (with Adaptation); THE PHANTOM OF THE OPERA (with
Romance; Adaptation); (PSYCHO (with Adaptation); ROSEMARY'S BABY
(with Adaptation); THE UNINVITED (with Adaptation)
TV examples: AMERICAN GOTHIC; FREDDY'S NIGHTMARES--THE SERIES;
FRIDAY THE THIRTEENTH--THE SERIES; GOOSEBUMPS (with Children's);
TALES FROM THE CRYPT
Nonfiction work concerned with illustrating and explaining industrial
and manufacturing processes or issues. Generally distributed nontheatrically
and designed for in-house educational or promotional purposes,
many such works are sponsored by a concerned business or organization.
Note: Not necessary to also use Documentary, since that is implied
by the term Industrial.
Related terms: Instructional and Training.
Examples: ABCS OF MASONRY CONSTRUCTION (with Sponsored); CULLING
CHICKENS (with Sponsored); THE STORY OF ASBESTOS (with Sponsored)
Nonfiction work designed to impart skills or techniques to general
audiences, typically in a "how-to" manner.
Used for Exercise.
Note: Not necessary to also use Documentary, since that is implied
by the term Instructional. For instructional work used within the
military, industry, or trades, use Training. If a work is predominantly
informative rather than instructional in its emphasis, use Educational.
Related terms: Industrial and Social guidance.
Film examples: ABC OF HAND TOOLS (with Sponsored); CRIMES OF CARELESSNESS
(with Sponsored); HOW TO MAKE A LINOLEUM BLOCK PRINT
TV examples: THE FRENCH CHEF; FRUGAL GOURMET; JULIA CHILD & COMPANY;
THIS OLD HOUSE
Video examples: JANE FONDA'S WORKOUT; RIDE A HORSE
Work featuring a discussion between a newsmaker, author, celebrity,
or a similar notable individual. The structure of the work tends
to be formal, with a reporter, host, or audience posing questions
to be answered. There may also be a smaller segment featuring discussion
of the issues at hand between journalists or others involved in
the interview.
Note: Not necessary to also use Documentary, since that is implied
by the term Interview.
Related term: Talk, which tends to cover works with are more informal,
and may focus on ordinary individuals.
TV examples: FACE THE NATION (with Public affairs); LARRY KING
LIVE; MAN OF THE WEEK; MEET THE PRESS (with Public affairs); PERSON
TO PERSON; THIS WEEK WITH DAVID BRINKLEY (with Public affairs)
Jewish see Ethnic
Fictional work centered around the world of reporters and news,
with deadlines, breaking stories, competition among their colleagues,
feuding with their editor, and yellow journalism and questions
of journalistic ethics. Such work is typically involved with such
activities as searching for a "scoop," exposing crime and corruption,
and obsessively pursuing a story, often to the point of destroying
a person's reputation. Includes stories of journalists in the print,
newsreel, and broadcast mediums.
Used for Newspaper; Reporter.
Feature examples: ABSENCE OF MALICE; ACE IN THE HOLE / THE BIG
CARNIVAL; ALL THE PRESIDENT'S MEN (with Mystery; Political); BROADCAST
NEWS (with Show business; Romance); THE FRONT PAGE; HENRY ALDRICH,
EDITOR (with Family; Youth); HIS GIRL FRIDAY (with Screwball comedy);
NETWORK (with Show business); TOO HOT TO HANDLE
TV examples: LOU GRANT; NEWSRADIO (with Situation comedy)
Fictional work set in the jungles of South America, Africa, or
Asia, relating the adventures of humans against ferocious wild
animals, the discovery of lost cities, Westerners against threatening
natives, or the competition between rival tribes in an untamed
setting. The narratives are usually extremely fanciful and often
juvenile, with minimal characterization, and almost no attempt
at authenticity in settings. Unlike other adventure types, there
is little veneer of verisimilitude, use of historical period, or
recognition of the issues of colonialism (development of the imperial
theme would place a work under Adventure). Popular series characters
include Tarzan, Jungle Jim, Sheena, Nyoka, and Bomba the Jungle
Boy.
Feature examples: AFRICA SCREAMS (with Comedy); CONGO; GREEN HELL;
NABONGA / THE JUNGLE WOMAN / GORILLA / THE GIRL AND THE GORILLA;
SAFARI; WHITE PONGO
Serial examples: JUNGLE MENACE; THE LOST JUNGLE (with Fantasy);
TIGER WOMAN; TIM TYLER'S LUCK
TV examples: ADVENTURES OF A JUNGLE BOY; GEORGE OF THE JUNGLE
(with the form Animation); JUNGLE JIM; RAMAR OF THE JUNGLE; SHEENA,
QUEEN OF THE JUNGLE; TARZAN
Fictional work depicting criminal tendencies and actions among
people in their teens and twenties. The setting is often in an
urban slum or a school, with the characters becoming members of
rival gangs, with events leading to violence. Such work is typically
aimed largely at a younger audience, through representations of
misunderstood youth rebelling against the perceived restraints
and hypocrisies of adults.
Note: Not necessary to also use Youth, since that is implied by
Juvenile delinquency. If the work concentrates on youth and older
characters equally, then use such categories as Crime or Gangster
(DEAD END).
Feature examples: BADLANDS (1973); BLACKBOARD JUNGLE; BOYS TOWN;
LITTLE TOUGH GUYS; REBEL WITHOUT A CAUSE; ROCK AND ROLL HIGH SCHOOL;
RUMBLEFISH; THE WILD ONE
TV examples: CHILDREN OF THE NIGHT (with Romance); DAWN: PORTRAIT
OF A TEENAGE RUNAWAY; JUVENILE JUSTICE; ON CAMPUS (with Comedy);
21 JUMP STREET (with Police)
Kung fu see Martial arts
Latino see Ethnic
Nonfictional work in which an individual or team, usually in a
classroom-style setting, give a talk on a particular subject.
Note: While there may be some interaction with the audience, such
as the speaker taking occasional questions, a lecture is different
from an Interview or Talk show in that the exchange is not the
primary element. For a discussion among several individuals, use
the heading appropriate for the subject, such as Public affairs
or Sports (Nonfiction).
Video example: CAPSTONE LECTURES IN WESTERN CULTURE
Fictional work in which the capacity of the legal system to find
the guilty and acquit the innocent is measured through the interaction
of lawyers, prosecutors, clients, witnesses, and judges, largely
in a courtroom setting. The law may prove capable of rendering
justice, or it may prove to be a flawed system open to abuse and
susceptible to perpetuating a miscarriage of justice.
Used for Courtroom.
Note: Work portraying military trials will usually also be listed
under Military.
Feature examples: ANATOMY OF A MURDER (with Mystery); ... AND
JUSTICE FOR ALL (with Crime); THE COURT-MARTIAL OF BILLY MITCHELL
(with Biographical; Military); A FEW GOOD MEN (with Military);
INHERIT THE WIND (with Social problem; Adaptation); JUDGEMENT AT
NUREMBURG; THEY WON'T FORGET (with Social problem); TO KILL A MOCKINGBIRD
(with Social problem; Adaptation); TWELVE ANGRY MEN (with Adaptation);
WITNESS FOR THE PROSECUTION (with Adaptation)
TV examples: THE DEFENDERS (with Crime); JUDD FOR THE DEFENSE
(with Crime); L.A. LAW (with Crime); LAW & ORDER (with Police);
MATLOCK (with Mystery); MURDER ONE (with Crime); PERRY MASON (with
Mystery); RUMPOLE OF THE BAILEY (with Crime; Adaptation)
Love see Romance
Nonfiction work covering disparate but contemporary topics during
its duration, often mixing news with weather, human interest, or
gossip.
Note: Not necessary to also use Documentary, since that is implied
by the term Magazine.
TV examples: A CURRENT AFFAIR; ENTERTAINMENT TONIGHT; HARDCOPY;
NATIONWIDE; 60 MINUTES; THE TODAY SHOW; 20/20
Magic show see Show business; Variety; Performance (form); Television
special (form)
Fictional work designed to showcase the hero's athletic agility
and ability to turn his body into a weapon. This skill has been
achieved through his dedication to, and personification of, Oriental
teachings about physical and mental discipline, allowing the hero
to execute fast, fluid, but spare movements that knock out or kill
his numerous adversaries and allow him to triumph over formidable
odds. The hero's adversaries range from criminals to supernatural
beings. The emphasis on the actual choreographed movement dominates
the narrative, which can be set in historical to modern times,
in the East or the West.
Used for Kung fu.
Feature examples: THE BIG BRAWL; THE CHINESE CONNECTION; DRUNKEN
MASTER; ENTER THE DRAGON; ENTER THE NINJA; FIST OF FURY; GAME OF
DEATH; THE KARATE KID; KICKBOXER; LIONHEART (1991); MORTAL KOMBAT
(with Fantasy); THE OCTAGON; RUMBLE IN THE BRONX
TV examples: KUNG-FU; THE MASTER
Fictional type of melodrama centered around a mother who will
come into contact with her child after many years but has concealed
her true identity for fear of that her past will harm the child.
Often compelled by social pressure to give up the child at a young
age, or because of the belief that a woman cannot raise a child
herself, the child is unaware of his or her mother's true identity,
although s/he usually comes to know her. Sometimes the separation
is because the mother is guilty of a moral lapse, or because she
has become involved in a scandal through no fault of her own. The
overriding virtue of selfless motherhood becomes the goal to which
all other desires or ambitions are sacrificed.
Related terms: Family; Fallen woman; Melodrama; Women.
Feature examples: BLONDE VENUS; THE GOOSE WOMAN; THE HOUSE ON
56TH STREET; LADY FOR A DAY (with Adaptation); MADAME X (with Adaptation);
MY SON; THE OLD MAID (with Historical); POCKETFUL OF MIRACLES (with
Adaptation); SARAH AND SON; THE SECRET OF MADAME BLANCHE; THE SIN
OF MADELON CLAUDET; STELLA DALLAS (with Adaptation); TO EACH HIS
OWN
Fictional work telling of the milieu of health practitioners,
from doctors to nurses, their profession, and their patients. Romances
among them are frequent, and the presentation ranges from the most
scandalous behavior to idealized portraits of selfless doctors
and nurses. The milieu may be portrayed under both emergency as
well as day-to-day conditions, with patients struggling to overcome
physical and sometimes mental challenges.
Feature examples: THE COUNTRY DOCTOR; DR. EHRLICH'S MAGIC BULLET
(with Biographical); DOCTOR IN THE HOUSE (with Slapstick comedy);
THE HOSPITAL (with Dark comedy); JANET DEAN, R.N.; THE MAGNIFICENT
OBSESSION (with Romance; Adaptation); MEN IN WHITE; REGISTERED
NURSE (with Melodrama; Women); SISTER KENNY (with Biographical;
Adaptation)
TV examples: DR. KILDARE; ER; THE DOCTORS AND THE NURSES; MARCUS
WELBY, M.D.; NURSE; QUINCY, M.E. (with Mystery); ST. ELSEWHERE;
TRAPPER JOHN, M.D.
Predominantly nontheatrical work documenting medical operations,
procedures, or conditions, or work designed for medical personnel.
Note: Not necessary to also use Documentary, since that is implied
by the term Medical (Nonfiction). For health or medical work produced
for informative purposes and generalized audiences, use Educational.
Film examples: EPILEPTIC SEIZURE NOS. 1-9; OBJECTIVES IN EMERGENCY
CARDIOVASCULAR CARE; SURGICAL OPERATION BY DR. HURST
TV examples: HEART SURGERY
Video examples: CLINICAL APPLICATIONS AND UTILITY OF HIGH RESOLUTION
CT IN LUNG DISEASE; DENT PROJECT LESSONS 1-107 (with Training)
Fictional work emphasizing emotional vicissitudes and tragic occurrences,
traditionally presented in an overwrought manner. The plot usually
concerns victimized or suffering protagonists and a mixture of
difficulties among lovers, family, friends, or the community. The
story typically encompasses both familial and romantic themes.
Note: Narratives concentrating on a single family unit should
use Family; those emphasizing a single couple should use Romance;
and those chronicling primarily a single female character should
use Women, or Fallen woman or Maternal melodrama. For a Melodrama
that is a television series, in most cases Soap opera is the most
appropriate term. Do not use Melodrama when that element is merely
one among many assorted subplots.
Related terms: Fallen woman, Family, Historical, Maternal melodrama,
Romance, and Women.
Feature examples: BROKEN BLOSSOMS; FLAMINGO ROAD; GIANT (with
Adaptation); GRAND HOTEL; GREEN DOLPHIN STREET (with Historical;
Adaptation); IMITATION OF LIFE (with Family; Women); THE JOY LUCK
CLUB (with Historical; Adaptation); KINGS ROW (with Adaptation);
PEYTON PLACE (with Adaptation); STEEL MAGNOLIAS; THE SUN ALSO RISES
(with Adaptation; Romance); TENDER IS THE NIGHT (with Adaptation;
Romance); TERMS OF ENDEARMENT; THIS HAPPY BREED (with Historical);
WAY DOWN EAST (with Adaptation); WRITTEN ON THE WIND
Fictional work concentrating on the military lifestyle and loyalty
to the armed forces and its codes, predominantly set during peacetime.
Among the hero's codes of conduct is a willingness to sacrifice
the ease and the comfort of civilian life in favor of a devotion
to duty. This may result, on the one hand, in facing life-threatening
situations, but ultimately also brings its own internal rewards
and camaraderie with others who have chosen this career.
Note: Work about the military life during wartime would go under
War, and stories set in the French Foreign Legion will usually
go under Adventure. Work portraying military trials will usually
also be listed under Legal.
Feature examples: BROTHER RAT (with Comedy); FROM HERE TO ETERNITY
(with Adaptation); THE LONG GRAY LINE; NO TIME FOR SERGEANTS (with
Comedy; Adaptation); AN OFFICER AND A GENTLEMAN (with Romance);
THE SEARCH; TOP GUN (with Aviation); UNDER SIEGE
TV examples: EMERALD POINT, N.A.S.; GOMER PYLE (with Situation
comedy); MAJOR DAD (with Domestic comedy); PRIVATE BENJAMIN (with
Situation comedy)
Nonfiction work focusing on music, musicians, and singers. Music
work may be biographical, ethnographic, educational, or instructional
in nature.
Note: Not necessary to also use Documentary, since that is implied
by the term Music. For work documenting single or multiple music
concerts or events, use Music in conjunction with the form Performance.
For variety programs and films that contain predominantly musical
segments, use Music with Variety. For fictional treatments that
deal with music subjects and contain musical numbers, use Musical.
Provide access for specific types of music performed or discussed
through subject headings.
Related terms: Opera and Operetta.
Film examples: ATUMPAN / TALKING DRUMS OF GHANA (with Dance; Ethnographic);
BERNSTEIN IN ISRAEL (with Biographical (Nonfiction)); the form
Performance); LA CARNAVAL DE BINCHE / THE BINCHE CARNIVAL; GIMME
SHELTER (with Biographical (Nonfiction)); the form Performance);
GUS EDWARDS' SONG REVUE (with Variety); INTERNATIONAL SWEET HEARTS
OF RHYTHM (with Biographical (Nonfiction)); JAZZ IN PIAZZA (with
the form Performance); RIMSKY-KORSAKOV (with Biographical (Nonfiction));
Dance); SAY AMEN, SOMEBODY; WHAT'S HAPPENING! THE BEATLES IN THE
U.S.A.; WOODSTOCK (with the form Performance)
TV examples: THE BELL TELEPHONE HOUR (with Variety); CBS NEWS
SPECIAL REPORT: LOUIS ARMSTRONG 1900-1971 (with Biographical (Nonfiction));
LIVE FROM LINCOLN CENTER (with the form Performance); MEHTA CONDUCTS
DVORAK (with the form Performance); THE PERRY COMO SHOW (with Variety);
THE SUBJECT IS JAZZ (with the form Performance)
Video examples: LEARNING MOUNTAIN DULCIMER (with Instructional)
Generally short works that feature a song, performer, or musical
group, sometimes structured narratively and accompanied by highly
stylized visuals or a series of images to convey a mood.
Note: Used for compilations of videos as well as for individual
videos. Music video may include what appears to be a performance
of a work, but for works which contain an entire concert performance,
use Music with the form Performance (RAY CHARLES IN CONCERT; BILLY
JOEL LIVE FROM LENINGRAD USSR; MADONNA LIVE: WHO'S THAT GIRL?).
Examples (individual videos): STRAIGHT UP [performed by Paula
Abdul]; ABOUT A GIRL [performed by Nirvana]; LUCKY STAR [performed
by Madonna]
Examples (music video compilations): JANET JACKSON--CONTROL--THE
VIDEOS [performed by Janet Jackson]; JUST SAY YES--THE VIDEO. VOL.
1 [performed by various artists]; VIDEO A GO-GO, VOL. 1 [performed
by various artists]
Predominantly theatrical fiction work whose plot is structured
around segments featuring combinations of music, song, and dance,
including such various types as backstage, comedy, rock, and musical
biographies. In the Hollywood context, musicals emerged with the
coming of sound motion pictures, from roots in stage musicals and
operettas, revues, and vaudeville.
Note: For musical westerns use Musical in conjunction with Western
(ANNIE GET YOUR GUN; PAINT YOUR WAGON), but for a Western using
a singing hero, such as Gene Autry, use Singing cowboy. Use Musical
with Variety for musical revues. For filmed or televised productions
of stage musicals, not adaptations, use the form Performance in
conjunction with Musical; otherwise, use Music and the form Performance
for recorded musical performances.
Related terms: Opera and Operetta.
Feature examples: ALEXANDER'S RAGTIME BAND; THE BAND WAGON (with
Show business); CABIN IN THE SKY (with Ethnic; Fantasy); DANCE,
GIRL, DANCE; THE DUKE IS TOPS / THE BRONZE VENUS (with Ethnic);
FLOWER DRUM SONG (with Ethnic; Adaptation); 42ND STREET (with Show
business); GREASE (with Youth; Comedy; Adaptation); THE GREAT WALTZ;
THE GREAT ZIEGFELD; JESUS CHRIST SUPERSTAR (with Religious; Adaptation);
OKLAHOMA (with Romance; Western; Adaptation); ROMAN SCANDALS; SATURDAY
NIGHT FEVER; SEVEN BRIDES FOR SEVEN BROTHERS (with Western); SOUTH
PACIFIC (with War; Romance; Social problem; Adaptation); YANKEE
DOODLE DANDY (with Biographical)
TV EXAMPLES: COP ROCK (with Police); FAME (with Youth)
Musical western see Musical; Singing cowboy; Western
Fictional work in which a detective (sometimes merely an endangered
individual forced to "detect" for his own self-protection) attempts
to solve a crime, usually a murder or theft. The detective may
be an amateur, a private investigator, or a plainclothes member
of a police force, but whatever the identity, the mystery places
the emphasis on the search for clues and rationative power of the
detective, rather than the efforts of police or lawbreakers. In
the mystery, suspense derives from the narrative's puzzle-like
structure, with a group of suspects, whose testimony and motives
must all be investigated until, in the surprising conclusion, the
intelligent detective perceives the flawed alibi or other clue
betraying the culprit's identity. Popular mystery heroes from literature
include Boston Blackie, Father Brown, Charlie Chan, Adam Dalgliesh,
Nancy Drew, the Hardy Boys, Sherlock Holmes, Miss Marple, Hercule
Poirot, Ellery Queen, The Saint, Michael Shayne, Philo Vance, Lord
Peter Wimsey, Nero Wolfe, Mr. Wong, and The Thin Man. Hardboiled
detectives including Philip Marlowe, Sam Spade, and Mike Hammer
are sometimes classified under Film noir. Some mystery heroes cross
with other genres, such as Torchy Blane with Journalism, and Hopalong
Cassidy or the Cisco Kid, most of whose exploits are mysteries
within a Western setting.
Used for Whodunit.
Note: Detectives whose primary identification is with the police
force and whose work is primarily involved with police methodology,
rather then their own unique method of solving a case, should be
classified under Police.
Related terms: Caper, Crime, Film noir, Gangster, Police, and
Thriller.
Feature examples: DAUGHTER OF SHANGHAI; GREEN FOR DANGER (with
Adaptation); I WAKE UP SCREAMING; KLUTE; LAURA (with Romance; Adaptation);
MEET BOSTON BLACKIE (with Espionage); MURDER BY DEATH (with Parody);
THE PENGUIN POOL MURDER; SECRET OF THE BLUE ROOM; AND THEN THERE
WERE NONE / TEN LITTLE INDIANS (with Adaptation)
TV examples: BARNABY JONES; CHARLIE'S ANGELS; COLUMBO; THE GALLERY
OF MME. LIU-TSONG; GET CHRISTY LOVE (with Ethnic); HART TO HART;
MACGYVER; MOONLIGHTING; MURDER, SHE WROTE; REMINGTON STEELE; THE
ROCKFORD FILES; 77 SUNSET STRIP
Mythological see Ancient world; Fantasy
Native American see Ethnic
Nonfiction work concentrating on the world of plants, insects,
and animals, accounts of life in the wild, and how the ecosystems
are formed with each species interacting with another, often presented
in an anthropomorphized manner.
Note: Not necessary to also use Documentary, since that is implied
by the term Nature.
Film examples: BEAVER VALLEY; THE LIVING DESERT; NATURE'S HALF-
ACRE; THE SEA AROUND US; THE VANISHING PRAIRIE; WORLD WITHOUT SUN
TV examples: ANIMAL WORLD / ANIMAL KINGDOM; LAST OF THE WILD;
THE UNDERSEA WORLD OF JACQUES COUSTEAU; WILD KINGDOM; THE WORLD
OF SURVIVAL
New American cinema see Experimental
Nonfiction television relating topical events and background stories
on matters contemporary with their broadcast date, usually organized
in reports from correspondents on specific news stories.
Note: Not necessary to also use Documentary, since that is implied
by the term News. Use in conjunction with form term Special for
news special reports on breaking stories. For theatrical films,
see also the genre Documentary and other nonfiction terms, and
Newsreel.
Examples: CBS EVENING NEWS; THE MACNEIL-LEHRER NEWSHOUR; NBC NIGHTLY
NEWS
Newspaper see Journalism
Work that contains a variety of news footage, ranging in content
from lifestyles to international events. Newsreels typically had
a duration of about ten minutes in length and were released twice
weekly to theaters in the United States from 1911-1967.
Examples: FOX MOVIETONE NEWS; HEARST METROTONE NEWS; THE MARCH
OF TIME; PARAMOUNT NEWS; PATHE'S WEEKLY
Nonfiction see such genres as Actuality, Adventure (Nonfiction),
Art, Biographical (Nonfiction), Dance, Documentary, Educational,
Ethnic (Nonfiction), Ethnographic, Home shopping, Industrial, Instructional,
Interview, Magazine, Medical (Nonfiction), Music, Nature, News,
Propaganda, Public access, Public affairs, Reality-based, Religion,
Social guidance, Speculation, Sponsored, Sports (Nonfiction), Talk,
Training, Travelogue, War (Nonfiction)
Northwest see Yukon
Nonfiction or fiction work featuring opera, opera singers, or
opera composers.
Note: For nonfiction recordings of opera(s), use the form Performance
in conjunction with Opera. For fictionalized representations of
operas or singers, simply use Opera or Opera with Biographical,
respectively. Also use Opera alone for operatic work specifically
staged or adapted for the camera. Not necessary to also use adaptation,
since that is implied by the term Operetta.
Related term: Operetta.
Film examples: LA BOHEME (with Romance); DON GIOVANNI; THE GREAT
CARUSO (with Biographical); THE TALES OF HOFFMAN (with Fantasy)
TV examples: LIVE FROM THE MET (with the form Performance); NBC
OPERA THEATRE (with the form Performance); THIS IS OPERA (with
Educational)
Video examples: MARIA CALLAS: HER PARIS DEBUT (with the form Performance);
OPERA: MAN, MUSIC, AND DRAMA (with Educational); PAVAROTTI MASTER
CLASS AT JUILLIARD (with Instructional)
Work of light opera, generally distinguished from Opera by romantic
or farcical plots and the presence of spoken dialogue as well as
music and dance.
Note: Use the form Performance in conjunction with Operetta for
filmed or videotaped performances. Use Opera if in doubt whether
the work in hand is an opera or operetta. Not necessary to also
use adaptation, since that is implied by the term Operetta.
Related term: Musical.
Examples: THE DESERT SONG (with Adventure); H.M.S. PINAFORE; THE
MERRY WIDOW (with Romance); THE MIKADO; THE PIRATES OF PENZANCE
Pageant see Television special
Panel see Interview; Public affairs; Sports (Nonfiction)
Nonfiction or fictional work which aims to humorously imitate
another film, program, or story, or another genre's formula.
Used for Spoof.
Note: Not necessary to also use Comedy, since that is implied
by the term Parody.
Feature examples: AIRPLANE! (with Disaster); CASINO ROYALE (with
Espionage; Adaptation); HAIL THE CONQUERING HERO (with War); LAS
HURDES / TIERRA SIN PAN / LAND WITHOUT BREAD / UNPROMISED LAND
(with Documentary); DUCK SOUP (with Political); HOT SHOTS (with
War); I'M GONNA GET YOU SUCKA (with Ethnic); LOVE AT FIRST BITE
(with Horror); THE PALEFACE (with Western); PARIS QUI DORT / THE
CRAZY RAY (with Science fiction); THE PRINCESS AND THE PIRATE (with
Adventure); THE THREE AGES; YOUNG FRANKENSTEIN (with Horror); ZORRO--THE
GAY BLADE (with Adventure)
TV examples: GET SMART (with Espionage); MYSTERY SCIENCE THEATER
3000 (with Science fiction); POLICE SQUAD (with Police); THE SIMPSONS
(with Situation comedy; the form Animation); SLEDGE HAMMER! (with
Police); SOAP (with Soap opera); WHEN THINGS WERE ROTTEN (with
Adventure)
Peplum see Ancient world; Fantasy
Period see Adventure; Ancient world; Biographical; Historical;
Prehistoric; War; Western
Personal cinema see Experimental
Play see Adaptation; Performance
Fictional work portraying the activities and personalities of
official law enforcement officers and agencies (from municipal
police to F.B.I. to G-men) in tracking criminals. Police stories
offer many of the same elements as the Crime and Mystery genres,
but with an added concentration on the procedures of police work
and characterizations of police officers. Narratives are often
concerned with their excessive devotion to their work and police
procedure as they cope with office routine, bureaucracy, and the
death of fellow officers in the line of duty. Unlike detectives,
policemen fear discovering that they will turn corrupt or are beginning
to share traits in common with their criminal adversaries, by also
adopting illegal tactics, although for the purpose of apprehending
criminals.
Note: Some police may operate as detectives in a Mystery, or work
as part of a team with a fellow policeman creating a Buddy work.
Related terms: Caper, Crime, Film noir, Gangster, Mystery, and
Thriller.
Feature examples: THE BLUE LAMP; DETECTIVE STORY (with Adaptation);
DICK TRACY; THE FBI STORY; THE FRENCH CONNECTION (with Adaptation); "G"-MEN;
LETHAL WEAPON (with Buddy); THE NAKED GUN (with Parody)
TV examples: ADAM-12; THE BLUE KNIGHT; CAGNEY & LACEY; DEMPSEY
AND MAKEPEACE; DRAGNET; HAWAII FIVE-0; HIGHWAY PATROL; IN THE HEAT
OF THE NIGHT; KOJAK; MIAMI VICE; THE MOD SQUAD; NIGHT HEAT; POLICE
WOMAN; PRIME SUSPECT; THE STREETS OF SAN FRANCISCO; THE SWEENEY;
WISEGUY
Fictional work centering on the political milieu, often of candidates,
elections, and elective or appointive office. Some of the protagonists
may be corrupt or dictatorial.
Note: For work emphasizing a specific issue or sociological viewpoint,
see Social problem.
Feature examples: ADVISE AND CONSENT (with Adaptation); ALL THE
KING'S MEN (with Adaptation); THE BEST MAN (with Adaptation); THE
CANDIDATE; THE EMPEROR JONES (with Adaptation); THE LAST HURRAH
(with Adaptation); MOON OVER PARADOR (with Comedy); MR. SMITH GOES
TO WASHINGTON; SCANDAL (with Biographical); SEVEN DAYS IN MAY (with
Thriller; Adaptation); STATE OF THE UNION
TV examples: HOUSE OF CARDS; THE SENATOR; TANNER '88; YES, PRIME
MINISTER (with Situation comedy)
Work representing persons "engaged in explicit, usually unfaked,
sexual acts with a primary intent of arousing viewers." (Linda
Williams, Hard Core, p. 30)
Related term: Erotic.
Feature examples: BEHIND THE GREEN DOOR; DEEP THROAT; MISTY BEETHOVEN
Fictional work taking place in the distant past, before civilization
or recorded history, and concentrating on showing living creatures
long since extinct. Despite sometimes conflating the chronology
of evolution, events are treated as factual, not fantasy (that
is, without supernatural or magical elements). Plots frequently
show cavemen fighting rival tribes as well as dinosaurs or early
giant mammals. Alternatively, modern humans find prehistoric life,
still surviving in an isolated "lost world" in one of the Earth's
remote regions; they must then learn to survive amidst these conditions
and escape.
Film examples: CESTA DO PRAVEKU / JOURNEY TO THE BEGINNING OF
TIME / VOYAGE TO PREHISTORY (with Children's); CLAN OF THE CAVE
BEAR (with Adaptation); GERTIE THE DINOSAUR (with the form animation);
JURASSIC PARK (with Science fiction; Adaptation); THE LAND BEFORE
TIME (with the form Animation); THE LAND THAT TIME FORGOT (with
Adaptation); THE LAND UNKNOWN; THE LOST WORLD (with Adaptation);
MISSING LINK; ONE MILLION YEARS B.C.; TWO LOST WORLDS; THE VALLEY
OF GWANGI; VALLEY OF THE DRAGONS / PREHISTORIC VALLEY (with Adaptation);
WHEN DINOSAURS RULED THE EARTH
TV examples: DINOSAURS (with Domestic comedy); THE FLINTSTONES
(with the form Animation); IT'S ABOUT TIME (with Situation comedy);
LAND OF THE LOST
Fictional work set primarily behind bars, where life becomes strictly
regimented, impacting the lives of guards and wardens as well as
prisoners. Nonetheless, methods of evading control and supervision
are found, and motifs include attempts to escape, prove innocence,
or await the death penalty. With the primary characters all criminals,
one is bound to assume heroic status, if only because of differences
from fellow criminals.
Note: For work set in a prisoner-of-war camp, use War.
Feature examples: THE BIG HOUSE; BIRDMAN OF ALCATRAZ (with Adaptation);
BRUBAKER; COOL HAND LUKE (with Adaptation); THE CRIMINAL CODE;
ESCAPE FROM ALCATRAZ; ESCAPE FROM NEW YORK (with Science fiction);
FOR THE TERM OF HIS NATURAL LIFE (with Adaptation); THE LAST MILE
(with Adaptation); THE SHAWSHANK REDEMPTION; 20,000 YEARS IN SING
SING
TV examples: THE JERICHO MILE (with Sports); SIX AGAINST THE ROCK;
WOMEN OF SAN QUENTIN
Private eye see Film noir; Mystery
Fiction or nonfiction work designed primarily to instill or reinforce
a specific ideological belief or set of beliefs in the viewer,
presented either as a documentary or as a fictional story. Propaganda
may be produced by all parts of the political spectrum, and should
not be interpreted pejoratively.
Feature examples: DER EWIGE JUDE / THE ETERNAL JEW; JUD SUSS /
SWEET JEW; LA MARSEILLAISE (with Historical); MISSION TO MOSCOW;
POTEMKIN (with Historical); OKTYABR' / OCTOBER--TEN DAYS THAT SHOOK
THE WORLD; SONG OF RUSSIA; STATE OF SIEGE; THE TRIUMPH OF THE WILL;
WHY WE FIGHT: PRELUDE TO WAR
TV Example: GOP-TV
Psychological thriller see Thriller
Psychotronic see Fantasy; Science fiction; Thriller
Television nonfiction in which non-commercial programming is presented,
often reflecting community concerns or appealing to non-mainstream
audiences, and usually produced inexpensively and/or by non-professionals.
Television nonfiction work which include discussions, debates,
speeches, and editorials on politics, government, and public policy.
The participants may range from a college debate team to journalists,
and politicians are frequent guests.
Used for Campaign; Debates; Editorial.
Note: Not necessary to also use Documentary, since that is implied
by the term Public affairs. For coverage of a complete presidential
address, or congressional debate or hearing, without commentary,
use Unedited.
Examples: FIRING LINE; INSIDE POLITICS; THE MCLAUGHLIN GROUP;
NIGHTLINE; SEE IT NOW; WASHINGTON WEEK IN REVIEW
Quiz shows see Game
Race movies see Ethnic
Racing see Road; Sports
Type of television non-fictional work in which the term "based" signifies
its derivation from actual footage, usually of police and criminal
action, although also indulging in speculation and sometimes using
recreated footage or staging a mock trial.
Used for True crime.
Note: Not necessary to also use Documentary, since that is implied
by the term Reality- based.
Examples: AMERICA'S FUNNIEST HOME VIDEOS; AMERICA'S MOST WANTED;
COPS; I WITNESS VIDEO; THE PEOPLE'S COURT; POLICE STOP; REAL LIFE;
THE REAL WORLD; RESCUE 911; TEENAGE DIARIES; TOP COPS; UNSOLVED
MYSTERIES; VIDEO DIARIES
Non-dramatized work such as lectures or discussions on religious
topics, or worship services, ministries, sermons, revivals, miracles,
or interpretations of contemporary issues, such as creationism.
The "nonfiction" label refers simply to style of presentation and
is not evaluative, referring purely to the technique used.
Used for Televangelism.
Note: Not necessary to also use Documentary, since that is implied
by the term Religion.
TV examples: HOUR OF POWER; I BELIEVE IN MIRACLES; THE OLD TIME
GOSPEL HOUR; THE PTL CLUB; THE 700 CLUB
Fictional work designed to demonstrate the positive (and, less
often, negative) power of spirituality and redemption through religious
faith. Typical strains are dramatizations of the life of Christ
or adaptations of Biblical stories, frequently emphasizing miracles,
the beginning of Christianity, and conflicts with nonbelievers.
Note: Because of the frequent dramatizations of Old Testament
stories, such work is often used in conjunction with Ancient world.
Feature examples: THE BIBLE--IN THE BEGINNING (with Adaptation);
THE CHOSEN (with Adaptation); DAVID AND BATHSHEBA (with Ancient
world; Romance; Adaptation); ELMER GANTRY (with Adaptation); FRIENDLY
PERSUASION (with Family; Adaptation); GODSPELL (with Musical; Adaptation);
LITTLE BUDDHA; THE MIRACLE WOMAN; THE MISSION (with Adventure);
THE NEXT VOICE YOU HEAR; THE NUN'S STORY (with Adaptation); OH,
GOD! (with Comedy); THE ROBE (with Ancient world; Adaptation);
THE SONG OF BERNADETTE (with Adaptation); THE TEN COMMANDMENTS
(1956) (with Ancient world; Adaptation)
TV examples: GOING MY WAY; HIGHWAY TO HEAVEN; MAHABARATA (with
Adaptation)
Reporter see Journalism
Revue see Variety
Fictional work in which travel or a journey, often of a picaresque
or outlaw nature, and sought as a way to find freedom or escape,
forms the central narrative structure.
Note: Do not include films in which a journey is simply one of
the plot elements, as in many Westerns.
Feature examples: DUEL (with Thriller); EASY RIDER (with Buddy);
GIRLS OF THE ROAD (with Social problem); ISHTAR; MIDNIGHT RUN (with
Thriller); ROAD TO MOROCCO (with Buddy; Comedy); MAD MAX; SULLIVAN'S
TRAVELS (with Comedy; Show Business); THELMA AND LOUISE (with Buddy);
TO WONG FOO, THANKS FOR EVERYTHING! JULIE NEWMAR
TV examples: CORONET BLUE; MOVIN' ON; ROUTE 66; THEN CAME BRONSON
Rock documentary see Music (with the form Performance)
Fictional work focusing on an affectionate relationship between
two people, whether in courtship or marriage, and set in modern
or historical times. The lovers often face obstacles of family,
occupation, money, or social class that may imperil their permanent
union. There are also the difficulties of day-to-day compatibility,
temptation, and infidelity. The plot climaxes either on overcoming,
or failing to overcome, these difficulties.
Used for Love.
Note: Unlike the conventional appearance of romantic subplots
in many genres, romances concentrate on the love story as the main
conflict. Stories concentrating on the relationship among the family,
as opposed to the lovers, would belong under Family, while those
emphasizing the female character would be classified under Women.
For romantic comedy, use Screwball comedy, Sophisticated comedy,
or Romance in conjunction with Comedy.
Feature examples: AN AFFAIR TO REMEMBER; THE AGE OF INNOCENCE
(with Historical; Adaptation); LA BETE ET LA BELLE / BEAUTY AND
THE BEAST (with Fantasy; Adaptation); BHOWANI JUNCTION (with Historical;
Adaptation); THE BITTER TEA OF GENERAL YEN; BRIEF ENCOUNTER; CASABLANCA
(with War; Adaptation); DODSWORTH (with Adaptation); DR. ZHIVAGO
(with Historical; Adaptation); HIROSHIMA MON AMOUR; LOVE IS A MANY-SPLENDORED
THING (with Adaptation); LOVE ME OR LEAVE ME (with Musical; Gangster;
Biographical); LOVE STORY (with Adaptation); MARTY (with Adaptation);
PICNIC (with Adaptation); A PLACE IN THE SUN (with Adaptation);
THE RAINS CAME; RANDOM HARVEST (with Adaptation); ROMAN HOLIDAY;
SEVENTH HEAVEN (with Adaptation); THE SHEIK (with Adaptation);
THE WHITE SISTER (with Religious; Adaptation); WUTHERING HEIGHTS
(with Adaptation; Melodrama)
TV examples: ANYTHING BUT LOVE (with Situation comedy); LOVE--AMERICAN
STYLE (with Situation comedy); LOVE BOAT; SCENER UR ETT AKTENSKAP
/ SCENES FROM A MARRIAGE
Romantic comedy see Comedy; Romance; Screwball comedy; Sophisticated
comedy
Science see Adventure (Nonfiction); Documentary; Ethnographic;
Medical (Nonfiction); Nature; Speculation
Fictional work that relies on some type(s) of advanced technology,
scientific development, or encounter with alien life, to make the
narrative possible. Stories frequently have a prophetic nature,
forecasting how technological changes may impact society in the
years to come (METROPOLIS). The likely future is often seen as
dehumanized (THX-1138), dystopian (BLADE RUNNER), or post-apocalyptic
(PLANET OF THE APES). May be set on both Earth or in outer space,
and (most often) in the future, although sometimes set in the present
or past (TWENTY THOUSAND LEAGUES UNDER THE SEA; THE FIRST MEN IN
THE MOON).
Note: Horror may overlap with Science fiction when advanced technology
or alien life prove malevolent and terrifying.
Feature examples: BACK TO THE FUTURE; CLOSE ENCOUNTERS OF THE
THIRD KIND; E.T.--THE EXTRA TERRESTRIAL; FAHRENHEIT 451 (with Adaptation);
INVASION OF THE BODY SNATCHERS (with Horror); JOURNEY TO THE CENTER
OF THE EARTH (with Adaptation); THE MAN WHO FELL TO EARTH (with
Adaptation); MYSTERIOUS ISLAND (1961) (with Survival; Adaptation);
ON THE BEACH (with Adaptation); STAR WARS; THINGS TO COME (with
Adaptation); THE TIME MACHINE (with Adaptation); 2001--A SPACE
ODYSSEY (with Adaptation); THE WAR OF THE WORLDS (with Adaptation);
ZARDOZ
Serial examples: FLASH GORDON; BUCK ROGERS; THE PHANTOM EMPIRE
(with Singing cowboy); RADAR MEN FROM THE MOON
TV examples: BLAKE'S 7; DR. WHO; FIREBALL XL-5 (with the form
Puppet); LOST IN SPACE; MAX HEADROOM; MY FAVORITE MARTIAN (with
Situation comedy); OCEAN GIRL; SPACE: 1999; STAR TREK; THE TIME
TUNNEL; THE WILD, WILD WEST (with Western); THE X FILES (with Horror)
Fictional work in which the plot normally focuses on a comic battle
of the sexes between an eccentric, well-to-do female and a generally
passive or weak male. They are caught up in a romantic pursuit
or patching up a marriage, with romantic love triumphing in the
end. The heroine is often the only one aware of romance until the
male's resistance is overcome. The characters behave in wacky manner
and the dialogue is fast paced and witty.
Note: Not necessary to include the term Romance, since that is
implied by Screwball comedy.
Feature examples: THE AWFUL TRUTH; BALL OF FIRE; BRINGING UP BABY;
IT HAPPENED ONE NIGHT (with Adaptation); THE LADY EVE; THE MORE
THE MERRIER; MY MAN GODFREY; THE PALM BEACH STORY; TWENTIETH CENTURY;
WHAT'S UP, DOC?; WHO'S THAT GIRL
Fictional work dramatizing the world of performance, both on stage
and on screen. The creative and artistic process is depicted, often
going behind the scenes of the show, frequently dwelling on an
individual tormented artist or the travails of a group producing
their project.
Used for Backstage.
Feature examples: ALL ABOUT EVE; ALL THAT JAZZ (with Musical);
THE BAD AND THE BEAUTIFUL; CINEMA PARADISO (with Youth); DAY FOR
NIGHT; A DOUBLE LIFE; THE DRESSER; ED WOOD (with Biographical);
8 1/2; THE ENTERTAINER; A FACE IN THE CROWD; HOLLYWOOD BOULEVARD;
THE HUCKSTERS; KING OF COMEDY; THE LAST ACTION HERO (with Crime;
Parody; Fantasy); MAN OF A THOUSAND FACES (with Biographical);
LE MEPRIS / CONTEMPT; MY FAVORITE YEAR; NASHVILLE; THE PLAYER;
THE PURPLE ROSE OF CAIRO (with Fantasy; Romance); THE ROYAL FAMILY
OF BROADWAY; SHERLOCK, JR. (with Comedy; Fantasy); SINGIN' IN THE
RAIN (with Musical); A STAR IS BORN (with Romance); THE STATE OF
THINGS; SUNSET BOULEVARD
TV examples: THE LARRY SANDERS SHOW; MURPHY BROWN (with Situation
comedy); REMEMBER WENN; SO THIS IS HOLLYWOOD; TV 101
Fictional Western, usually lasting from sixty to eighty minutes,
in which the standard formula is carried out in a more light-hearted,
sometimes perfunctory way. The concentration is usually on ranch
life, and the setting is often in the present or in an ambiguous
time, rather than the more typical Western period of the late 19th
century. The hero is a non-violent cowboy who is pure of heart,
and behaves and dresses in a more elegant manner than most non-singing
cowboys. The distinguishing aspect of the Singing cowboy from the
Western is that the hero's vocal and musical skills are as important
as his gunslinging. The two elements are fully integrated, and
the plot periodically pauses, in the manner of a musical, to allow
interludes for songs and production numbers, usually five to ten
in each film. Music and action are blended in a manner to broaden
the potential audience beyond western fans. Since the star often
plays themselves, the films frequently contain a large measure
of reflexivity, mixing their involvement in the entertainment industry
and western exploits. The genre was most popular from the mid 1930s,
with the emergence of Gene Autry and Roy Rogers, into the early
1950s.
Note: Do not use for westerns that merely contain a few songs,
sung by a secondary character. For a musical of a different nature
with a western background, use Musical in conjunction with Western
(SEVEN BRIDES FOR SEVEN BROTHERS; OKLAHOMA; PAINT YOUR WAGON).
Feature examples: DON'T FENCE ME IN; HARLEM RIDES THE RANGE (with
Ethnic); MEN WITH STEEL FACES / RADIO RANCH (with Science fiction);
MOONLIGHT ON THE PRAIRIE; SONG OF THE GRINGO; THE TRAIL OF ROBIN
HOOD (with Show business); TUMBLING TUMBLEWEEDS
TV examples: THE GENE AUTRY SHOW; THE ROY ROGERS SHOW
Fictional work for television, normally running a half hour in
length, which creates humor around the lives of a cast of recurring
characters and the "situations" in which they find themselves.
Generally, regardless of what happens in any given episode, the
characters remain in the same relationships and position as they
were before, and much of the humor derives from this predictability.
The characters seldom change, and react in an expected manner to
whatever challenges them, and generally the overall tenor of the
shows is upbeat, expecting a happy, satisfying resolution. Everyday
life is often an important element, and as a result, although the
setting could be almost anywhere, most situation comedies are set
in the home or workplace.
Note: For Situation comedies centering around the family, see
Domestic comedy.
Examples: ABSOLUTELY FABULOUS; ARE YOU BEING SERVED?; THE DICK
VAN DYKE SHOW; FAWLTY TOWERS; FRIENDS; HOGAN'S HEROES (with War);
I DREAM OF JEANNIE (with Fantasy); I LOVE LUCY; THE MARY TYLER
MOORE SHOW; M*A*S*H (with War); THE MONKEES (with Musical); MORK & MINDY
(with Science fiction); ONLY WHEN I LAUGH (with Medical); ROOM
222; TO THE MANOR BORN (with Romance); THE YOUNG ONES (with Youth)
Fictional work in which the humor is derived from physical comedy,
such as falls, chases, and physical gags.
Film examples: ABBOTT AND COSTELLO IN THE FOREIGN LEGION (with
Adventure); AUNTIE MAME; THE DENTIST; THE DISORDERLY ORDERLY; THE
GODS MUST BE CRAZY; IT'S A MAD, MAD, MAD, MAD WORLD; IT'S THE OLD
ARMY GAME; THE LONG, LONG TRAILER; MABEL'S AND FATTY'S WASH DAY;
THE PINK PANTHER (with Crime); SAFETY LAST; SONS OF THE DESERT;
THE THREE STOOGES GO AROUND THE WORLD IN A DAZE (with Parody);
WAYNE'S WORLD
Type of fictional horror work, highlighting shock and violence,
most often centered around a male psychokiller who slashes to death
a string of mostly female victims, one by one, until he is subdued
or killed, usually by the one woman who has survived and fights
back. Often the murderer is motivated by perverse sexuality or
some past misdeed, taking revenge on the larger community, and
killing becomes a metaphor for rape.
Related term: Horror.
Feature examples: BLOODY BIRTHDAY (with Youth); DRESSED TO KILL
(1980); FRIDAY THE THIRTEENTH; HALLOWEEN; HE KNOWS YOU'RE ALONE;
I SPIT ON YOUR GRAVE; IT'S ALIVE; MOTEL HELL (with Parody); MY
BLOODY VALENTINE; A NIGHTMARE ON ELM STREET; PEEPING TOM / FACE
OF FEAR; PROM NIGHT (with Youth); PSYCHO; SORORITY HOUSE MASSACRE
(with College); STUDENT BODIES (with Parody); THE TEXAS CHAINSAW
MASSACRE
Fictional television series which focus on the events in the lives
of a cast of recurring characters, presented in a serial fashion.
Plots often center on romances between the characters, but can
include adventure, intrigue, or the supernatural. The endings of
each program are normally unresolved or only partially resolved,
encouraging the viewer to anticipate what may happen in the next
episode.
Note: Spanish-language telenovelas are considered to be soap operas.
Used for television series only; for features use the term Melodrama.
Examples: CORONATION STREET; DALLAS (with Family); DYNASTY (with
Family); DARK SHADOWS (with Horror); DAYS OF OUR LIVES; EASTENDERS;
THE EDGE OF NIGHT; GENERAL HOSPITAL (wiht Medical); MARY HARTMAN,
MARY HARTMAN (with Parody); MELROSE PLACE; PRISONER CELL BLOCK
H (with Prison); UPSTAIRS, DOWNSTAIRS (with Historical); THE YOUNG
AND THE RESTLESS
Social consciousness see Social problem
Educational work designed to guide people, particularly teenagers,
in proper behavior, dating, etiquette, and other social interaction.
Perhaps the best-known producer of such work was Coronet.
Note: Not necessary to also use Documentary or Educational, since
that is implied by the term Social guidance.
Examples: ARE YOU POPULAR?; CHEATING; DATING: DO'S AND DON'TS;
GOOD TABLE MANNERS
Fictional work dramatizing a specific societal ill, or a contemporary
topic in the political arena, from alcoholism and drug addiction
to racial and religious intolerance, to draw attention to the issue
and take advantage of topical interest in a subject.
Used for Social consciousness.
Feature examples: BILLY JACK; CROSSFIRE (with Adaptation); THE
DEFIANT ONES; DO THE RIGHT THING; THE EXILE (1931) (with Ethnic;
Adaptation); DIE FREUDLOSE GASSE / THE JOYLESS STREET; FURY; GENTLEMAN'S
AGREEMENT (with Adaptation); GUESS WHO'S COMING TO DINNER (with
Romance; Family); HOW GREEN WAS MY VALLEY (with Family; Historical;
Adaptation); I AM A FUGITIVE FROM A CHAIN GANG; INTRUDER IN THE
DUST (with Adaptation); THE LOST WEEKEND (with Adaptation); MR.
DEEDS GOES TO TOWN (with Comedy); ON THE WATERFRONT; PINKY (with
Adaptation); ROOM AT THE TOP; THE SCAR OF SHAME (with Ethnic);
THE SNAKE PIT; TAXI DRIVER (with Crime)
TV examples: BABY M; THE BURNING BED; ROE VS. WADE; SARAH T.:
PORTRAIT OF A TEENAGE ALCOHOLIC (with Youth); SOMETHING ABOUT AMELIA;
TESTAMENT
Fictional work marked by witty and sophisticated dialogue, centering
on marital and romantic relationships, and finding humor in the
lives and activities of the rich and urbane.
Note: Not necessary to include the term Romance, since that is
implied by Sophisticated comedy.
Feature examples: BREAKFAST AT TIFFANY'S (with Adaptation); DESIGN
FOR LIVING (with Adaptation); DINNER AT EIGHT (with Adaptation);
THE IMPORTANCE OF BEING EARNEST (with Adaptation); MUCH ADO ABOUT
NOTHING (with Adaptation); NINOTCHKA; TROUBLE IN PARADISE (with
Crime); WHY CHANGE YOUR WIFE?
Spectacle see Biographical; Historical; Religious; War
A type of documentary that focuses on actual mysteries or events,
past and present, but instead of traditional, rational explanations,
offers possible interpretations or solutions that are largely speculative
and unprovable since the necessary material evidence is lacking.
Favorite topics range from such historical events as the disappearance
of Amelia Earhart to possible contact with alien beings.
Note: Not necessary to also use Documentary, since that is implied
by the term Speculation.
Feature examples: CHARIOTS OF THE GODS; IN SEARCH OF HISTORIC
JESUS; IN SEARCH OF NOAH'S ARK; THE LINCOLN CONSPIRACY (with Historical);
MYSTERIES FROM BEYOND EARTH; SASQUATCH
TV examples: IN SEARCH OF ...; ALIEN AUTOPSY; ENCOUNTERS
Video examples: THE MONUMENTS OF MARS
Nonfiction or fiction work, typically ten minutes or longer in
length, produced by, financed, or otherwise significantly supported
by a business, government body, professional organization, or nonprofit
association, with the intent to promote the sponsoring entity.
Sponsored work may be educational, industrial, propagandistic,
or, less commonly, instructional in nature. Although largely distributed
by video today, sponsored work covering a wide variety of subjects
and presenting differing levels of self-promotion or propaganda
have historically been shown theatrically and at expositions, rented
to schools and community organizations, and broadcast as economical "filler" programming
for network and cable television.
Note: Not necessary to also use Documentary, since that is implied
by the term Sponsored. Use Company promotion for commercial-length
sponsored work that promote the sponsoring entity or industry.
Examples (sponsor given in brackets): BACK TO THE OLD FARM [International
Harvester]; DOCTOR JIM [John Deere]; THE LOUISIANA STORY [Standard
Oil of New Jersey]; THE RIVER [U.S. Dept. of Agriculture]; THIS
IS TB [National Tuberculosis Association]; WITH THESE HANDS [International
Ladies' Garment Workers' Union]
Spoof see Parody
Fictional work concentrating on how an individual athlete or team,
through strength, training, agility, and-or tactics, compete in
the often corrupt world of sports. Plots usually relate the victory
of an underdog or the fall (and sometimes return) of the champion.
Usually the world of a single sport is dramatized, such as baseball,
basketball, boxing, football, horseracing, bullfighting, or automobile
racing.
Note: The particular sport emphasized may be traced through subject
headings.
Film examples: BLOOD AND SAND (with Romance; Adaptation); BODY
AND SOUL (1947); BULL DURHAM (with Comedy; Romance); THE CHAMP;
DAYS OF THUNDER; FEAR STRIKES OUT; FIELD OF DREAMS (with Fantasy);
THE GOLF SPECIALIST (with Comedy); THE HARDER THEY FALL; THE JACKIE
ROBINSON STORY (with Biographical); PERSONAL BEST; RAGING BULL
(with Biographical); ROCKY; THE SET- UP
TV examples: THE BAD NEWS BEARS (with Children's); BALL FOUR;
HARLEM GLOBETROTTERS; WHITE SHADOW
Nonfiction work covering sporting events, such as a boxing match,
wrestling, or a football game; the work may include the event itself,
retrospective highlights, interviews with players, and commentary.
Standard recurring events covered include the Olympics, Super Bowl,
and World Series.
Note: Not necessary to also use Documentary, since that is implied
by the term Sports (Nonfiction). For coverage comprised of uninterrupted
footage without commentary or commercials, see also the form Unedited.
Film examples: HOOP DREAMS; SPORTS HIGHLIGHTS OF 1948; TOKYO OLYMPIAD;
UNIVERSITY OF SOUTHERN CALIFORNIA--NOTRE DAME FOOTBALL GAME; WINNING
PUTTS (with Instructional)
TV examples: MONDAY NIGHT FOOTBALL; SPORTS FOR THE FAMILY; WIDE
WIDE WORLD OF SPORTS; WORLD CHAMPIONSHIP BOXING
Video examples: 1993 ATLANTA BRAVES--HOW THE WEST WAS WON!; RECORD
BREAKERS OF THE OLYMPIC GAMES; WORLD CUP USA 1994
Spy see Espionage
Stand-up comedy see Comedy (with the form Performance)
Fictional work usually set in a desert, island, polar, or other
harsh, barren locale, in which an individual or group must struggle
for their lives against the forces of nature. Facing imminent and
seemingly arbitrary death, characters are compelled to test their
spirit and discover their innermost nature deprived of the veneer
of civilization. Emphasis is placed on the the character's psychology
and reactions to the ordeal. The villain is the person who, under
these grueling conditions, relies on competitive instincts to dominate
rather than aid his fellow human beings. The one who ultimately
endures as the hero is not the physically strongest individual
but the one with the greatest will-power, ingenuity, and altruism,
who labors to preserve the group.
Related term: Disaster.
Feature examples: ALIVE; DELIVERANCE (with Adaptation); FIVE CAME
BACK; THE FLIGHT OF THE PHOENIX (with Adaptation); LEGEND OF THE
LOST; THE LOST PATROL (with War); THE MOSQUITO COAST (with Adaptation);
THE MOST DANGEROUS GAME (with Horror; Adaptation); THE NAKED PREY;
THE RED TENT (with Historical); ROBINSON CRUSOE (with Adventure;
Adaptation); SANDS OF THE KALAHARI; SCOTT OF THE ANTARCTIC (with
Adventure; Biographical); SWISS FAMILY ROBINSON (with Adventure;
Adaptation); WALKABOUT
TV examples: ANYTHING TO SURVIVE; EVERYBODY'S BABY: THE RESCUE
OF JESSICA MCCLURE; GILLIGAN'S ISLAND (with Situation comedy)
Suspense see Caper; Crime; Disaster; Espionage; Film noir; Horror;
Mystery; Police; Prison; Thriller
Swashbuckler see Adventure
Sword and sorcery see Fantasy
Talent see Variety
Television work which features discussions that are aimed primarily
at entertaining an audience, and which although they may sometimes
relate to current events, do not qualify as Public affairs. The
guests may be celebrities or other well-known individuals, or the
work may be thematically focused, introducing otherwise ordinary
people who have shared certain experiences. The work may contain
questions from the host that are answered by the guests, but the
structure is generally more informal than that of a straightforward
interview.
Note: Not necessary to also use Documentary, since that is implied
by the term Talk. If the guests are noted individuals such as a
celebrity or newsmaker, in a formalized question- and-answer setting,
use Interview.
TV examples: THE ARSENIO HALL SHOW; GERALDO; THE JACK PAAR SHOW;
OPRAH; THE PHIL DONAHUE SHOW; THE TONIGHT SHOW
Teen see Juvenile delinquency; Youth
Telenovelas see Soap opera
Televangelism see Religion
Fictional work frequently related to the crime genre in that the
subject is usually some aspect of criminal activity, but with the
emphasis away from a detective, gangster, caper, or even the crime
itself. Instead, the narrative concentrates on suspense as an individual
or group is placed in a dangerous situation whose outcome hinges
on sudden reversals of fate. Frequent themes are political conspiracy,
terrorism, innocents on the run, romantic triangles leading to
murder, and individuals suffering from psychosis.
Used for Psychological thriller.
Related terms: Caper, Crime, Film noir, Gangster, Mystery, and
Police.
Feature examples: CAPE FEAR; THE CONVERSATION; LE CORBEAU / THE
RAVEN; DIABOLIQUE; DR. MABUSE DER SPIELER; FATAL ATTRACTION; GASLIGHT
/ ANGEL STREET / THE MURDER IN THORNTON SQUARE; THE GENERAL DIED
AT DAWN (with War); THE HUNT FOR RED OCTOBER (with Adaptation);
THE LADY FROM SHANGHAI; M (with Social Problem); THE MANCHURIAN
CANDIDATE (with Political; Adaptation); MR. ARKADIN / CONFIDENTIAL
AGENT (with Adaptation); OBSESSION; THE PARALLAX VIEW (with Political);
REBECCA (with Adaptation); SLEEPING WITH THE ENEMY; SPEED; SPELLBOUND;
THE SPIRAL STAIRCASE; STRANGERS ON A TRAIN; THE THIRD MAN; VERTIGO
TV examples: THE ADVENTURES OF FU-MANCHU; THE FUGITIVE (with Road);
THE HIJACKING OF THE ACHILLE LAURO; HOSTAGE FLIGHT; THE PRISONER
Nonfiction, nontheatrical work used by industry, military, or
trades to teach skills necessary in the performance of particular
duties or jobs. Examples include military and employee training
works, salesmanship courses, and trade school teaching aids.
Note: Not necessary to also use Documentary, since that is implied
by the term Training.
Related terms: Educational, Industrial, Instructional, and Social
guidance.
Film examples: HOW TO MAKE YOUR SALES STORY SELL; RADIO TECHNICIAN
TRAINING
Video examples: MAKING EYE GLASS LENSES
Nonfiction work featuring or promoting geographic or cultural
location(s), often in a romanticized manner. Includes early silent
scenic films; moving images that accompany "tour" lectures; travel
documentaries; and sponsored work by transportation companies,
travel agencies, chambers of commerce, national parks, and other
entities that promote modes of transportation, resorts, vacation
areas, and other locations.
Note: Not necessary to also use Documentary, since that is implied
by the term Travelogue.
Work intended to document cultures and their surroundings in more
than a superficial manner should use Ethnographic.
Film examples: MEXICO STREET SCENE; HALE'S TOURS AND SCENES OF
THE WORLD; WALT DISNEY'S PEOPLE AND PLACES SERIES; PERU'S COASTAL
REGION (with Sponsored); WESTERN WONDERLAND (with Sponsored); YOSEMITE
NATIONAL PARK
TV examples: JAMES MICHENER'S WORLD; MAURICE CHEVALIER'S PARIS;
ON THE ROAD WITH CHARLES KURALT
Video examples: ARGENTINA--LAND OF NATURAL WONDER; DISCOVERING
FRANCE; GLACIER NATIONAL PARK; THE MAINE COAST; RAND MCNALLY EXPLORING
ANTARCTICA; SAN ANTONI0--THE HEART OF TEXAS
Short, early work, generally made before 1910, dependent upon
extensive use of "trick photography" or special effects such as
stop motion, fast or slow motion, dissolves, and multiple exposures.
As in the "artificially arranged scenes" of the French magician-turned-
filmmaker Georges M‚liŠs, trick effects were used to present mysterious
appearances and disappearances, ghosts and other supernatural creatures,
dreams or visions, physical transformations, travel in time and
space, shocking (or even comedic) decapitations, and other magical
or improbable situations.
Note: For work with fantastical themes or plots that go beyond
the mere showcasing of trick effects, use Fantasy, Horror, or Science
fiction as appropriate.
Examples: THE BEWITCHED TRAVELLER; THE DREAM OF A RAREBIT FIEND;
THE EXECUTION OF MARY QUEEN OF SCOTS; ILLUSIONS FANTASMAGORIQUES
/ THE FAMOUS BOX TRICK; PRINCESS NICOTINE; THE ? MOTORIST; THE
TERRIBLE TURKISH EXECUTIONER; UNCLE JOSH AT THE MOVING PICTURE
SHOW; UN VOYAGE DANS LA LUNE / A TRIP TO THE MOON
Nonfiction short work that is open-ended and designed to spark
a discussion on a controversial or difficult problem or issue,
predominantly sponsored and educational in nature.
Examples: BEHIND THE WHEEL; GINGER: TEENAGE PREGNANCY (with Sponsored);
QUIT SMOKING TRIGGER SERIES (with Sponsored)
True crime see Reality-based
Underground films see Experimental
Work that is generally hosted and consists of a number of different
acts, sketches, and/or dance and musical performances, combined
in a non-narrative manner. Although predominantly for television,
some theatrical film variety work has also been produced.
Used for Revue; Talent show.
Note: If the work predominantly features comedy acts or skits,
particularly if the host or star is known primarily as a comedian,
use Comedy with Variety. If the work instead predominantly features
musical, song, and/or dance numbers, use Music with Variety. In
the case of work that appears to be evenly split between comedy
and musical acts, or consist of other types of segments, simply
use Variety.
Related term: Performance (form).
Film examples: ELSTREE CALLING; HOLLYWOOD REVUE OF 1929 (with
Music); LENINGRAD MUSIC HALL (with the form Performance); SHOW
OF SHOWS
TV examples: THE ANDY WILLIAMS SHOW (with Music); AMERICAN BANDSTAND
(with Music); THE DINAH SHORE SHOW; HEE HAW; THE ORIGINAL AMATEUR
HOUR; ROWAN & MARTIN'S LAUGH-IN (with Comedy); YOUR SHOW OF SHOWS
(with Comedy)
Vaudeville see Performance (form)
Fictional work portraying military conflicts in the twentieth
century, primarily the first and second world wars, but also other
subsequent wars, such as Vietnam, as well as smaller conflicts.
Includes not only portrayals of combat, but stories set in POW
camps (THREE CAME HOME; STALAG 17), accounts of the homefront (SINCE
YOU WENT AWAY (with Family)), and depictions of the difficulties
of demobilization and the veteran returning to civilian life (THE
BEST YEARS OF OUR LIVES; COMING HOME). The genre includes depictions
of the primary fronts during the war, as well as the battles on
the geographical margins of the conflict (THE AFRICAN QUEEN). The
genre ranges from work enthusiastically dramatizing the war effort,
with harsh portrayals of the enemy, to denunciations of war.
Used for Combat.
Note: Stories taking place in the military milieu in peacetime
go under Military, and those depicting military conflicts prior
to the 19th century usually go under Historical or Adventure. Not
necessary to also use Historical, since that is implied by War.
Feature examples: ALL QUIET ON THE WESTERN FRONT (with Adaptation);
BATAAN; DAS BOOT / THE BOAT; BORN ON THE FOURTH OF JULY (with Biographical;
Adaptation); THE BRIDGE OVER THE RIVER KWAI (with Adaptation);
COURAGE UNDER FIRE; FOR WHOM THE BELL TOLLS (with Adaptation);
LE GRANDE ILLUSION / THE GRAND ILLUSION; HITLER'S CHILDREN; IN
WHICH WE SERVE; LIFEBOAT (with Survival); M*A*S*H (with Dark comedy;
Medical); MRS. MINIVER; PLATOON; RAMBO: FIRST BLOOD, PART II; ROMA
CITTA APERTA / OPEN CITY; SEVEN BEAUTIES; SO PROUDLY WE HAIL (with
Women); THE STEEL HELMET; TORA! TORA! TORA!; WESTFRONT 1918; WINGS
(with Aviation)
TV examples: CHINA BEACH; HOGAN'S HEROES (with Situation comedy);
HOMEFRONT (with Family); MCHALE'S NAVY (with Situation comedy);
THE RAT PATROL; TWELVE O'CLOCK HIGH (with Aviation)
Nonfiction work made to explain a war to servicemen and civilian
viewers as well as retrospective documentaries on specific battles
and other historical events of various wars.
Note: Not necessary to also use Documentary, since that is implied
by the term War (Nonfiction).
Film examples: THE BATTLE OF SAN PIETRO; LE CHAGRIN ET LA PITIE
/ THE SORROW AND THE PITY; HEARTS AND MINDS (with Propaganda);
LISTEN TO BRITAIN; THIS IS KOREA; WHY WE FIGHT (with Propaganda;
Sponsored)
TV examples: AMERICA GOES TO WAR--THE HOME FRONT--WWII; KOREA--
THE UNKNOWN WAR; THE WORLD AT WAR
Fictional work set in the period of American westward expansion.
In the name of civilization, the wilderness is conquered and nature
subordinated. Key thematic oppositions are between civilization
and nature, law and anarchy, settler and nomad, and the new arrivals
and the Native American. The hero is a person of integrity and
principle, who tames the land, stands alone, faces danger, and
is the fastest draw. Although usually set in the western United
States from 1865-1900, settings in the Western may extend back
to the era of America's colonial period (THE LAST OF THE MOHICANS),
or as far geographically as Mexico (THE WILD BUNCH), and into the
first half of the 20th century. Many westerns made through the
1950s used a contemporary setting for traditional western narratives,
and a few examples of the genre continue to be made, set in modern
times (LONELY ARE THE BRAVE; WALKER--TEXAS RANGER).
Note: For musical westerns use Musical in conjunction with Western
(ANNIE GET YOUR GUN; PAINT YOUR WAGON), but for a Western using
a singing hero, such as Gene Autry, use Singing cowboy. Not necessary
to also use Historical, since that is implied by Western. For films
which use conventions and temporal period of the American west
(the frontier, gunslingers, ranching, rugged individualism) but
are set in Australia (THE MAN FROM SNOWY RIVER; RANGLE RIVER; KANGAROO
[1952]), add the 655 z subfield for Australia (for instance, 655#avz#Western#Feature#Australia).
Related term: Yukon.
Feature examples: CALAMITY JANE (with Musical; Romance; Biographical);
CIMARRON (with Adaptation); THE COVERED WAGON (with Adaptation);
DRUMS ALONG THE MOHAWK (with Adaptation); THE GOOD, THE BAD, AND
THE UGLY; THE GUNFIGHTER; HELL'S HINGES; HIGH NOON; THE IRON HORSE
(with Adaptation); MY DARLING CLEMENTINE; NORTHWEST PASSAGE (with
Adaptation); THE OX-BOW INCIDENT (with Social problem; Adaptation);
THE PLAINSMAN; POSSE (with Ethnic); RED RIVER; SHANE; STAGECOACH;
TRUE GRIT; UNFORGIVEN
TV examples: THE BIG VALLEY; BONANZA; CHEYENNE; THE CISCO KID;
DR. QUINN, MEDICINE WOMAN (with Medical); F-TROOP (with Situation
comedy); GUNSMOKE; RAWHIDE; WAGON TRAIN
Whodunit see Mystery
Fictional work usually concentrating on a woman and the challenges
unique to the position of her gender in society. As a result, common
situations are finding love, making a career, and/or raising a
family. The protagonist is often faced by various romantic possibilities,
or the belief that she has chosen the wrong profession or that
she should sacrifice a career or health for her family. Frequently,
these polar opposites demonstrates the limited possibilities and
social roles open to women at a given historical moment. However,
because the genre is centered on a woman's needs, not those of
a man, the genre has often been a vehicle to examine the achievements
of strong women characters who overcome stereotyped gender roles.
Because male characters are often marginalized, the Women's genre
has often been aimed primarily at the female segment of the audience.
Note: For stories of women in the workplace, use the appropriate
genre to indicate the occupation, such as Journalism, Legal, Medical,
or Show business. Narratives concentrating on the family itself
should use Family, and on a love story should use Romance.
Related terms: Fallen woman and Maternal melodrama.
Feature examples: DIE BUCHSE DER PANDORA (1928) / PANDORA'S BOX;
CHRISTOPHER STRONG (with Aviation); DARK VICTORY (with Adaptation);
EHE DER THE MARIA BRAUN / MARRIAGE OF MARIA BRAUN (with War); THE
HEIRESS (with Historical; Adaptation); A LETTER TO THREE WIVES
(with Adaptation); MILDRED PIERCE (with Adaptation); MY BRILLIANT
CAREER (with Historical; Adaptation); NOW, VOYAGER (with Adaptation);
A PASSAGE TO INDIA (with Historical; Adaptation); QUEEN KELLY;
TEN CENTS A DANCE; THE TOLL OF THE SEA; WAITING TO EXHALE (with
Adaptation); THE WOMEN (with Adaptation); WORKING GIRL (with Comedy;
Romance)
Yiddish see Ethnic
Fictional work portraying aspects of the trajectory through adolescence,
including high school years, peer pressure, first love, beach parties,
and initial attempts at adulthood, along with strains in the relationship
with family. Teenage years are usually emphasized, although younger
characters may also be included in a mix of ages, or the work may
cover the transition from pre-teen to teenager, depicting a coming-of-age.
A frequent emphasis is on a school setting including these ages
(TOM BROWN'S SCHOOLDAYS).
Used for Coming-of-age.
Note: This category includes "Teen" films, usually aimed primarily
at a teenage audience. Works depicting predominantly those of 12
years of age or under would go under Children's. A story with emphasis
on familial relations would go under Family, while one set in a
collegiate environment would go under College; if criminal tendencies
are dominant, use Juvenile delinquent.
Feature Examples: AMERICAN GRAFFITI (with Historical); ANDY HARDY
GETS SPRING FEVER (with Family); BEACH BLANKET BINGO (with Musical);
THE BREAKFAST CLUB; BREAKING AWAY; BUFFY THE VAMPIRE SLAYER (with
Horror; Parody); CLUELESS (with Comedy); DEAD POETS SOCIETY; FAST
TIMES AT RIDGEMONT HIGH; HEATHERS (with Dark comedy); MARGIE; RISKY
BUSINESS (with Caper); SIXTEEN CANDLES (with Comedy); SOMMAREN
MED MONIKA / MONIKA / SUMMER WITH MONIKA (with Romance); TOL'ABLE
DAVID
TV examples: BEVERLY HILLS, 90210 (with Soap opera); HEAD OF THE
CLASS (with Situation comedy); THE MANY LOVES OF DOBIE GILLIS (with
Situation comedy); SAVED BY THE BELL (with Situation comedy)
Fictional work using some Western conventions but set outside
of the "lower 48," in the Northwest part of the North American
continent. The characters are generally of two types, law enforcement,
and those lured by the various gold rushes and looking to obtain,
by honest or dishonest means, the promised wealth of gold and furs
in the Klondike. Law enforcement is represented by the Canadian
Northwest Mounted Police, who keep a close guard over fur traders,
smugglers, claim jumpers, and robbers--and always get their man.
Human characters of whatever type must endure the hostile environment
with its harsh cold, and are often dependent on their animals,
especially dogs and horses. Indeed, these marvelous animals are
often as heroic as their masters, sometimes more so. Frequent literary
sources include the early stories of Jack London and the novels
of James Oliver Curwood.
Used for Northwest.
Note: Not necessary to also use Historical, since that is implied
by Yukon.
Feature examples: THE CALL OF THE WILD (with Adaptation); THE
FAR COUNTRY; THE GOLD RUSH (with Comedy); NORTH TO ALASKA; NORTHWEST
MOUNTED POLICE; PO ZAKONU / BY THE LAW / THE UNEXPECTED; RENFREW
OF THE ROYAL MOUNTED; ROSE MARIE (with Operetta); THE SPOILERS
(with Adaptation); WHITE FANG (with Adaptation)
TV examples: KLONDIKE; ROYAL CANADIAN MOUNTED POLICE; SERGEANT
PRESTON OF THE YUKON
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