Genre: War
War. The institution itself is a disgrace to mankind, as we being the most intelligent species aught to be able to coexist peacefully. Yet we cannot, and film today has encompassed the beauty and gore that war encompasses. One of the first and most revolutionary war films, Birth of a Nation (1915) , set the standard for war films throughout history. Around the same time, the Central and Allied powers fighting in World War I would film the battles and show them to the general public. War films can differ depending on the subject matter, but normally they fall into either War or Anti-War categories. These films, especially ones with a central character, will focus on subjects such as soul-searching subjects as the protagonists attempt to find themselves. Others can be used to show the horrors of war, the uselessness of war, or even the glory and necessity of war. While the pre-WWI war films focused on accuracy and depiction of wars, the onset of the war brought propagandist and nationalist war films with the purpose of infuriation and make passionate the country’s citizens ( this was most common in America and Germany). When the War ended, war films ceased all-together. European film studios were in disrepair, and Hollywood was not very apt at creating such films, though flicks such as America (1924) and The Four Horseman of the Apocalypse (1921) were very successful. The mid to late 20’s saw a revival of these films, though was WWI was not too far gone, stories tended to focus more on individuals and stories of heroism than a condemning of war. When WWII began, foreign films, especially British ones, attempted to persuade Americans to join the war effort, such as Alfred Hitchcock’s Foreign Correspondent (1940). When the war began, movies began to idolize American effort while lampooning the enemies of the Allies. Charlie Chaplin’s The Great Dictator (1940) mocked Hitler beautifully. Films such as these were highly effective. WWII films continued to be popular for some time, and as time moved further away from WWII, films included more and more fighting. The theme was so incredibly overarching and flexible that it would be used for some time after. Comedies also began to emerge that would satirize war, such as Duck Soup. As more and more wars occurred, films would take these situations and place them in context, either to applaud or delegitimize them, giving them a hero, glorifying a battle scene, or exemplifying many other situations. When America experienced the tragedies of September 11th, war films that centered around the unpopular war became an ill topic. Moviegoers tended to shy away from these types of words being mentioned in films. The awkwardness did begin to recede over time but the resentment remained. Its typical to combine war films with films from other genre’s, such as westerns, romance, comedy’s, among a number of others. War films are sometimes regarded to be bad for young people, yet their violent nature versus their educational value is highly debatable. Militarys are historically supportive of war films. They will participate in the film, lend equipment, operate machinery, and teach directors of accurate military terminology and method. Yet, when the film goes against or attacks the military of the country, military personal will refrain from giving their assistance. In such cases, directors will usually call on other militaries in other countries to assist them in their film making. Common aspects of war films include a “flag waiving” mentality of sorts, and while the hero is shown nobly, the enemy is portrayed as a despicable enemy. These enemies inhumanness are usually heard of through their crude nicknames that the heroic people dub them as. This method of glorification and subjugating can turn these war films again into a form of intense propaganda and can possibly skew historical events to support the side that the filmmaker aligns himself with. All in all, the dirty sport that is war made its way into film and movie. The stories are glorified and the facts skewed, yet the sanctity of the battles remain to those who watch and listen to the stories they tell. While most filmmakers do not typically try to make their films political, it happens. Nevertheless, war films have the ability to inspire, educate, and show a generation of the struggles and the issues faced by their formers, and possibly teach the new leaders of their countries both the legacy and horrors that human combat and war has come to encompass in this day and age.
Sub-Genre: Fantasy
The fantasy sub-genre incorporates numerous supernatural phenomenons in relation to the plot, setting, or theme. These films typically take place where magical happenings are a commonplace. The benefit of the fantasy genre is the ability to not have to explain the logic or reasoning behind these magical events. It is this that distinguishes fantasy from science fiction, along with the lack of technologies that sci-fi films make good use of. Fantasy films typically take from old legends and mythical stories and are reincorporated into film today, usually incorporating the central lesson the tale was attempting to convey. American fantasy normally includes internal logic, that is while the events of the story are impossible, they follow an internal set of logic that remains consistent throughout the story and abides by those in the story (i.e. Harry potters wand laws/ apparition laws/ extent of magical powers).
The fantasy genre incorporates numerous supernatural phenomenon in relation to the plot, setting, or theme. These films typically take place where magical happenings are a commonplace. The benefit of the fantasy genre is the ability to not have to explain the logic or reasoning behind these magical events. It is this that distinguishes fantasy from science fiction, along with the lack of technologies that sci-fi films make good use of. Fantasy films typically take from old legends and mythical stories and are reincorporated into film today, usually incorporating the central lesson the tale was attempting to convey. American fantasy normally includes internal logic, that is while the events of the story are impossible, they follow an internal set of logic that remains consistent throughout the story and is abided by those in the story (i.e. Harry potters wand laws/ apparition laws/ extent of magical powers).
Fantasy films can be classified by the stories they are describing and the location that these stories take place. For instance, those films that take place in parallel worlds and involve more world-endangering issues are known as High Fantasy (such as Lord of the Rings or The Invention of Lying[which is set in an alternative universe while it seems like earth, the rules are different]) , whereas Sword and Sorcery films focus more on heroes and internal/close-to-home battles.
The impact of Fantasy films is astounding. Visuals accompanied the stories that could now turn tall tales into visual realities. And it is these films that almost encompass the beauty of film. From the animated stories of Shrek to the eerie tale of Jumanji, brilliant tales could come alive. Impossible events could now be projected for the entire world to see, no matter how ridiculous these stories may seem. These fantasy films have existed almost as long as the genre itself, playing dreams on the big screen and making imaginations come alive.
The fantasy genre incorporates numerous supernatural phenomenon in relation to the plot, setting, or theme. These films typically take place where magical happenings are a commonplace. The benefit of the fantasy genre is the ability to not have to explain the logic or reasoning behind these magical events. It is this that distinguishes fantasy from science fiction, along with the lack of technologies that sci-fi films make good use of. Fantasy films typically take from old legends and mythical stories and are reincorporated into film today, usually incorporating the central lesson the tale was attempting to convey. American fantasy normally includes internal logic, that is while the events of the story are impossible, they follow an internal set of logic that remains consistent throughout the story and is abided by those in the story (i.e. Harry potters wand laws/ apparition laws/ extent of magical powers).
Fantasy films can be classified by the stories they are describing and the location that these stories take place. For instance, those films that take place in parallel worlds and involve more world-endangering issues are known as High Fantasy (such as Lord of the Rings or The Invention of Lying[which is set in an alternative universe while it seems like earth, the rules are different]) , whereas Sword and Sorcery films focus more on heroes and internal/close-to-home battles.
The impact of Fantasy films is astounding. Visuals accompanied the stories that could now turn tall tales into visual realities. And it is these films that almost encompass the beauty of film. From the animated stories of Shrek to the eerie tale of Jumanji, brilliant tales could come alive. Impossible events could now be projected for the entire world to see, no matter how ridiculous these stories may seem. These fantasy films have existed almost as long as the genre itself, playing dreams on the big screen and making imaginations come alive.
Minor Sub-Genre (1): Dark Comdey
Black Humor is a minor sub-genre of the Comedy genre. Black comedy’s are especially taboo, as they make use of suspicion and uncertainty. These films typically make use of the audience’s discomfort and sense of humor simultaneously by treating typically dark topics with an air of humor while still retaining their seriousness. Films such as Donnie Darko make use of topics such as perception and death and alternate realities in an incredibly serious tone, yet their main antagonist is a giant bunny rabbit. The hilariousness can be seen in situations like this. This genre can also include films that have comedic characters such as the Marx Brothers or The Tramp in a situation where their actions can contribute to disrupting a sensitive issue, such as instigating a nuclear war or beginning a global conflict, can be considered dark comedy as long as the situation comes off showing the issue in a satirical manner. A famous example of this goes by the title Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. This story follows a doomsday scenario where the United States fires a nuclear warhead at the Soviet Union. The satirical standpoint that this film takes is a pure example of a dark comedy or black humor. Some people find these films disgraceful and uncomfortable, yet there does exist people who can find humor in this interesting sub-genre where things are brought to a whole new level of disturbing and interesting, and maybe even giving us a new way to see the world.
Minor Sub-Genre (2): Road
Road films, contained in a number of genres from westerns to comedies, have become a staple of American film. One powerful constant exists in all these films: an “an episodic journey or quest on the open road (or undiscovered trail), to search for escape (for example, while on the lam during a crime spree) or to engage in a quest for some kind of goal -- either a distinct destination, or the attainment of love, freedom, mobility, redemption, the finding or rediscovering of oneself, or coming-of-age (psychologically or spiritually),” (filmsite.org). This “road” acts as a test for those involved. These films can exist in a number of sub-categories, such as racing, chase, buddy, trucker/biker, among others. Those involved can be friends, lovers, enemies, yet it is the road which shall ultimately be the great bringer of peace (or ender of their relationship, depending on the film) for those involved. The character will begin in a familiar location, yet by the end of the movie he or she will be in a new place. The most popular of these existed as theft films, yet now comedies and road films are synonymous with each other, as these buddy comedies placed in the setting of a road film make for a simply flexible environment where anything can be encountered. From Bonnie and Clyde (1967) to The Wizard of Oz (1939), as a road exists an a lesson is learned, the film can fall into the classic minor sub genre known as the road film.
Road films, contained in a number of genres from westerns to comedies, have become a staple of American film. One powerful constant exists in all these films: an “an episodic journey or quest on the open road (or undiscovered trail), to search for escape (for example, while on the lam during a crime spree) or to engage in a quest for some kind of goal -- either a distinct destination, or the attainment of love, freedom, mobility, redemption, the finding or rediscovering of oneself, or coming-of-age (psychologically or spiritually),” (filmsite.org). This “road” acts as a test for those involved. These films can exist in a number of sub-categories, such as racing, chase, buddy, trucker/biker, among others. Those involved can be friends, lovers, enemies, yet it is the road which shall ultimately be the great bringer of peace (or ender of their relationship, depending on the film) for those involved. The character will begin in a familiar location, yet by the end of the movie he or she will be in a new place. The most popular of these existed as theft films, yet now comedies and road films are synonymous with each other, as these buddy comedies placed in the setting of a road film make for a simply flexible environment where anything can be encountered. From Bonnie and Clyde (1967) to The Wizard of Oz (1939), as a road exists an a lesson is learned, the film can fall into the classic minor sub genre known as the road film.
