Introduction
Classifying movies into distinct kinds is a non-trivial task, given the flexibility and interchangeability of creative work. This essay will cover the division by genres or organizing films according to their type. It is essential to acknowledge that genres are simultaneously defined by production, marketing, and consumption (Hayward 197).
Hayward classifies ‘principal genres’ into three main categories: narrative, documentary, and avant-garde film; the term ‘sub-genres’ refers to what the standard audience calls ‘film genres’ (198). This essay discusses the defining and dividing characteristics of each of the three principal genres. The purest distinction is drawn between the narrative and the documentary genres, with the experimental or avant-garde films differing from both.
Narrative Film
The first category of movies to be discussed is narrative films. This broad type may include most of the commonly regarded sub-genres, as it is most simply characterized as a pre-scripted movie, where actors play specific roles (Bordwell et al. 72). In this genre, a chain of linked events relies on causality, time, and space to define the flow; explicit and implicit meanings hinge on the relationship between story and style (Bordwell et al. 60).
The narrative film shapes the audience’s expectations by summoning up suspense and either satisfying or cheating them with the ending (Bordwell et al. 73). Unlike the documentary genre, the narrative does not have to be based on real-life events – the narrative may be entirely or partially fictional (Bordwell et al. 354). Overall, the narrative genre is perhaps the most diverse and conventionally known for having an infinite number of sub-genres.
Documentary Film
The second film category examined is a documentary film, which differs substantially from the first type. Unlike narrative filmmaking, the documentary genre aims to capture reality and build the script based on that (Bordwell et al. 352). However, some staging may be allowed if it serves the larger purpose of presenting otherwise accurate information (Bordwell et al. 353).
Like the narrative genre, characters in documentaries may create causes and bear the effects (Bordwell et al. 77). Moreover, a documentary may state an opinion or advocate a solution for the topic it covers – however, such an opinion should rely on factual and trustworthy information to be distinguished from a fiction film (Bordwell et al. 354). Therefore, a documentary is distinct in its accurate depiction of the events that have occurred or are occurring.
Experimental Film
The last category, distinct from the previous two, is avant-garde film. Unlike the other cinematic genres, avant-garde seeks to re-evaluate conventional approaches and explore non-narrative and alternative forms of conveying the story (Bordwell et al. 371). The filmmakers in avant-garde, also known as the experimental genre, work independently of commercial production and distribution (Bordwell et al. 371).
Unlike the other two genres, such films may or may not tell a story, sometimes presenting a series of visual collages or abstract forms instead (Bordwell et al. 373). Moreover, the creation does not have to rely on extant or past events or a script – it can be created through improvisation, observation, or even a mathematical plan (Bordwell et al. 371). The genre of the avant-garde is thus the most elusive for understanding, but its primary objective is to present a challenge.
Conclusion
In conclusion, there is a vast variety of genres and methods of their classification. The narrative genre relies on the pre-scripted, entirely or partly fictional plot, which is then enacted; the documentary genre relies on the accurate depiction of real-life or historic events. The narrative genre presents a cause-effect story, which links events and characters.
All three genres may advocate certain opinions, but the communication methods vary: the narrative genre and avant-garde are less restricted, while the documentary must rely on reliable factual evidence. The avant-garde genre is the hardest to define since it is willingly non-conformist, challenging ordinary notions of what and how topics are conveyed. Unlike the other two genres, avant-garde is non-commercially created and distributed, and it does not have to have a story plot.
Works Cited
Bordwell, David, et al. Film Art: An Introduction. 12th ed., McGraw-Hill Education, 2020.
Hayward, Susan. Cinema Studies: The Key Concepts. 5th ed., Routledge, 2018.