{"id":37967,"date":"2018-02-20T23:50:30","date_gmt":"2018-02-20T23:50:30","guid":{"rendered":"https:\/\/writemyessayfree.com\/defining-the-action-genre"},"modified":"2017-08-16T07:01:16","modified_gmt":"2017-08-16T07:01:16","slug":"defining-the-action-genre","status":"publish","type":"post","link":"https:\/\/www.benedictsol.com\/blogs\/defining-the-action-genre\/","title":{"rendered":"Defining the Action Genre"},"content":{"rendered":"
\n

Action Literature<\/p>\n

Part 1: Defining the Action Genre<\/p>\n

Although in \u201cQuestions of Genre\u201d Neal argues that \u201celaborate definitions [of genres] always seem to throw up exceptions\u201d (p. 189), you will define \u201caction genre\u201d as a <\/p>\n

way to historically contextualize the work you are proposing for the film festival. Your definition will be shared with both film studies experts and action genre <\/p>\n

fans; keep the expectations of both of these audiences in mind as you craft your definition. <\/p>\n

In \u201cAction and Adventure as Genre\u201d Tasker claims \u201caction is not an interruption of cinematic story-telling, but part of it\u201d (p. 17) and although Selbo calls action a <\/p>\n

\u201cprescriptive genre\u201d (p. 230), she also argues that the elements of the action film must contribute to the construction of the story. Your definition for action genre <\/p>\n

will need to account for conventions of both story and style as well as social functions (Bordwell, Thompson\u2019s, & Smith Chapter 9). Some terms that might help you <\/p>\n

explore these three areas include: iconography, repetition & difference, semantic, syntactic, purpose, intended audience, and audience expectations.<\/p>\n

You definition of the action genre must include at least seven (7) characteristics\/criteria. Your characteristics\/criteria should reference specific film elements as <\/p>\n

discussed in Film Art Chapters 3, 4, 5, 6, and 7. You also should reference scholarly definitions and descriptions of the action genre (cite at least four (4) of the <\/p>\n

critics we have read so far this term). While defining your criteria, use evidence from films as examples of your criteria. You need to pull evidence twice (2) from <\/p>\n

each of the following: <\/p>\n

the J&H films you\u2019ve watched (the two pieces of evidence can be from only one or any number of the J&H films), <\/p>\n

your focused film, and <\/p>\n

one (or more) other \u201caction\u201d film(s) you have watched sometime previously (note: any of the other film suggestions could work for this). <\/p>\n

Put your definition in dialogue with at least four (4) of the following ten (10) texts. You might use one of these texts to support a <\/p>\n

description\/characteristic\/criteria or to argue against a specific interpretation of a concept or idea. These texts should help you to both figure out how to define a <\/p>\n

genre as what specific characteristics\/criteria to associate with action as a genre.<\/p>\n

Bordwell\u2019s, Thompson\u2019s, & Smith\u2019s chapter on Genre (Chapter 9 in Film Art)<\/p>\n

Selbo\u2019s Chapter 1, \u201cFilm Genre for the Screen,\u201d from Film Genre for the Screenwriter.<\/p>\n

Neal\u2019s \u201cQuestions of Genre\u201d (Chapter 14 on in Film Genre Reader IV).<\/p>\n

Tasker\u2019s Chapter 1, \u201cAction and Adventure as Genre,\u201d from The Hollywood Action and Adventure Film.<\/p>\n

O\u2019Brien\u2019s \u201cIntroduction\u201d from Action Movies.<\/p>\n

Wilcox\u2019s Descriptosaurus: Action & Adventure <\/p>\n

Altman\u2019s \u201cA Semantic\/Syntactic Approach to Film Genre\u201d (Chapter 3 on in Film Genre Reader IV).<\/p>\n

Williams\u2019 \u201cFilm Bodies: Gender, Genre, and Excess\u201d (Chapter 13 on in Film Genre Reader IV).<\/p>\n

Selbo\u2019s \u201cAction\u201d (pp. 229-248) in from Film Genre for the Screenwriter.<\/p>\n

Bordwell\u2019s \u201cAnatomy of an Action Picture.\u201d<\/p>\n

For Part 1, I\u2019m imagining you will have a 1-2 paragraph introduction, 7 \u201cbody\u201d paragraphs (one for each criteria and the discussion of the examples), and a conclusion. <\/p>\n

I can imagine shorter versions (where you group together criteria and examples under headings like story, style, and social functions); however, be careful, make sure <\/p>\n

they are still distinct criteria. You may find using subheadings helpful; however, they are not required (for example, you might group together \u201cnarrative\u201d versus <\/p>\n

\u201cformal\u201d criteria). <\/p>\n

You must use both in-text citations and include a works cited list for Part 1. <\/p>\n

Part 2: Action Festival Proposal<\/p>\n

In the proposal you will argue that your text and film pairing should be considered for the Action Adaptation Fiction & Film festival because the film meets the <\/p>\n

majority of your criteria defining the action genre. In short:<\/p>\n

What: the film you selected in your text\/film pairing;<\/p>\n

Why: because your film fits the definition of action as you articulated it in Part 1.<\/p>\n

In this argument you should primarily be using evidence from the film; however, it might be helpful to occasionally reference the alphabetic text. Your action festival <\/p>\n

proposal should be no longer than 1 page, single space. You only need to use in-text citations for Part 2. <\/p>\n

Alternate Part 2 Prompt: If you do not feel your selected novel and text pairing makes for a good proposal for this festival, pretend you are one of the committee <\/p>\n

members assessing proposals. You need to provide a justification for why the pairing does not fit with this festival. <\/p>\n

You will need to follow MLA citation style for your proposal (both in-text and full bibliographic citations for a Works Cited list at the end of the document). Please <\/p>\n

note that MLA recently published the 8th edition of the MLA Handbook; we\u2019ll be following those guidelines (If you are an English major, I highly suggest you purchase <\/p>\n

it. It\u2019s only 130 pages and a very quick read!). Use the following examples to help:<\/p>\n

In-text citations<\/p>\n

Textbook: I\u2019m assuming you\u2019ll only be using parenthetical citations to cite paraphrases and\/or direct quotes; use \u201c(Bordwell et al. ##)\u201d with \u201c##\u201d the place holder <\/p>\n

for page numbers.<\/p>\n

Film: <\/p>\n

If you are referencing the title of the film in the text, give the title in italics and year in parentheses: \u201cDr. Jekyll & Mr. Hyde (1920)\u201d<\/p>\n

If you are referencing, do a timestamp instead of page numbers within the parenthetical in-text citation: \u201c00.00.00\u201d for hours, minutes, and seconds. <\/p>\n

Note: MLA doesn\u2019t require timestamps; however, they are the equivalent of page numbers for texts like films, television episodes, songs, podcasts, etc. In <\/p>\n

this class you are required to reference specific sections of your film by using timestamps. <\/p>\n

If you are doing a complete parenthetical in-text citation, it will look something like (Dr. Jekyll & Mr. Hyde 1920, 00.00.00). <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Action Literature Part 1: Defining the Action Genre Although in \u201cQuestions of Genre\u201d Neal argues that \u201celaborate definitions [of genres] always seem to throw up exceptions\u201d (p. 189), you will define \u201caction genre\u201d as a way to historically contextualize the Read More …<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-37967","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts\/37967","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/comments?post=37967"}],"version-history":[{"count":0,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/posts\/37967\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/media?parent=37967"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/categories?post=37967"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.benedictsol.com\/blogs\/wp-json\/wp\/v2\/tags?post=37967"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}