Stu Presents, Genre Deconstruction In Film: A Crash Course!

Tools    





The concept of genre in film can be a comforting one, helping us to both prepare our expectations before we start a film, as well as to better process what we experience as we watch (so, say, we're not incredibly confused when characters suddenly stop talking and begin dancing and singing during a Musical). But, at the same time, it can also be extremely limiting, pressuring filmmakers to deliver certain clichés just because that's what the audience will expect from "that kind of movie", without attempting something more ambitious. However, that's where deconstructionist films come in, movies that take the conventions of popular, well-defined film genres, and rather than just reinforcing those conventions, instead choose to subvert them and flip them on their heads, stripping away the clichés Hollywood had built up over time in order to shine a harsh, interrogative light, and challenge our preconceived cinematic notions (and "deconstructing" them, in other words; for more background on this subject, download John G. Cawelti's essay on Generic Transformation In American Film).

And so, this project will be dedicated to exploring this topic, by featuring "case studies" of at least 10 films that represent deconstructions of their particular genres, with explanations of the larger genre's typical characteristics & historical backgrounds, how each individual film in question deconstructed those genres, and the larger overall impact they had on them, with the entries organized by release date (so the oldest ones go first) for simplicity's sake. At any rate, the basic idea's pretty self-explanatory stuff, and I think you guys have gotten the gist of it by now, so I'll go ahead and stop rambling with this introduction and get on with the show, so get ready for some deconstruction on the Movie Forums, guys!



2001: A Space Odyssey (Kubrick, '68)



Deconstructed genre: Science-Fiction

Background: While Sci-Fi movies existed in the form of isolated releases as early as the 1900's, as far as being a major, stand-alone genre of film (and not, for example, a pre-film serial made with props recycled from other movies), it wasn't until the combination of the Roswell "incident" and the beginning of the Atomic Age, and the renewed interest in aliens/science that they brought with them, that Science-Fiction film really coalesced in the 50's, with such significant releases as The Day The Earth Stood Still, War Of The Worlds, and Forbidden Planet helping to define it at the time. However, while those films created an iconic aesthetic for the genre, it's also a fairly dated one in retrospect, one that practically scream "THIS MOVIE WAS MADE IN THE 1950'S" at us, as a number of common elements ultimately relegated Sci-Fi to mostly be perceived as a "B" genre by critics, with often pulpy tones that were remnants of the Flash Gordon era, an odd tendency to reinforce traditional notions of religious-based belief/morality, like the point Klaatu makes in Day that only the "almighty spirit" has the true power of life or death (which kind of defeats the whole point of "Carpenter" being a Jesus allegory), as if the films are saying "Hey! We may be aliens or living in the future with ridiculously advanced technology, but we still believe in the same God as you!", and a grip on science that is laughably soft at times (my mind always goes back to the gag in the Mystery Science Theater Movie where an alien in This Island Earth tells a character to grab a rail because it's been magnetized, to which Mike responds "And if your hands were made of metal, that would mean something!"):



Anyway, following this rush of productions and the advent of the Space Race in the late part of the decade, an event which rendered these films' depictions of space travel even more inaccurate than they were already, the genre lay mostly dormant (at least as far as major Hollywood releases), that is, until the film in question here changed everything.

How 2001 deconstructs it: By taking the genre, stripping away all of the camp that had characterized it beforehand, and replacing it with a sense of class that it had rarely been gifted with before on the silver screen, right from its iconic, "Thus Spake Zarathustra"-scored opening shot, with its Classical soundtrack (as opposed to more theremins) providing the perfect musical accompaniment to the grandiose interstellar ballets it portrays, which are captured with the most realistic special effects, the most meticulous production design, and as much pain-staking attention to scientific accuracy as possible, with the noise-less vacuum of space and agonizingly slow pace of the spacecraft combining to create a state of cinematic hypnosis within us, ensuring that, even though it was released just the year before Apollo 11 took mankind farther than it had ever been before, 2001's depiction of space, technology and its overall vision of the future still feels far, FAR ahead of its time, and not dated by even a little bit, even over 50 years later.

2001 further distinguishes itself from previous Sci-Fi films by forgoing the overly talky, exposition-heavy, wonder-sapping scripts that often characterized the genre beforehand, instead, choosing a far more visually-based, "show, don't tell" style of storytelling that lets us soak in its wondrous sights for ourselves and draw our own conclusions from them. This leads me to the most striking way that 2001 differed from old-school Sci-Fi, with its more cerebral take on the genre, which previously had a more action/adventure-oriented bend to it, as opposed to 2001's more thoughtful, contemplative mood, especially with its depiction of an alien species that, instead of a paranoid, Cold War-era portrayal as being unceasingly hostile to mankind in one way or another, the ones in 2001 instead seek to help us, in order for us to reach the next step in our evolution, even though we never actually see the aliens in the film, an absolutely brilliant decision, since not only does it convey how far beyond our comprehension they are, but it also keeps the film from having to visually conceptualize creatures that could never measure up to the feverish imagery our imaginations would naturally conjure up anyway (which, for the purposes of the film, beats a stuntman in a rubber suit any day).

Impact on the genre: 2001's transformation of Sci-Fi into a genre that even the critics could take seriously lead to a revitalization of it in the following decade, from Kubrick's own Clockwork Orange, to other classics like Close Encounters and Alien, all the way to such modern “prestige” works such as Arrival, and, even though it placed a far greater emphasis on the Fiction than the Science, one can't help but wonder if 20th Century Fox would've taken such a big gamble on making Star Wars if it hadn't been for 2001 helping to pave the way for it beforehand. At any rate, the sense of cinematic respect that 2001 earned for Sci-Fi still hasn't worn off of it, and even over half a century since the film's release, its lasting influence on the genre can still be felt even today, and will probably continue to be felt for as long as Sci-Fi exists, even all the way beyond the infinite.



...not much interest in this project here, as far as inspiring any sort of discussion, huh?



Victim of The Night
I am assuming your entry on Return To Horror High will be the piece de resistance.



Victim of The Night
And I definitely have interest. It's a good thread. I will be following.



I think this is an interesting thread and I'll definitely be reading it. I also liked the "Stu Presents" threads you made back at Corrie. They were well-written and informative.
__________________
IMDb
Letterboxd



And I definitely have interest. It's a good thread. I will be following.
Thanks Wooley (and Pops)! Unfortunately, my research on/writing for the next entry here is currently being delayed by me having to engage in this pointless debate over on Match Cut, but rest assured, I'll have the next one done as soon as I can!



Cabaret (Fosse, '72)



Deconstructed Genre: Musical

Historical Background: The Musical was born as a natural way to demonstrate the defining technological development in cinema of the early 20th century, that being the introduction of sound itself, before helping to showcase the rise of color film later, which is a bit ironic since, as the medium grew closer to reality on a sensory level, the fundamental nature of Musicals meant that they often functioned as an escape from that reality in one way or another, offering audiences brief respites from the back-to-back hardships of The Great Depression and World War II, before joining forces with the Historical Epic, another spectacle-heavy genre, to become one of the most dominant styles of film throughout most of the 50's and 60's. However, by the end of the latter decade, the good ol' days of the genre were coming to an end, as a string of financial failures such as Doctor Dolittle, Paint Your Wagon, and Hello Dolly! combined with the cinematic revolution of the New Hollywood movement to make the genre seem hopelessly dated, and it seemed as though the Musical was on its way to the grave, not only in the traditional style that Hollywood was known for, but in any other way, shape, or form for that matter.

How Cabaret Deconstructs It: However, through the direction of Bob Fosse (because who better to deconstruct a genre than someone who helped define it in the first place?) Cabaret helped adapt the genre to the more cynical, disillusioned spirit of American film in the 70's, primarily by taking the defining trait of the Musical (that being the music, of course), and forgoing the accompaniment of any grand, invisible orchestras, instead, choosing to go with an entirely diegetic score, provided by the comparatively small, meager band of the KitKat Club, which in turn provides an on-screen justification for the song-and-dance numbers, instead of having its characters interrupting their spoken dialogue to randomly break out into pre-written tunes, which, while not inherently a negative trait of Musicals, still required a certain suspension of disbelief on our part, a suspension that Cabaret forgoes. Besides that distinction, while previous Musicals often displayed more elaborate scenery as a way of showcasing the greater possibilities of film when compared to the genre's stage roots, every single musical number in Cabaret (with the exception of the notorious "Tomorrow Belongs To Me") takes place on an actual stage, no color-drenched sets or on-location shoots on majestic hilltops in sight, with many of the scenes outside the Club taking place in humble, dingy apartments, adding a layer of urban grit, and further helping to keep the film as close to real life as possible

Finally, Cabaret distinguishes itself from previous Musicals through its overall tone, which contrasts the generally upbeat, feel-good spirit that characterized the genre in favor of a colder, harsher reality, as the central romance ultimately ends in heartbreak, and the film takes advantage of the abolishment of the Hays Code to include more mature content, including a bisexual protagonist, an abortion featured as a significant plot point, and an overall brutally honest look at the rise of Nazism and anti-Semitism in Germany during the early 30's (including a scene where a Jewish woman's dog is killed and dumped on her doorstep by a bunch of goons). And, while Michael York is fortunate enough to leave Germany before the "stuff" really hits the fan, instead of focusing on his escape in order to strike a triumphant note at the end (as The Sound Of Music did with the von Trapp family less than a decade prior), Cabaret instead concludes with a mirror-distorted shot of the KitKat Club's audience being dominated by swastika-wearing Nazi punks, which serves as a cold splash of water on us as viewers, and a reminder that things are about to get much, MUCH worse for the people left behind.

Impact On The Genre: While it didn't quite lead to a new Golden Age for the Hollywood Musical, Cabaret still helped pave the way for other subversive, non-traditional entries in the genre like Tommy, The Rocky Horror Picture Show, and Fosse's own All That Jazz, leaving behind a legacy that can still be felt in the genre even nearly half a century later, and, while the Musical generally hasn't been dominant like it was during its heyday (save for the revival of the animated side of the genre during the Disney Renaissance), it's still remained stubbornly viable to one extent or another, both financially and as an awards season darling, all the way up to the present day (although I think the sooner everyone forgets all about the Cats movie, the better).



I watched this one for the first time a couple days ago (I might start watching some films from the MoFo top 100 since my college semester is about done), and I really loved it. As you say, it isn't a traditional musical as the "breaking out into song" element is replaced by a diegetic soundtrack. While some other musicals have featured this, what set this film apart for me was that the songs all had an either subtle or direct connection with the onscreen events. "Two Ladies", for example, corresponded with Brian and Sally meeting Max (of course though, the genders would have to be reversed). This made Fosse's film feel like a traditional musical without actually being one. Coupled with the occasional dream-like framings of Master of Ceremonies, I was really impressed by the musical numbers. The occasional scenes of the Nazis implied Germany would soon experience immense suffering. Beyond that though, the implications this had for the characters got under my skin. It was clear there wouldn't be a happy ending for any of them, neither for Brian, who may be drafted into the war, Sally, who chose to remain in Germany, nor Fritz and Natalia, the Jewish couple who got married (Fritz put his life at risk by marrying Natalia since that may reveal him as Jewish). With my first viewing, I liked this film a decent bit. When I rewatched it the next day though, it blew me away. I wonder how it would fare with a third viewing.

Btw, have you seen All That Jazz? It's the only other Fosse I've seen, and it's one of my all-time favorites. Sadly, it just missed out on my top 25 (it's in my top 30), but if you haven't seen it, I highly recommend checking it out.



Great analysis of 2001! I've loved science-fiction since I was a kid, and when I finally got to see it around age 11 or 12, I didn't "get" it (then again, I don't think my age put me in the so called "target demo", to be honest). However, after a few more viewings, seeing the sequel, reading more reviews, and (finally) reading the book, it all came together for me!



I watched this one for the first time a couple days ago (I might start watching some films from the MoFo top 100 since my college semester is about done), and I really loved it. As you say, it isn't a traditional musical as the "breaking out into song" element is replaced by a diegetic soundtrack. While some other musicals have featured this, what set this film apart for me was that the songs all had an either subtle or direct connection with the onscreen events. "Two Ladies", for example, corresponded with Brian and Sally meeting Max (of course though, the genders would have to be reversed). This made Fosse's film feel like a traditional musical without actually being one. Coupled with the occasional dream-like framings of Master of Ceremonies, I was really impressed by the musical numbers. The occasional scenes of the Nazis implied Germany would soon experience immense suffering. Beyond that though, the implications this had for the characters got under my skin. It was clear there wouldn't be a happy ending for any of them, neither for Brian, who may be drafted into the war, Sally, who chose to remain in Germany, nor Fritz and Natalia, the Jewish couple who got married (Fritz put his life at risk by marrying Natalia since that may reveal him as Jewish). With my first viewing, I liked this film a decent bit. When I rewatched it the next day though, it blew me away. I wonder how it would fare with a third viewing.

Btw, have you seen All That Jazz? It's the only other Fosse I've seen, and it's one of my all-time favorites. Sadly, it just missed out on my top 25 (it's in my top 30), but if you haven't seen it, I highly recommend checking it out.
Never seen All That Jazz, but I have heard a lot about it, and I'd love to check it out sometime and see how it compares to Cabaret, so thanks for the rec!
Great analysis of 2001! I've loved science-fiction since I was a kid, and when I finally got to see it around age 11 or 12, I didn't "get" it (then again, I don't think my age put me in the so called "target demo", to be honest). However, after a few more viewings, seeing the sequel, reading more reviews, and (finally) reading the book, it all came together for me!
Thanks, Metal! I was 16 when I first watched 2001, so I guess my taste was a bit better "equipped" to enjoy it than if I had been a pre-teen, but, although I didn't fully "get" it the first time either (in the sense that I didn't 100% understand what was going on in the story), it still became an instant favorite of mine anyway due to the overwhelming sensory experience the film offered, and since then, as I've delved more into the deeper meanings of Odyssey, it's only gotten even better over the decades, which is what you want to happen with every great movie, y'know?



28 days...6 hours...42 minutes...12 seconds
I watched 2001 once many years ago and found it to be a bore. I think it is one of the most overrated films I've ever seen.

So I need to give it another chance, but do we need 20 minutes of apes and another ten of someone's eye changing colour?
__________________
"A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have."

Suspect's Reviews



I watched 2001 once many years ago and found it to be a bore. I think it is one of the most overrated films I've ever seen.

So I need to give it another chance, but do we need 20 minutes of apes and another ten of someone's eye changing colour?
I think highly of 2001, but I agree with you about the over long 20 minute ape sequence. Gosh that goes on forever! I always wished Kubrick had edited that down and then expanded on the moon scene where they find the obelisk. The time spent on the moon is very short.



When I first watched 2001, the first act dragged quite a bit for me. However, I've warmed up to it quite a bit over the years and I now think it's pretty spectacular. In addition to the sensory power of certain scenes in that sequence (the monolith, the ape discovering the first tool, or the match cut from the bone to the satellite), I love how it can feel both simultaneously avant-garde and narrative driven at the same time. In my opinion, 2001 didn't have to be any shorter than it was.



Watched 2001 for the 2nd time in theaters in Imax. Then a 3rd when I got the 4K Blu. I’d waited so long for rewatches because I thought it couldn’t live up to my teenage memories. It does and did.

Criticism of “boring” or “slow” is perhaps the most boring cliche in all of cinematic criticism when applied to any film and it becomes doubly so when it is applied to this one.



I somehow missed this thread. Love the idea, and I agree with your points on 2001. I haven't seen Cabaret, so I didn't read it; don't know how spoilerific is your analysis, but I probably wouldn't have much to add anyway.

Although I'm far from having a big picture, having seen only a bunch of films from the 50s and 60s era, but one can see that threshold you mention where 2001 separates itself from other sci-fi. But I also think the film is such a unique case in how it separates itself from *any* film, regardless of the genre. I mean, what other film could you say has a timeline of over a million(?) years, hardly one or two "main" characters that appear 20-30 minutes in, while sandwiched between chunks of non-verbal sequences? And that's just to name a few of the notable traits of the film that make it unique. The only one I can think of prior is Things to Come, and since, only Tree of Life and A Ghost Story come to mind, which are not necessarily sci-fi. So, yeah, I agree with your point, but I'll elevate it x100 to how it pertains to film in general.
__________________
Check out my podcast: The Movie Loot!



I think highly of 2001, but I agree with you about the over long 20 minute ape sequence. Gosh that goes on forever! I always wished Kubrick had edited that down and then expanded on the moon scene where they find the obelisk. The time spent on the moon is very short.
I never got antsy at all with either the pacing or the length of the "Dawn Of Man" sequence, not even during my first viewing when I had no idea what was going on, as I was just too busy being intrigued by what it could all mean, but I do feel that the laser light show in "Jupiter And Beyond The Infinite" should've been cut in at least half, if not moreso; maybe Kubrick could've used the time he save there to expand on the sequences on the moon, like you said? It certainly would've been a better use of the film's time. Still, besides that, it's still pretty much a perfect film on the whole, if you ask me.



I love going against the tropes. Whenever I write a novel I try as much as possible.
Wait, you're a novelist?



I somehow missed this thread. Love the idea, and I agree with your points on 2001. I haven't seen Cabaret, so I didn't read it; don't know how spoilerific is your analysis, but I probably wouldn't have much to add anyway.

Although I'm far from having a big picture, having seen only a bunch of films from the 50s and 60s era, but one can see that threshold you mention where 2001 separates itself from other sci-fi. But I also think the film is such a unique case in how it separates itself from *any* film, regardless of the genre. I mean, what other film could you say has a timeline of over a million(?) years, hardly one or two "main" characters that appear 20-30 minutes in, while sandwiched between chunks of non-verbal sequences? And that's just to name a few of the notable traits of the film that make it unique. The only one I can think of prior is Things to Come, and since, only Tree of Life and A Ghost Story come to mind, which are not necessarily sci-fi. So, yeah, I agree with your point, but I'll elevate it x100 to how it pertains to film in general.
Well, there is at least one undeniable plot "spoiler" in my write-up for Cabaret, but it's not really a film whose success hinges on whether or not the story gets spoiled for you or not (it's not some twist-y, Sixth Sense-style movie in other words), so I wouldn't worry too much about that, so I say go ahead and read/reply to it if you feel like it. As for 2001, it's certainly unique in the way that it's both an incredibly one-of-a-kind film, especially if you whittle things down to just Sci-Fi (and especially if you compare it to any major Hollywood Sci-Fi that had come out up to that point), but at the same time, you can still feel its influence all over the genre ever since, and I have to wonder if something like Arrival would have come out in recent years if it hadn't been for 2001 helping to give Sci-Fi a new level of prestige as a genre.