Genre

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Genre

ELEMENTS OF GENRE
THE CLASSIC STUDIO SYSTEM
MYTH AND HISTORY
GENDER AND RACE
NATIONAL CINEMA AND GENRE
FURTHER READING

Genres are categories of kinds or types of artistic or cultural artifacts with certain elements in common. In film, common generic elements include subject matter, theme, narrative and stylistic conventions, character types, plots, and iconography. In film studies, the term serves simultaneously as: (1) An industrial approach, in which production, especially during the Hollywood studio era (1920s–1950s), is standardized, and marketing is geared toward concept labeling and packaging; (2) A consumer index, providing audiences with a sense of the kind of pleasures to be expected from a given film; and (3) A critical concept, a tool for theorizing relations between films and groups of films and for understanding the complex relationship between popular cinema and popular culture, and for mapping out a taxonomy of popular film.

Genres preceded cinema but were fundamental to it. The western, for example, was already established in literature before the invention of film, while the musical took much from preexisting theatrical forms. Classical literary theory distinguished differences between literature and popular writing and assumed judgments based on underlying assumptions of aesthetic value. Popular art, including film, is formulaic, and it has often been similarly criticized for lacking originality. However, genre theorist John Cawelti suggests that all art be thought of as existing on a continuum between invention and convention—a perspective that allows for a greater appreciation and understanding of genre texts and how they work.

Because genre movies are collaborative efforts that require the work of many individuals, they have been commonly understood as particularly good barometers of cultural attitudes, values, and trends. This is true not only of individual genre movies, but also of the changing patterns and popularity of different genres and of the shifting relationships between them. For whether they are set in the past or in the future, on the mean streets of contemporary New York City or long ago in a galaxy far away, genre movies always are about the time and place in which they are made.

ELEMENTS OF GENRE

Fundamental to defining any genre is the question of corpus, of what films in fact constitute its history. In Theories of Film (1974), Andrew Tudor identifies a major problem of genre definition, which he terms "the empiricist dilemma," whereby a group of films are preselected for generic analysis to determine their common elements, although their common elements should be identified only after they have been analyzed. Tudor's pragmatic solution to this problem of definition is to rely on what he calls a "common cultural consensus," that is, to analyze works that almost everyone would agree belong to a particular genre and generalize out from there. This method is acceptable, he concludes, because "Genre is what we collectively believe it to be" (p. 139).

Nevertheless, while various genres have been established by common cultural consensus, a further problem is that different genres are designated according to different criteria. Such genres as the crime film, science fiction, and the western are defined by setting and narrative content. However, horror, pornography, and comedy are defined or conceived around the intended emotional affect of the film upon the viewer. Linda Williams has referred to horror, melodrama, and pornography as "body genres" because of the strong physical response—fear, tears, and sexual arousal, respectively—elicited by each. The extent to which films of these genres produce the intended response in viewers is commonly used as a determining factor in judging how good they are. Ultimately, whatever criteria one uses to establish a genre should allow for a productive discussion of the stylistic and thematic similarities among a group of films, and definitions should be flexible enough to allow for change.

In any art form or medium, conventions are frequently used stylistic techniques or narrative devices typical of (but not necessarily unique to) particular generic traditions. Bits of dialogue, musical figures, or styles and patterns of mise-en-scène are all aspects of movies that, repeated from film to film within a genre, become established as conventions. Conventions function as an implied agreement between makers and consumers to accept certain artificialities in specific contexts. In musicals the narrative halts for the production numbers, wherein characters break into song and dance; often the characters perform for the camera (rather than for an audience within the film) and are accompanied by off-screen music that seems suddenly to materialize from nowhere. Conventions also include aspects of style associated with particular genres. For example, melodrama is characterized by an excessively stylized mise-en-scène, while film noir commonly employs low-key lighting. Mainstream cinema also features numerous aural conventions on the soundtrack involving dialogue, music, and sound effects. Film scoring in all genres typically features Wagnerian leitmotifs associated with particular characters or places and is commonly used to enhance a desired emotional effect in support of the story. Different types of musical accompaniment are conventional in particular genres: sweeping strings are often used in romantic melodramas, for example, while electronic music or the there min is used in science fiction for its futuristic connotations.

The familiarity of conventions allows both for parody and subversive potential. Parody is possible only when conventions are known to audiences. Much of the humor of Mel Brooks's (b. 1926) parodies depends upon viewers being familiar with specific genre films. In Young Frankenstein (1974), for example, when the monster and the little girl he meets have tossed all their flowers in the lake and she innocently asks what to throw in now, the monster looks at the camera, as if to ask the viewer to remember that in the original Frankenstein (1931) he stupidly drowned the girl, thinking she too would float. As well, conventions also can be used by filmmakers for disturbing purposes precisely because viewers expect them. George Romero (b. 1940) undermines numerous conventions of the classic horror film in Night of the Living Dead (1968), which is one of the main reasons the film had such a powerful effect on audiences when first released.

The setting, the space and time when and where a film's story takes place, is more a defining quality of some genres than of others. Musicals, for instance, can take place anywhere, from the actual docks and streets of New York City in On the Town (1949) and West Side Story (1961) to the supernatural village in Brigadoon (1954). Romantic comedies and dramas, like some science fiction, may span different eras, as in Somewhere in Time (1980) and Kate and Leopold (2001). Horror movies often use isolated and rural settings and old dark houses with mysterious basements for psychological effect, but films such as Rosemary's Baby (1968) and Dark Water (2005) work by violating convention and setting their stories in contemporary and familiar locales rather than in exoticized foreign spaces like Transylvania. By contrast, the western by definition is temporally restricted to the period of the Wild West (approximately from 1865 to 1890) and geographically to the American frontier (broadly, between the Mississippi River and the west coast). Movies that change this setting to the present, such as Lonely are the Brave (1962) and Hud (1963) or "easterns" like Drums along the Mohawk (1939) and The Last of the Mohicans (1936, 1992), are considered exceptions to the norm; they are westerns for some viewers but not for others. Yet movies such as Coogan's Bluff (1968) and Crocodile Dundee II (1988), which import elements of the western into the contemporary urban East, are generally not thought of as westerns.

Character types are also important to genre films. Discussing characters in literature, novelist E. M. Forster distinguished two kinds of fictional characters: flat and round. Flat characters, which also may be "types" or "caricatures," are built around one idea or quality; it is only as other attributes (that is, "depth") are added that characters begin "to curve toward the round" (Aspects of the Novel, p. 67). In genre movies, characters are more often recognizable types rather than psychologically complex characters, as with black hats and white hats in the western, although they can be rounded as well. The femme fatale is a conventional character in film noir, like the comic sidekick, the schoolmarm, and the gunfighter in the western. Ethnic characters are often stereotyped as flat characters in genre movies: the Italian mobster, the black drug dealer, the Arab terrorist, the cross-section of soldiers in the war film's platoon. Flat characters are usually considered a failure in works that aspire to originality, but in genre works, flat characters are not necessarily a flaw because of their shorthand efficiency. In genre movies, character types often provide similar kinds of actions and purposes within the story.

EDWARD G. ROBINSON
b. Emmanuel Goldenberg, Bucharest, Romania, 12 December 1893, d. 26 January 1973

Of short stature and lacking the conventional handsome look of leading men, Edward G. Robinson nevertheless was one of the great male stars of the studio era. Along with James Cagney and Humphrey Bogart, he defined Hollywood's image of the tough guy for Depression-era audiences. Beginning his acting career in the theater, Robinson made his film debut in 1923 at age thirty in The Bright Shawl (1923). He became famous in 1931 in the archetypal gangster film Little Caesar, portraying the criminal Enrico Caesar Bandello, a hoodlum who rises to the top and then makes his inevitable fall.

With the success of Little Caesar, Robinson went on to play a string of criminal characters in a series of Warner Bros. films through the 1930s. Robinson sought to escape genre typecasting and expand his range, playing such roles as the title character in the biopic Dr. Erlich's Magic Bullet (1940), about the nineteenth-century scientist who developed a cure for syphilis, and the steadfast and paternal insurance agent Barton Keyes in the classic film noir, Double Indemnity (1944). However, a number of these subsequent roles clearly depended on Robinson's established gangster persona, such as the gruff ship's captain Larson in the adventure film The Sea Wolf (1941) and the cruel Dathan in The Ten Commandments (1956).

In John Ford's The Whole Town's Talking (1935), Robinson played a dual role as a gangster boss and a meek, law-abiding citizen, at once providing the pleasure of his established image as a criminal and exploiting his star appeal by making him a sympathetic protagonist with whom the audience could comfortably identify. Similarly, in Fritz Lang's masterful film noir Scarlet Street (1945), Robinson plays a mild-mannered clerk and henpecked husband who is driven to robbery, adultery, and finally murder. The film periodically references Robinson's gangster persona, as in the opening dinner party scene, which initially looks like a similar scene in Little Caesar; but it then reveals his character, Christopher Cross, as a shy and repressed cashier who handles other people's money. Only later does he become a criminal, ironically making the initial mistaken impression, based on genre expectations, in fact true.

In the 1950s Robinson experienced a difficult divorce that forced him to sell much of his prized art collection. He was also called to testify before the House Un-American Activities Committee but was ultimately exonerated of Communist Party affiliation. Despite these troubles, he continued to make credible crime dramas throughout the decade. His subsequent career was irregular, but his final appearance in the science-fiction film Soylent Green (1973) allowed him to die onscreen in a fitting finale to one of Hollywood's most distinguished careers.

RECOMMENDED VIEWING

Little Caesar (1931), The Whole Town's Talking (1935), Bullets or Ballots (1936), Confessions of a Nazi Spy (1939), Brother Orchid (1940), The Sea Wolf (1941), Double Indemnity (1944), The Woman in the Window (1945), Scarlet Street (1945), Key Largo (1948), The Cincinnati Kid (1965), Soylent Green (1973)

THE CLASSIC STUDIO SYSTEM

For decades Hollywood produced appealing fantasies in an industrial context. Regularized film exhibition developed as a result of the popularity and rapid growth of nickelodeons, the first venues devoted exclusively to cinema exhibition. The steady demand for new films made year-round production schedules necessary and provided the impetus for the development of a factory-based (Fordist) mode of production. In the studio era, all members of cast and crew were workers under contract to the studio, and the different kinds of work—editing, music, script, and so on—were divided into departments.

Within this industrial context, genre movies are dependable products, assembly line products with interchangeable parts. The James Bond series has continued because of the formula—lots of action, fancy gadgets, beautiful women, and colorful villains—despite the changes in directors, writers, and even the actors playing Bond himself. Individual genre films may lift elements from one genre and put them into another, as The Band Wagon (1953) incorporates film noir and the detective film into the climactic ballet, "The Girl Hunt." Hybrid genre movies like Abbott and Costello Meet Frankenstein (1948) and Billy the Kid versus Dracula (1966) mix elements from seemingly disparate genres. More recently, movies like Freddy vs. Jason (2003) and Alien vs. Predator (2004), both of which are simultaneously hybrids and sequels, show the same process at work despite the end of the studio era. But hybridity has always been characteristic of genre films. Stagecoach (1939), one of the most famous and important westerns ever made, was described as a "Grand Hotel on wheels" on its release, and it also contains elements of the road movie and disaster film as well. Movies such as The Thing (1951), Alien (1979), and the movie on which it was in part based, It, The Terror from Beyond Space (1958), all combine elements of science fiction and horror, visually turning spaceships and laboratories into the equivalent of haunted houses.

Genre filmmaking thus developed quickly, with producers seeking maximum acceptance at the box office through the repetition and variation of commercially successful formulas. The formulaic qualities of genre films meant that studios could turn them out quickly, and audiences could understand them just as quickly. Genre movies allow for an economy of expression through conventions and iconography. This system of signification, developed over time and with repetition, served well the fast pace of classic narration in films intended to be shown as part of a double feature.

In the studio era, directors were employees, like the other members of a film's cast and crew. Even those few directors who wielded some degree of clout in Hollywood, like Frank Capra (1897–1991) and Alfred Hitchcock (1899–1980), had to work within the parameters of the producing studio's dominant style or genre. Directors, like actors and electricians, rarely had the right to final cut. Yet while some directors floundered against the pressures of the studio system, many in fact flourished, using the rules of genre as convenience rather than constraint, as guidelines from which to deviate or deepen rather than as blueprints to follow. By providing the received framework of genre, Hollywood gave film-makers a flexible tradition within which to work. Some directors developed their vision within particular genres, such as Sam Fuller (1912–1997) with the war film, John Ford (1894–1973) with the western, and Douglas Sirk (1897–1987) with the melodrama. The auteur approach provided a way of looking at directors' style foregrounded against the background of genre.

Despite its constraints, the studio system provided a stable context for filmmakers to work with consistency and to be expressive. As Robin Wood notes in Howard Hawks (1968), Hollywood is one of the few historical instances of a true communal art, "a great creative workshop, comparable to Elizabethan London or the Vienna of Mozart, where hundreds of talents have come together to evolve a common language" (p. 9). The justly famous opening scene of Rio Bravo (Howard Hawks, 1959) tells us almost everything we need to know about the heroes played by John Wayne and Dean Martin (1917–1995) well before the first word of dialogue is spoken. Director Hawks (1896–1977) uses the conventions of the western to express his sense of professionalism, heroism, and self-respect, which would not have been possible without the established conventions of the genre as his raw material.

MYTH AND HISTORY

Traditionally, the word "myth" refers to a society's shared stories, usually involving Gods and mythic heroes, that explain the nature of the universe and the relation of the individual to it. Such mythic narratives embody and express a society's rituals, institutions, and values. In the twentieth century, genre films, with their repetitions and variations of a few basic plots, were our mass-mediated mythic tales. Comparable to myths, genre movies may be understood as secular stories that seek to address and sometimes seemingly resolve our problems and dilemmas, some specifically historical and others more deeply rooted in our collective psyches. Structural anthropologist Claude Lévi-Strauss (b. 1908) claimed that all cultural myths are structured according to binary pairs of opposite terms. This approach is inviting for the analysis of genre films, which tend to work by reducing complex conflicts to the equivalent of black hats versus white hats. In his influential 1970 study of the western, Horizons West, Jim Kitses maps out a series of clear binary oppositions that are all variations of the conflict between wilderness and civilization.

Genre movies are always about the time in which they are made, not set, for entertainment inevitably contains, reflects, and promulgates ideology. It is in this sense of entertainment as ideology that Roland Barthes (1915–1980) conceives of myth. For Barthes, cultural myths endorse the dominant values of the society that produces them as right and natural, while marginalizing and delegitimizing others. In genre movies, as Barthes says of cultural myth generally, the Other becomes monstrous, as in horror films, or exoticized, as in adventure films. In westerns, for example, Indians are either demonized as heathen savages or romanticized as noble savages, but they are rarely treated as rounded characters with their own culture.

From this perspective, genre movies tend to be read as ritualized endorsements of dominant ideology. So the western is not really about a specific period in American history, but the story of Manifest Destiny and the "winning" of the West. The genre thus offers a series of mythic endorsements of American individualism, colonialism, and racism, as well as a justification of westward expansion. The civilization that is advancing into the "wilderness" (itself a mythic term suggesting that no culture existed there until Anglo-American society) is always bourgeois white American society. Similarly, the monstrous Other in horror films tends to be anything that threatens the status quo, while the musical and romantic comedy celebrate heteronormative values through their valorization of the romantic couple.

Still, the complex relation of genre movies to ideology is a matter of debate. On the one hand, genre films are mass-produced fantasies of a culture industry that manipulate us into a false consciousness. From this perspective, their reliance on convention and simplistic plots distract us from awareness of the actual social problems in the real world. Yet it is also true that the existence of highly conventional forms allows for the subtle play of irony, parody, and appropriation. Popular culture does tend to adhere to dominant ideology, although this is not always the case. Many horror films, melodramas, and film noirs, among others, have been shown to question if not subvert accepted values. Pam Cook takes a similar view of B movies and exploitation films, arguing that their production values, less sophisticated than those of mainstream Hollywood movies, are more readily perceived by viewers as representations.

Genre movies take such social debates and tensions and cast them into formulaic narratives, condensing them into dramatic conflicts between individual characters and society or heroes and villains. Thomas Schatz observes that "All film genres treat some form of threat—violent or otherwise—to the social order" (Schatz, p. 26). The gangster, the monster, the heroine of screwball comedy all threaten normative society in different ways. Some genre theorists argue that the overriding theme of genre films is some version of the individual in conflict with society, and that this tension represents the ongoing negotiation we all make between desire and restraint (what Freud called "civilization and its discontents"). The extent to which a genre film achieves narrative closure is an important factor in reading its political implications. Closure, usually in the form of an upbeat or happy ending, is—like all conventions—artificial, since life, unlike such stories, continues. For this reason, a lack of closure, suggesting that the lives of the characters carry on after the film ends, is associated more with realist films like La Grande illusion (Grand Illusion, 1937) and Ladri di biciclette (Bicycle Thieves, 1948) than with genre movies. Because films with closure leave the viewer with no unanswered questions about the fate of the major characters or the consequences of their actions, they are viewed as providing tidy but unrealistic solutions to real problems. Yet while closure may be provided by a film, it can be ironic, thus undercutting its own pretense at resolution, as some have argued about the psychiatrist's explanation for Norman as an aberrant "case" at the end of Psycho (1960).

Genres are neither static nor fixed; they undergo change over time, each new film and cycle adding to the tradition and modifying it. Some critics describe these changes as evolution, others as development, but both terms carry evaluative connotations. Some genre critics accept a general pattern of change that moves from some early formative stage through a classical period of archetypal expression to a more intellectual phase in which conventions are examined and questioned rather than merely presented, and finally to an ironic, self-conscious mode typically expressed by parody. However, generic phases do not fall into convenient chronological and progressive periods, but often overlap significantly. For some, the western evolved from the supposed classicism of Stagecoach to the end of the intellectual trail with The Wild Bunch just thirty years later and then to Brooks's Blazing Saddles (1974), marking the end of the classic western and the beginning of the parody or baroque phase. But the western was already parodied even before this intellectual period in such films as Buster Keaton's Go West (1925), Destry Rides Again (1932, 1939), and the Marx Brothers's Go West (1940). Tag Gallagher argues that there is no evidence that film genres evolve toward greater embellishment and elaboration; he cites, for example, the scene in Rio Bravo where a wounded villain's hiding place on the upper floor of the saloon is revealed by blood dripping down, but he points out that the same device was used by John Ford in The Scarlet Drop (1918) decades earlier and even then dismissed by critics as "old hat." Gallagher insists instead that even "a superficial glance at film history suggests cyclicism rather than evolution" (Gallagher in Grant, Film Genre Reader III, pp. 266–268).

In the 1970s, as Cawelti notes, there were particularly profound changes in American genre movies. Aware of themselves as myth, genre movies of the period responded in four ways: humorous burlesque, nostalgia, demythologization, and reaffirmation. This development was the result in part of the demise of the Hays Office in 1967 and the continuing breakup of the traditional studio system, allowing directors greater freedom in a more disillusioned and cynical era. Films like Francis Ford Coppola's (b. 1939) The Godfather (1972) and Apocalypse Now (1979); Martin Scorsese's (b. 1942) Mean Streets (1973) and New York, New York (1977); Robert Altman's (b. 1925) McCabe and Mrs. Miller, The Long Goodbye (1973), and Nashville (1975); and Brian de Palma's (b. 1940) Sisters (1973), Phantom of the Paradise (1974), and Obsession (1976) were genre movies by directors who had grown up watching genre movies on television and studying them in academic film programs. With a more contemporary sensibility, these filmmakers inevitably made genre films that were burdened by an awareness of generic myth. For Cawelti, the changes in the period's genre films were so profound that he wondered whether the traditional film genres had exhausted themselves and hypothesized that "the cultural myths they once embodied are no longer fully adequate to the imaginative needs of our time" (Cawelti in Grant, Film Genre Reader III, p. 260).

GENDER AND RACE

Among their conventions, genre movies feature standard ways of representing gender, class, race, and ethnicity. Into the 1980s, genres and genre movies remained almost exclusively the cultural property of a white male consciousness, the center from which any difference regarding race, gender, and sexuality was defined and marginalized. In all the action genres, it was white men who performed heroic deeds and drove the narrative. In every type of action film, women and visible minorities assumed subsidiary and stereotyped roles, serving such narrative functions as helper or comic sidekick for the heroic white male. The hypothetical viewer of Hollywood genre movies traditionally was, like almost all of the filmmakers who made the movies, white, male, and heterosexual. This white masculine perspective was an inextricable part of the genre system, which was built on certain gendered assumptions. Generally, the action genres—adventure, war, gangster, detective, horror, science fiction, and of course, the western—were addressed to a male audience, while musicals and romantic melodramas (also known as "weepies") were marketed as "woman's films." This distinction bespeaks wider patriarchal assumptions about gender difference in the real world.

JOHN CARPENTER
b. Carthage, New York, 16 January 1948

John Carpenter is known primarily for his slick action sequences, which have established him as one of Hollywood's most skillful directors of violence and suspense. Working mostly in the horror and science fiction genres, Carpenter also works on the scripts, special effects photography, and electronic music scores for his films.

While a graduate student in film at the University of Southern California, Carpenter made several short films, including The Resurrection of Bronco Billy, which won an Academy Award^® for Best Short Film in 1970, and, with classmate Dan O'Bannon, Dark Star, which he expanded into his first feature in 1974. Shot on a minuscule budget, Dark Star offers a blackly comic view of men in space overwhelmed by technology. Carpenter's follow-up, Assault on Precinct 13 (1976), an audacious blend of Howard Hawks's western Rio Bravo (1959) and George Romero's cult horror classic Night of the Living Dead (1968), established the director as a promising young auteur. Carpenter's commercial breakthrough came with Halloween (1980), which launched a series of sequels (by other directors) and a cycle of similar slasher films. Halloween makes deft use of such techniques as the handheld camera and tension between foreground and background in the mise-en-scène to generate suspense and fear.

Carpenter works comfortably within genres, as with Halloween; but he also sometimes mixes conventions and iconography, as with Escape from New York (1981), a science fiction action film; Big Trouble in Little China (1986), a comic martial arts fantasy; and Ghosts of Mars (2001), a science-fiction horror film. At times Carpenter's action sequences seem to transcend their narrative constraints to become pure cinema. Sequences such as the famous lengthy point-of-view shot that opens Halloween and the astronaut's chase of a mischievous alien creature through the ship's elevator shaft in Dark Star show Carpenter's undeniable command of action and suspense through rhythm, editing, and use of music.

Thematically, Carpenter's films are concerned with issues of communication and isolation. In Dark Star, as the ship's crewmen grow apart through boredom and indifference, outer space becomes a metaphor for the psychological isolation of the crew. The final images of Carpenter's remake of The Thing (1982) show the last two surviving men warily sitting opposite each other, separated by the wide-screen composition, their mutual distrust graphically rendered in the image. They Live (1988), a science-fiction action film, cleverly offers a critique of mass culture in its story of a blue-collar worker who discovers a pair of sunglasses that allows him to see the subliminal messages, secretly delivered by aliens busily stripping the Earth of natural resources, encouraging political passivity and consumerism in all forms and media of popular culture.

RECOMMENDED VIEWING

Dark Star (1974), Assault on Precinct 13 (1976), Halloween (1978), The Fog (1980), Escape from New York (1981), The Thing (1982), Christine (1983), Starman (1984), Big Trouble in Little China (1986), Prince of Darkness (1987), They Live (1988)

NATIONAL CINEMA AND GENRE

Although a good deal of contemporary theoretical work has questioned hegemonic concepts of the nation, and hence of the idea of national cinema, the genre approach is useful for approaching the idea of national cinema generally as well as for conceptualizing the contours of specific national cinemas. As Ella Shohat and Robert Stam point out, the movie audience is a "provisional 'nation' forged by spectatorship" (p. 155), and genre audiences form what Altman describes as "constellated" communities—groups of individuals who "cohere only through repeated acts of imagination"—in the context of cinema, an imagined connection among geographically dispersed viewers who share similar spectatorial pleasures and generic knowledge (Altman, pp. 161–162).

In developing a distinctive and vital national cinema, most countries have been forced to confront the global cultural domination of American film in some way. Hollywood, especially since the end of World War II, has successfully dominated numerous foreign film markets on every continent. Inevitably, then, national cinemas must find space in the market, both at the local and international level, in the context of Hollywood. Because Hollywood cinema is overwhelmingly a cinema of genre films, this means, in effect, working within the genre system. The frame of genre allows filmmakers the multiple benefits of working in forms familiar to audiences both at home and abroad, and thus it offers more lucrative potential to producers for foreign distribution. Distribution in other countries is particularly important in nations where the population is insufficient to sustain an indigenous film industry, for it provides the only hope for films to return a profit. At the same time, however, accepting generic forms from Hollywood also suggests the loss of any distinctive national features that might be expressed in cinema. This dilemma has informed the discourse of national cinema in many countries, especially Australia, Canada, Great Britain, and New Zealand, all of which share the English language with Hollywood.

Filmmakers from around the world have responded to the domination of American film by adopting Hollywood genres and "indigenizing" or reworking them according to their own cultural sensibility. Examples are the Italian "spaghetti western" or Hong Kong martial arts films. Other national cinemas have created their own genres. For example, German cinema in the 1920s and 1930s developed a distinctive genre of the mountain film, involving a character or group of characters striving to climb or conquer a mountain. The Heimatfilm, or Homeland film, is another genre of sentimental, romanticized movies about rural Germany and its inhabitants. In Indian cinema, masala (or mixed spice) films combine a variety of heterogenous generic elements, as by inserting musical sequences in a dramatic film in a way uncharacteristic of Hollywood.

In turn, Hollywood genre filmmaking has been influenced by some of these non-American genres. For example, Japanese samurai films gained popularity in Japan after World War II and became known in the West primarily through the films of Akira Kurosawa (1910–1998) starring Toshiro Mifune (1920–1997), including Rashomon (1950), Shichinin no samurai (The Seven Samurai, 1954), Yojimbo (Yojimbo the Bodyguard, 1961), and Tsubaki Sanjûrô (Sanjuro, 1961). Red Sun (1971) paired Charles Bronson (1921–2003) and Mifune in a buddy film in the American West, and several American genre movies have been remakes of these samurai films: The Magnificent Seven (1960) was based (as was the science fiction film Battle Beyond the Stars, 1980) on The Seven Samurai; The Outrage (1964) was based on Rashomon; and both the spaghetti western, Per un pugno di dollari (A Fistful of Dollars, 1964), and the action film, Last Man Standing (1996), with Bruce Willis, were based on Yojimbo. Although many international genre movies remain largely unknown to western audiences, as the film industry and popular culture generally become increasingly globalized and populations become more multicultural, inevitably genres will interact more intensively across national boundaries.