Page 271 - A Handbook Genre Studies in Mass Media

INDEX

Production elements “Reasonable fear,” 11
values (continued) Rebellion, youth, 90–95
shape, 177–178 Rehn, Trista, 204, 204
video effects and, 186, 187 Relationships, 30, 46, 120–121, 166–167,
Product placement, 213 172
Professor Quiz, 199 Religious ideology, 136
Profit, 9, 24, 153–154, 198–200, 202 Remakes, 114–115
Propaganda, 152–153 Renfroe, Jay, 172
Propp, Vladimir, 37–38 Rescue Me (2004), 79
Public Enemy, The (1931), 156 “Retro” genre, 227
Pulp Fiction (1994), 224 Revenue streams, 210–214
Push the envelope, 53, 55–56 Rich, Frank, 116, 148, 159
Rich Girls, 164–165
Quality of media presentation, 169. See Riley, Jewels, 22
also Production elements Ritchie, Nicole, 155
Queer Eye for the Straight Guy/Girl, 55 Road to El Dorado, The, 69
Quiz show genre, 24, 71, 122, 159, 199, Roaring Twenties, The (1939), 156
209. See also specific title Rob and Amber Get Married, 49
Robbery Homicide Division, 170–171
Racism, 107 Robinov, Jeff, 209
Radical ideology, 153 Roland, Randy, 178
Radio programs, 3, 17, 22 Role reversal, generational, 104–105
Raphael, Sally Jesse, 130, 134 Romance genre, 9. See also specific title
Rap music, 153 Rosenfeld, Richard, 84–105
Rash, John, 156 Rosenthal, Phil, 70
Raw Meat (1972), 143 Roth, Peter, 53–54
Raymond, Alan, 171 Rough Road, The, 9
Real Cancun, The (2003), 17–18 Royal Canadian Air Force, The, 146
Reality Check, 62 Rugrats, 179–180
Reality genre. See also specific title Run’s House, 163–164
advertising and, 205 Russo, Vince, 55
audience considerations and, 25
defining, 3 Salamon, Julie, 196
editing and, 173 Salloum, Jacqueline, 138
emotional reactions and, 10 Sam’s Club Foundation, 7
evolution of, 71–73 Saturation stage, 209
fame and, 109 Schiavo, Terry, 77–78
formulaic analysis of, 62–65 Scholar, The, 6
historical context and, 70 Science fiction genre, 24, 75–76, 147–148,
humiliation in, ritualistic, 48 179
ideological context and, 143, 162–163 Sciolino, Elaine, 123
prime-time viewers of, 25, 25 Scooby-Doo, 74–75
production elements and, 171–172, 181–194 Scorcese, Martin, 157
profit and, 199 Scott, A. O., 29–30
reflective nature of, 203 Scream films, 11
short-term planning mode and, 201 Sears, 214
“soliloquy” camera confessionals and, Seinfeld, 51, 210
184, 184 Selby, Holly, 11
sponsors of, 25, 214 Sensibilities, 123, 201–203
subgenres of, 23, 23, 71–73, 160 Seomin, Scott, 107
Reality, mythic, 225 Sequels, 20, 210–211, 211
Reality principle, 12 Sesame Street, 123
Real World, 14, 121, 162–163, 173, 184, Setting, 51–52, 55–56
192–193, 203 Sex, 108
256