Page 28 - A Handbook Genre Studies in Mass Media

PROCESS

However, author Robert Wright argues that, too often, the latent func-
tion behind this genric programming is to exploit these feelings in the
interest of commercial success:

Movies like “Collateral Damage,” “The Patriot,” and “Death Wish” don’t
help us to work through our fear of losing loved ones, our impatience at
not being recognized, our sense of impotence. They just exploit them.
They prey on those primitive emotions for the sake of softening us up,
enraging us, leaving us open to jolt after gratifying jolt—payback. Anyone
who threatens a spouse or child must die, die in pain, die many times if
possible, die in recognition of our power. Until tomorrow, that is, when
they’re back on their feet and we’re powerless again. 14

Mechanism for Socialization. Socialization is the process of prepar-
ing individuals to become a member of society. Genres act as agents of
socialization, providing guideposts by which people learn about societal
rules and expectations. As an example, a new genre has emerged as a
primary source for the socialization of a new social class: the tween.
The term tween refers to a new stage of life, the young demographic
between the ages of nine and fourteen. The tween genre, with pograms
like Drake & Josh, Ned’s Declassified School Survival Guide, Romeo!
and Unfabulous (Nickelodeon), shape the attitudes, behaviors, values,
and preoccupations of this subculture by instructing the tween audience
about what is “cool.” According to critic Kate Authur, programs like Zoey
101 present a worldview that serves as a model for tweens:

The shows present fantasy worlds of school and home life, where tweens
fill their leisure time with a multiracial group of friends, clothes and
gadgets. Songs are another fundamental element, particularly if the star
of the show is musically inclined. And increasingly, these series cast the
relatives of very famous people. 15
At the same time, genres can provide positive role models for their
target audience. Because audiences tend to select a limited number of
genres, the behaviors exhibited in these genres could be construed as
primary sources of modeling. Author Mark Bennett advises people to
find their “inner TV character” by looking closely at the way that TV
characters handle their problems:

Anything you want to do, you can use TV as a tool to get there. I think
there’s nothing better being than able to jump into a favorite character

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