LITR 4370 TRAGEDY Model Assignments Midterm2 Samples 2017 (midterm2 assignment) Model Answers to Part 1. Genre Definition 2.

Part 1. Continue genre definition and example(s) from Midterm1 .(Index) . .

Katie Morin

2/20/2017

Understanding Genre and Its Relation to the Undead

          In essence, the term “genre” is a means by which to categorize pieces of literature as well as other forms of art. Each genre comes with its own set of expectations and standards, and these precepts aid in the identification of a given work by a specific audience group. However, much like our course website states, there is no such thing as a “pure genre,” as “nearly all works of art and literature contain multiple dimensions or elements of other genres.” This is especially true of more specific topics, such as movies belonging to the zombie genre. Because there are no standard story or plot-lines to be found for zombie-related works, there is a great amount of variation to be seen, and it is not uncommon to come across zombie-related cinematic representations which can also fall under the genres of tragedy, action/adventure, comedy, or even love stories.

          Zombie films are unique in that they are so versatile and can appeal to many different audience groups. This is because this genre is marketed with a diverse audience base in mind, and as such, comes in the forms of romances, comedies, historical fiction, horror, and sci-fi, among others. Therefore, because genres tend to overlap with one another, this mixing and matching of various categorizations creates a larger audience for any given work, zombie flicks included. With that in mind, zombie films have the potential to attract people from all walks of life –from teenagers interested in watching works of action/adventure or gory horror films, all the way to older audience members looking for a lighthearted source of entertainment in the form of a post-apocalyptic romantic comedy. In her midterm, “Genre-Related Distinctions Amongst Dystopian Novels,” Cassandra Parke explains that “genres are fluid and dynamic; they can change over time, or when viewed from different perspectives, they intertwine or overlap.” I found this to be particularly true when considering examples for various genres, as the more I examined a given work, the more I also realized how much it could fall under an entirely different genre as well, depending on the perspective from which I analyzed it. Thus, it would appear (at least in the beginning stages of my research) that zombie movies each fall under a wide array of genres. This was surprising as I initially associated zombie films with horror, but it would seem as if most do not solely fit into the horror genre at all. There is a great deal of overlap, much like Cassandra Parke states. 

Additionally, because of this broad range of genres and combinations of genres, zombie movies are not necessarily restricted to a certain narrative voice, although an ongoing trend might be drama/dialogue, where characters interact with one another while the audience listens in. An example of this more popular form of narrative voice is seen in the 2004 recreation of the horror classic, Dawn of the Dead. In the film, all of the drama plays out directly in front of the audience without the interruption or insight from a first-person narrator. By utilizing the drama/dialogue narrative voice, the film leaves viewers just as in the dark as the movie’s characters, which contributes to the themes of ominousness and fear of the unknown which are seen throughout the duration of the film. However, although seemingly less common, there are instances where the formal genre gravitates toward the more complex narrator plus dialogue, in which characters interact with one another while the audience looks on, but there are also instances where a narrator addresses the audience directly.

          An example of a zombie work featuring the narrator plus dialogue form can be seen in the 2009 movie, Zombieland. In it, the film’s protagonist frequently speaks to the audience directly, primarily in the form of voice-over narration. While the majority of the film is purely of the drama/dialogue form, occasionally the protagonist will offer a “helpful” hint for the viewer to survive the zombie apocalypse: “Rule number one for surviving Zombieland…Cardio.” These tips continues throughout the course of the film, and add a great deal of interest by engaging with the audience. This narrative voice can also contribute to the greater storyline of the film itself. In zombie films, a seemingly reoccurring issue is getting audience members caught up to speed with the new, post-apocalyptic world which they are now exposed to. It would appear that most zombie films begin in media res, so there can be a great deal of backstory that the audience misses out on. In the case of Zombieland, the narrator aids in the remedying of this problem by providing audience members with not only his comedic “hints,” but also some of his memories and experiences pre-zombie apocalypse. This additional information is often necessary to the zombie narrative as a whole, but when taking into account a film’s relatively short length, a narrator makes for an excellent means to relay this history to the audience without occupying a great deal of time.

          Zombie films are also unique in that they can be applied to each of the four basic story lines (“narrative genres”): tragedy, comedy, romance, and satire. Romance, according to our course’s website, is defined as “a narrative, plot, or story of individual on a quest or mission, overcoming tests or trials to reach a transcendent goal” – love stories are included in this as well, but this narrative genre is incredibly broad and seemingly encompasses most works in some form or another, including the 2013 zombie film, World War Z.

In in, the story’s protagonist, Brad Pitt, sets out on a mission to quell the zombie plague that is quickly spreading across the globe. He hopes to find a remedy for the virus, and is able to successfully complete his mission by identifying a possible cure, managing not only to rescue his family, but humanity as a whole. This is a prime example of the romance narrative, where our hero, Pitt, manages to overcome a seemingly endless strand of trials and tests, and achieves his “transcendent goal” – discovering that zombies are not attracted to those who they feel are diseased and/or weak. He suggests intentionally infecting the remaining survivors which leaves them protected from the undead, and therefore gives humanity a fighting chance at survival. Although the “happy ending” of World War Z is not as apparent given the great loss and devastation humanity has experienced, it does reveal a sense of hope as the remaining survivors band together in order to rebuild civilization as they once knew it.

World War Z’s ending is what truly sets it apart from other zombie films. According to our course’s site, “The conclusion of a romance narrative is typically ‘transcendence’—‘getting away from it all’ or ‘rising above it all.’ The characters ‘live happily ever after’ or ‘ride off into the sunset’ or ‘fly away’ from the scenes of their difficulties.” Since most might immediately associate zombie films with the horror genre, a positive conclusion might seem out of place, but the film just serves as further proof of the overlap commonly seen amongst genres. In the article, “How 'World War Z' Stands Up to the Zombie Film Genre,” author Tierney Sneed writes, “The fact that there was a happy ending differentiates World War Z from many zombie films.” Sneed goes on to quote Rob Weiner who states, “’A lot of zombie films end with the zombies winning or a couple survivors going off on their own…There isn't a sure resolution that works.’” The fact that World War Z manages to have a somewhat hopeful, optimistic ending is uncommon, and what makes it stand out against other zombie-related works. Pitt’s journey in addition to the film’s pleasant resolution (seemingly the beginning of a “happy ending”) both follow the plot line of the romance narrative.

https://www.usnews.com/news/articles/2013/06/27/how-world-war-z-stands-up-to-the-zombie-film-genre