The Power of Genre: Breaking conventions and Expectations

I don’t enjoy writing about the Oscars, including Oscar-nominated films. This is mostly because I see them as warped and outdated awards, but one of this year's nominees truly deserves to be talked about and, more importantly, watched. Jane Campion’s The Power of the Dog (TPOTD) is a perfect example of a film exploring a topic that I am deeply interested in and is one of the best films I have seen in a long time.

The last time I wrote about genre, more specifically Rick Altman’s syntactic/semantic approach to genre, I was discussing the concept of the Western and I guess this time I will be talking about it once again, or so it would appear at first glance.

When most people think of genre, they think of the classic examples (drama, horror, thriller etc.) and, of course, with these examples come a certain set of expectations tailored to each one. We have learned what to expect from such films. After watching various genres over the years, we have learned what to expect and also what we like. Netflix and other streaming services divide their catalogue of films and shows into genres so audiences can select what they are in the mood for, like ordering a takeaway.

In this way, genres and the cliches within them can be used as means to sell films. Most of us know someone who loves horror and are dying to see the latest horror release, regardless of critiques or cost. Filmmakers and writers can use genre as a way to learn what works and what doesn’t within a tried and tested framework.

Altman found genres to be quite contradictory things, being both broad and niche, rigid and changeable, shaped by filmmakers and audiences. A film's genre is found in all of its elements: the trailer, the poster and sometimes even the cast. Certain directors, such as the subject of last week's post, Wes Anderson; are known to use the same pool of actors. If he were to branch out from his classic style, he would possibly escape his genre and also create something very exciting.

This is where it is both helpful and important to look at the work of Jameson, Todorvo and Altman, and their views on the syntactic/semantic approach to genre; semantic being the visual cues we associate with genre and syntactic referring to the narrative structures. Altman believed that the differences between these definitions are most apparent in the Western genre. This is a matter that definitely piqued my interest. It is also important to note that the syntax of one genre can be applied to the semantics of another.

So what does this have to do with TPOTD? Well, I have mentioned cliches, stereotypes, expectations and so on, so it would be fair to assume that genre, and by extension films, have the potential to become stagnant or predictable. Subverting these expectations can be a means of survival as well as a rare treat for a viewer who has the sheer joy of watching the totally unexpected unfold before their eyes and having all preconceived notions totally destroyed.

TPOTD has all of the semantic elements of a classic Western. As Altman describes, it is present in every element of the film: the setting, wardrobe, moving cattle, riding horses, drinking whiskey and even the title. All are the hallmarks of a Western. You'd nearly expect John Wayne himself to show up at one point. However, with regard to the film's narrative structure, or the syntactic aspect, it appears to be similar to the stereotypical western, but all is not as it seems. Altman said the syntax of one genre can be applied to the semantics of another, and this is certainly the case for TPOTD, but it is also more than that. In this case, it is more like the semantics of one genre being applied to the syntax of another.

I think it would be a shame to reveal the story of TPOTD because it is such a treat. It would really be a great shame to reveal it. What I will say is that it totally subverts our expectations. I know I have been talking about syntax a lot, but it would actually be hard to label the syntactic element of this film. It is not like anything we are used to. For much of the film, we think we know what is going on. but we have this feeling in the back of our head that we don’t really know what’s going on at all. It looks like a Western, but why is it not acting like one?

As the film goes on, we search our catalogue of knowledge of genres and of syntax and semantics to try to work out what this film is, and just when we think we have it all worked out, it changes again.

Besides all of these exciting elements that TPOTD bring to genre and the film world in general, there are so many wonderful components to it that make it worth watching. The performances of each actor are stellar and each one deserves to be recognised. The cinematography and imagery are simply breathtaking and the story grips you from the very start. If ever a film deserved an Oscar, it is this.

TPOTD is a great example of the concepts in Altman’s and other theorists' works. A lot of this can also be related back to Deleuze’s work and the importance of bringing newness. That is what makes TPOTD such a wonderful film; its story grips us from the very beginning and takes us on such a surprising and astonishing journey. It is so refreshing and, for a film buff like myself, it brings me a lot of joy.