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94

Cantctt- Banoans

er,rn

Bowoentzs

erature and how we understand both. Generic models and their historical transformations help viewers appreciate innovations and alterations
in, say, how epic frlms respond one to another. Examining generic subpractices to the cinema deepSects ana forms as they evolve from literary
ability to analyze what a
our
and
appreciation
that
enriches
and
Lns
work inherits and how it reinvents that heritage. Some of those changes
through the history of a genre are connected to historical and social
chang*es, so that th! elevated cosmic subjects of ancient Greek tragedies
*rrrigirru way to the d.omestic tragedies of a modern life; other changes
l"".porrd to the different forms and vehicles for those generic structures,
,o lhut a romantic quest will take on different characteristics as a narrative poem and a feature frlm. when considering the generic assumptions that inform a particular literary or film practice, ask how both cultural history and the literary or fi.lm form determine its specifrc issues
and styles. If classical epics assumed an omniscient narrative perspective
(tantalount to that of a god) in order to acclaim heroes who were like
gods, do modern westerns rely on long shots to emphasize how grand perspectives on nature are a significant part of the tales of more democratic
,rationr? Ifeighteenth-century literary satires direct verbal ironies at the
hlpocrisy of different classes, do movie satires sometimes make the
,"iir" *or" a physical comedy about individual behavior? More generally, are there movie genres without a literary past?

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