In relation to these criticisms of gaps in our discussion,I also wish we had spent a bit of time on a mid-level set of norms commonly referredto as genre. Idiscussed the production reasons for cycles (CHC, 110–12) that includegenres as well as stylistic practices. David deals with generic motivationas one of the four major constructive principles for classical construction,and he analyzed film noir as a group of films (CHC, 74–77).A glance through our index indicates that we have sporadic comments on thesegroupings and the sorts of affects they solicit, but a section on these clustersof texts as perceivable groups within the broader scale norms that we were tryingto describe would have been helpful to articulate our analysis of how the modeof production encourages the use of genre (its standards ensure both efficientand effective production) and how discursive systems articulate what constitutesgood (and not-so-good) storytelling practices.


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