Genre Cycles (Thomas Schatz) – A Level Media Studies Eduqas Revision

Definition of Genre Cycles (Thomas Schatz)

Genre Cycles, a concept introduced by Thomas Schatz, refers to the process through which genres evolve over time in response to audience tastes and external influences.
Schatz’s theory suggests that a genre passes through four primary stages in its lifecycle - Experimental Stage, Classic Stage, Parody Stage and Deconstruction Stage.

Experimental Stage: New genre begins to emerge using unique conventions that separate it from existing forms. The success of these new forms attracts audiences and leads to further development.
Classic Stage: The genre becomes fully formed with recognisable and established codes and conventions. Movies in this stage follow a formula and are often commercially successful.
Parody Stage: Familiar conventions of the genre are used humorously or ironically. This stage typically emerges when a genre starts to become worn out and predictable.
Deconstruction Stage: This is the final stage, where the typical conventions are questioned and deconstructed, often showing the limitations inherent in the genre.

Genres in film, television, and other media undergo similar cycles. A successful movie or TV show can spur a slew of imitators, leading to a saturation of the market and eventual parody or deconstruction of the genre.
Examples can be found in Hollywood’s response to successful films. The success of “Star Wars” (1977) spurred a barrage of science fiction films, moving the genre through the classic and parody stages.
Likewise, the deconstruction stage can be seen in modern superhero films, such as “Watchmen” and “The Boys”, where common superhero tropes are questioned.

Genre cycles influence the creation and reception of media texts. The understanding and prediction of these cycles can help in developing new content that resonates with audiences.
Genre cycles also shape audience expectations and interpretations. Audiences familiar with a genre and its conventions can comprehend and engage with it more deeply.

Critics suggest that genre cycles oversimplify the complexity and dynamism of genres. Genres do not always follow these four stages in a neat, linear fashion.
Thomas Schatz’s model has been critiqued for not considering the impact of social, historical, and cultural contexts on genre evolution.
Lastly, others argue that genres do not necessarily ‘die’ as suggested in the deconstruction stage, they could simply evolve or merge with other genres.