Abstract
Genre films were the staple of Hollywood production in the heyday of the studio system. As Thomas Schatz puts it: ‘Simply stated the genre film — whether a western or a musical, a screwball comedy or a gangster film — involves familiar, essentially one-dimensional characters acting out a predictable story pattern within a familiar setting.’1 Academic studies of genre films have for the most part neglected the swashbuckler and preferred to concentrate on westerns, crime films, musicals, horror films and melodramas.
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