Genre Patterns Research Articles

Analyzing Genre Patterns in Virtual-Themed Animated Films Using Association Rule Mining

This study investigates patterns in virtual-themed animated films using association rule mining to explore the relationships between genre combinations, production companies, and their impact on both popularity and revenue. The dataset consists of films from various genres, with a focus on those exploring virtual worlds, alternate realities, and futuristic settings, aligning with metaverse concepts. The analysis revealed several significant findings. The association rule mining results identified that films combining Fantasy and Science Fiction genres are 1.8 times more likely to achieve high box office revenue, with a confidence level of 80%. Additionally, Pixar adventure films were found to have a 2.1 times higher likelihood of attaining high popularity. Films blending Fantasy and Adventure genres showed a strong correlation with high revenue, with a 70% confidence level and a lift value of 1.9. These patterns suggest that imaginative storytelling and virtual world elements are key drivers of success in animated films. Revenue analysis demonstrated that 30% of the virtual-themed films in the dataset generated more than 1 billion USD, while 50% earned between 0.5 and 1 billion USD. The popularity analysis further highlighted that Fantasy, Science Fiction, and Adventure genres consistently rank highest in audience engagement. These findings underscore the significant commercial potential of films exploring virtual and digital environments, particularly as audience demand for immersive experiences continues to grow. This study concludes that films featuring virtual world themes, particularly those combining Fantasy, Science Fiction, and Adventure genres, are well-positioned to succeed both financially and in terms of audience engagement. As AR, VR, and metaverse technologies advance, the demand for immersive cinematic experiences is likely to increase, offering filmmakers new opportunities to innovate and expand this genre.

Virtual Exchange Genres: what Can Genre Theories Inform us about the First Synchronous Session?

Virtual exchange or telecollaboration refers to pedagogical practices that connect geographically distant learners who work together towards a common goal. Despite the growing interest in telecollaborative practices and research, few studies have concentrated on investigating the genres that emerge in such contexts. This study shares the understanding that genres are goal-directed events organized in rhetorical patterns and used by members of a discourse community. It aims to explore the first synchronous session between dyads in a telecollaborative project directed to language learning, Teletandem, from a genre perspective. In particular, this paper describes the rhetorical organization patterns of the genre. Data were selected from MulTeC (Multimodal Teletandem Corpus) and comprise transcripts of ten initial Teletandem Oral Sessions (itos) – the first synchronous encounter – from three learning scenarios, which were held in Portuguese and English and recorded between 2012 and 2015. The research involved analyzing each transcript to describe the genre patterns and discuss the specificities in itos organization relative to the learning scenarios. Results show that itos has a flexible and scenario-dependent structure in which the actions of greetings and introduction, information exchange, negotiation, and saying goodbye are prevalent.

Privacy Policy Pop-up: A Genre Analysis of Journal Websites’ HTTP Cookies

Online users are made to believe that they have control over their data privacy through the selection of website cookie options. Due to transparency requirements, policies to protect online users focus on giving them more control over their data privacy. This study examines how transparency is communicated through HTTP cookies found on academic journal websites. The analysis aims to uncover the communicative practice of this web-mediated disclosure genre through the rhetorical moves and linguistic features presented in the statements. A total of ten HTTP cookies from online journals are gathered based on random selection for this analysis. The findings revealed four obligatory moves and seven optional steps. The study also finds the use of active voice, action verbs, and self-reference pronouns to be common in the statements to realise the rhetorical function of transparency in HTTP cookies. A consistent genre pattern can be seen throughout the websites which shows the adherence to regulatory requirements while maintaining unique ways of presenting the HTTP cookies.

Privacy Policy Pop-up: A Genre Analysis of Journal Websites’ HTTP Cookies

Online users are made to believe that they have control over their data privacy through the selection of website cookie options. Due to transparency requirements, policies to protect online users focus on giving them more control over their data privacy. This study examines how transparency is communicated through HTTP cookies found on academic journal websites. The analysis aims to uncover the communicative practice of this web-mediated disclosure genre through the rhetorical moves and linguistic features presented in the statements. A total of ten HTTP cookies from online journals are gathered based on random selection for this analysis. The findings revealed four obligatory moves and seven optional steps. The study also finds the use of active voice, action verbs, and self-reference pronouns to be common in the statements to realise the rhetorical function of transparency in HTTP cookies. A consistent genre pattern can be seen throughout the websites which shows the adherence to regulatory requirements while maintaining unique ways of presenting the HTTP cookies.

Book review: Álvarez-Gil, F. J. (2022). Stance devices in tourism-related research articles: A corpus-based study

This volume in the prestigious Linguistic Insights book series (Peter Lang) fills an acknowledged lacuna in studies considering the tourism research article from a gender perspective. Indeed, the attention paid to the tourism research article (RA) has been, if anything, fragmentary, since, as noted in Lin and Evans (2012), no attempt has been made to fully outline the generic structure of the RA in tourism. This is precisely one of the focuses of interest of this monograph, which aims to provide genre scholars and language professionals with an outline of the genre pattern of the RA and the lexicogrammatical choices associated with each generic section, together with a detailed description of the specific stance-taking devices. This is really the main aim of this book, as its title expressly calls for. Much of the information presented in this monograph, as attributed therein, belongs to a major research project conducted over the years on the language of tourism in English and other languages (cf. Álvarez- Gil, Payet, & Sánchez Hernández, 2020).

Historical and Theoretical Perspectives of English for Specific Purposes: An Overview

This research article investigates the historical and theoretical developments of English for Specific Purposes (ESP) over the past six decades. Early years of ESP research primarily focused on text-based counts before gradually transitioning to a greater emphasis on rhetorical devices. The following decades saw the introduction of central concepts such as NEEDS assessment, linguistic devices and their rhetorical purposes, genre, and rhetorical move, which broadened the scope of ESP research. In the modern age of ESP, corpus studies and genre emerged as central concepts in the field. This led to the emergence of intercultural rhetoric as a key area of research, and the development of genre-based approaches in ESP. The use of corpus studies allowed for a data-driven approach to language analysis, enabling the identification and analysis of linguistic features and patterns of specific genres. Overall, this article provides an in-depth overview of the historical and theoretical perspectives that have influenced ESP research. The analysis highlights the evolution of central concepts such as genre, rhetorical move, and intercultural rhetoric, and emphasizes the significance of corpus studies in ESP research. It provides insights on the historical and theoretical development of ESP.

Examining genre success, co-occurrence, release, and production of 9,068 films over twenty years

Understanding macro-level trends in the entertainment industry is vital to the advancement of mass communication theories. The current paper works towards this end by providing a representative layout of genre patterns across the film industry. We analyze 9,068 films released from 1997 to 2017, and examine genre in terms of success, co-occurrence, release, and production. Consistent with past work, results highlight differences between genres that garner popularity (e.g., Action) and acclaim (e.g., Drama). Moreover, we found four unique genre clusters within our data indicating that specific genres tend to be featured together more frequently than others (e.g., Adventure, Animation, Family, Fantasy, and Musical). We also demonstrate which genres have had increased (e.g., Adventure), decreased (e.g., Comedy), and consistent (e.g., Thriller) production across the 20-year span. Finally, we found differential release patterns across the calendar year, such that popular genres (e.g., Science Fiction) are frequently released during Summer and acclaimed genres (e.g., Biography) are frequently released during Fall and Winter. Taken together, the findings describe the mass-market film landscape and demonstrate variance in the production and appeal of different genres over time. Thus, these data can serve as a first step toward studying how the entertainment industry influences and reacts to audiences’ media preferences.

Dilemmas of online video review genre: An attempt at describing genre complexity in Polish and German linguistics

The purpose of the article is to examine the changes in the genre pattern of review resulting from its expansion to a new online communication medium, i.e. the YouTube platform. The case study of two video reviews comprising four levels of analysis (structural, pragmatic, thematic-cognitive and stylistic) aims to compare the canonical version of the arts review and its modern online variants. The authors attempt to determine whether online video film reviews could be regarded as manifestations of the review genre evolution, intermedial adaptation, its genre pattern transformation, or – perhaps – the development of a distinct genre, characteristic of online communication only. Contrastive analysis based on selected methods of Polish linguistic genre studies applied in the context of German text type linguistics is intended to extend the scope of the ongoing research on genre with aspects of Polish and German research perspectives.

Descriptions of the east coast of the Adriatic sea in Croatian latinist historiography. Genre pattern and characteristics

Descriptions of the east coast of the Adriatic sea in Croatian latinist historiography. Genre pattern and characteristics

VARIETIES OF MEDIA DISCOURSE IN RESEARCH OF THE UNIVERSITY OF RZESZOW COMMUNICATION PRAGMATICS DEPARTMENT

The Internet, as a new medium, has quickly led to a change in patterns of discourse genres. Contemporary research in this field mainly concerns the description and the assessment of the implementation of linguistic and communication phenomena, with the determination of their aspects. Such a descriptive-prescriptive research method is recommended by media linguistics (cf. 29: 2014a), as it enables to notice the state and degree of transformation of each variety representatives, and in the future it may be used as a comparative material in linguistic and cultural studies. The following article includes an analysis of the media discourse as well as an indication of the direction of research led by the employees of the University of Rzeszów Communication Pragmatics Department in order to popularize research and encourage scientists from around the world to cooperate. The text is divided into two parts. Each of them involves a different type of media discourse, including the review one (Non-genreness as a feature of film review discourse. Journalism of Zygmunt Kałużyński and Tomasz Raczek by Grażyna Filip) and the Internet one (Internet website as a genre in the form of a collection in the Internet discourse by Justyna Majchrowska). Both of the mentioned subdiscourses constitute specific part which can be used as a starting point in further analyses. Specifying each of the discourses – as part of the case of study and the descriptive method – is intended to indicate the possibility of further research in this field. The discussed analyses – a case study and a descriptive one, show the potential of the media discourse which has become a determinant of research conducted at the University of Rzeszow Communication Pragmatics Department. Multi-species closed in sub-discourses shows hybridity, and is also the effect of genological reductionism, which are the implementation of contemporary tendencies.

Жанровые закономерности саундтрека ретро-сериалов об артистах советской эстрады

Among the retro-series about Soviet pop artists, the author identifies three types of soundtrack: 1) quotation (songs of the Soviet era in the sound closest to the original or direct inclusion of an authentic soundtrack); 2) modernized (a conscious and radical change in the sound of original songs through arrangement); 3) stylized (songs specially written for a specific series, presented as songs of the Soviet era). The main attention in the article is given to the soundtrack of citation and modernized types. Although the quote-type soundtrack strives to be indistinguishable from the original, it works powerfully and reinterprets the popular music of the Soviet era. On the one hand, the “radius” of Soviet popular music is greatly expanding from a chronological and geographical point of view and including foreign pop hits, thieves' songs, old romances. On the other hand, the creators of serials are pursuing a strict repertoire policy towards Soviet popular music. In particular, they almost completely exclude civil-patriotic songs both from the sound landscape of the soviet era and from the biographies of the artists. The character of a modernized type of soundtrack is highly dependent on the location and function it serves in the structure of the series. It turns out that in the intros to the series and in the dubbing of the love line of the main characters, the original songs undergo an insignificant change. A much more radical introduction into the original text occurs when songs become part of a genre off-screen soundtrack or are transformed for dramatic needs, growing into an independent musical number within the narrative.

Olga Tokarczuk’s Flights as an example of genre transformation in the contemporary novel – a linguistic and literary view

Drawing from both German and Polish linguistic and literary perspectives, the article attempts to examine genre changes within the genre pattern of the novel and decide whether Olga Tokarczuk’s Flights, described by the author herself as a novel, should be attributed to this genre. We assume that linguistic and literary tools will allow us to determine the most characteristic features of contemporary novel productions to decide on the nature of changes taking place within the studied genre. Looking at Tokarczuk’s work not through the prism of a single genre but, following Maria Wojtak, Kirsten Adamzik or Ulla Fix, from the perspective of inter-genre relations, allows not only to conclude that the analyzed material is located on the fringes of the genre pattern of the novel but also to see other inter-textual dependencies and consider the text under study as a genre in the form of a collection.

REFLECTION OF THE SEMIPALATINSK TRAGEDY IN DRAMATIC WORKS

The purpose of the research work is to identify, through the scientific study of genre and poetic trends, the artistic identity, the ideological and thematic atmosphere of modern Kazakh drama, to show the features of poetics and the problems of stylistic affiliation, to differentiate the novelty and continuity of traditions, to identify the author's point of view, signs of his individual stylistic differences and common thematic features in dramatic works reflecting Semipalatinsk tragedy. The genre of drama in Kazakh literature in the period after the country's entry into the mainstream of independence is characterized by a peculiar direction of development, artistic research, genre patterns and style field. In the works of playwrights of this period, the changes in the life of the country under the auspices of independence, historical continuity in our spiritual world, vivid responses caused by free consciousness, tense character are clearly expressed, the author's position in the transfer of the drama of the social environment is clearly marked, and a breakthrough in the image of the primordial essence of things is also noticeable. The article examines the trends in the development of Kazakh dramaturgy of the period of independence, the specifics of the reflection of the Semipalatinsk tragedy in dramatic works, the novelty of plays and the continuity of traditions, ideological and meaningful searches, language, style, problems, shows the modern directions of development and artistic integrity of dramaturgy. It is obvious that the cardinal changes taking place in the Kazakh society, which acquired sovereignty and moved to a market economy accompanied by globalization, brought social spiritual life to a new level and significantly influenced the formation of an open human consciousness. In the first years of independence, dramatic works were born in the Kazakh artistic word, freed from the political restrictions of the era of totalitarian system and man-made «socialist realism», which quickly took root, laid new themes and plots in accordance with the requirements of the post-perestroika time. This trend is also a natural consequence of the spirit of the times, because Kazakh drama is the most important component of fiction and urban national spirituality, which is developing in the conditions of continuity of world artistic thought and has reached significant heights.

Komiczno-humorystyczny charakter wypowiedzi w dramatach Olega Bogajewa

The aim of this paper is, first of all, to discuss the linguistic sphere in Oleg Bogayev’s comedy works. We would like to pay special attention to the way the characters express themselves. The way Bogayev’s characters create reality is deeply rooted in the spirit of postmodernism, which is reflected primarily in the playwright’s bold experimentation with words, especially in the area of constructed replicas. Language saturated with humour and comical elements can be found in the plays Maria’s field (2004) and Notes of a prosecutor in love (2019). In each of these works, the mode of expression is shaped slightly differently, primarily because of the relationship between the word and the reality presented. They have been constructed according to different genre patterns. The comical and humorous character is most clearly manifested in the former at the linguistic level, while in the latter it is conditioned by the situation. On the one hand, there is humour in Bogayev’s works that can be described as good-natured and comical, directed at human existence and social problems, both as perceived by the author and the characters. On the other hand, there is satirical humour that destabilises the image of the presented world, shattering stereotypes and fixed beliefs. Humour often lurks the tragedy and absurdity of the human world, with all its weaknesses and problems.

ПРОВІДНІ ХРИСТИЯНСЬКІ КОНЦЕПТИ У ЦИКЛІ ВІРШІВ ТАРАСА ШЕВЧЕНКА "ДАВИДОВІ ПСАЛМИ"

The article attempts to analyze the main Christian concepts presented in the cycle of poems by Taras Shevchenko "Psalms of David", from the standpoint of cognitive literature. Concepts such as GOOD, SIN AND REDEMPTION, FEAR OF GOD, GOD'S WILL are singled out, which form the author's mental picture based on the study of the influence of the Holy Scriptures. The idea of the meta-genre nature of certain artistic texts, in particular prayers, is considered in detail. The accompanying features that form the literary canon are somewhat removed when it comes to chants, translations, literary meditations. Thus, attention is paid to the modeling of the cognitive map on the basis of the sacred chronotope in the cycle of poems, as well as to the definition of special features of artistic prayer. The nature of the "basic pattern" is clarified in order to scientifically observe the process of transformation of cultural memory in Taras Shevchenko's artistic poetic texts. Patterns clearly reflect the level of the author's subconscious and extrapolate the relevant images, which are realized in poetic texts already at the level of fictional consciousness, but with the presence of an in-depth personal beginning of the author, which in our research is presented through self-concept. It is also noted that Taras Shevchenko's artistic method tends to the contaminated projection of the clarism of form with Bergson's intuitionism of ideological searches. It is also noted that the theory of genre patterns is more related to fiction, the axiology of the author's life, his desire to maximize his own understanding of the typical situation than to rely on the canonical text, which is the source of intertextuality.

РЕПРЕЗЕНТАЦИЯ ФИГУРЫ МАНЬЯКА ЧЕРЕЗ ПРИЗМУ КИНЕМАТОГРАФА США 1960-80-х ГОДОВ: ОТ ИСТОРИЧЕСКОГО ПЕРСОНАЖА К МИФУ О ЖАНРЕ В СОВРЕМЕННОМ КИНО

This article considers the figure of a maniac as a key aspect of the reception of the US cinema of the 1960s-1980s, which influenced the aesthetic and narrative features of contemporary cinema. The first thematic block of the article substantiates that the historical context of the American film industry of the second half of the XX century served as the basis for the legitimization of socially disapproved characters who previously appeared in low-budget cinema predominantly. To clarify the reasons why the serial killer as an object of film theory became associated with horrors and exploitation films of the 1970s, it is refuted that his screen image completely follows the logic of genres that developed in this decade. There is expanding of the issues of films about maniacs by an analysis of the theme of ‘criminally insane’ characters in the US cinema of the 1970s on the example of the film of the same name by Nick Millard in the second part of the article. It is concluded that the audiovisual and genre patterns of low-budget cinema of the last century motivate contemporary directors to turn a serial killer into a historical character.

Embedded Genres

The concept of the embedded genre is of crucial importance if we want to understand the way genres interact, within any given text, within any given genre, and in forming larger genre patterns. By discussing a tentative distinction between three kinds of embedding, “recontextualized embedding” (from Bakhtin), “contextualized embedding” (from Orlikowski & Yates), and “element genre” (from Swales and Martin), the present study initiates an unraveling of some of the intricacies involved in genre embedding. This demonstrates why genre research as well as studies of written communication can profit from integrating an expanded understanding of genre embedding in its theoretical deliberations and analytical work.

A Study on the Application of Genre-based Teaching Approach in College English Reading

Greatly influenced by mechanical linguistics, the traditional teaching model based on the grammar-translation method has dominated in college English reading in the past forty years. But China's traditional reading teaching is the explanation of grammar and interpretation of vocabulary in term of sentence, and the operation of sentence structure discontexted, which can’t analyze and explain the whole article as the discourse. Based on the genre theory and its related research, this paper analyzes the application of genre-based teaching approach in college English reading and emphasizes on helping college teachers to analyze the macrostructure of a text in the English reading class, bring genre patterns to students’ attention, and improve their reading abilities in consequence.

Traumatic Insight on Film Memory: Forced Assimilation in the Focus of Post-totalitarian Bulgarian Documentaries

Documentaries cover the subject of the extremely tragic processes of forced assimilation of Muslim population in Bulgaria in different ways. During the Communist regime, they feature the negative political visions. Social engineering in the totalitarian state aimed at confessional unity of the nation and this process was especially intense during the 1980s. Documentaries were a part of the government manipulative tools that targeted revival of the communist nationalism and an apprehensive play on the strings of patriotism. Cultural propaganda covered up repression, assaults, forced change of names, forced deportation, internment in prison camps, harassment of intellectuals from the Muslim community, and human rights violation. After 1989, Bulgarian filmmaking started interpreting this traumatic past in a different way, making a reassessment of history. Documentaries also took an active part in the debate on totalitarianism, using the screen to throw light on the political crimes. Beyond any dispute, one of the most painful subjects is the violence against Muslim communities that escalates to genocide. The subject of assimilation was more intensely covered during the 1990s and in the beginning of the Millennium. During the last decade, it gradually faded away and young authors today even neglect it. Although many good films have been made, we still get the feeling of insufficiency and understatement. The cinematic interpretations reactivate and question the traumatic memory, and further diagnose society. Quality documentary filmmaking always provides a multifaceted image of the past, preserves memories, and manages to aestheticize history in opposition to the trivial media images of the trauma. This paper analyses the genre and typological patterns specific for post-totalitarian Bulgarian documentaries. The focus of the study falls on leading authors, such as Maria Trayanova, Tatiana Vaksberg, Ivan Rossenov, Adela Peeva, Iglika Trifonova, Antony Donchev, Stanislava Kalcheva, Irina Nedeva and Andrey Getov, Dimitar Kotzev-Shosho. Two imagery trends are mainly identified: 1) documentary investigation with reconstruction of historical chronology and handling extremely valuable archives; 2) domination of the apprehensive portraiture genre, where personal records of events shape the picture of events in the past and track the consequences in the present. So far, Bulgarian film studies lack any full comparative study of the screen interpretation of assimilation processes before and after 1989.

Media-style autobiography (as exemplified by Unauthorized autobiography of Kuba Wojewódzki)

The subject of a detailed analysis presented in this article is the Unauthorized Autobiography of Kuba Wojewódzki. A thorough review of the collected source material enabled the author to characterize this popular genre and indicate its role in a media space. The genological description draws attention to four aspects of the genre pattern. The regularities or deviations from the canonical pattern perceived in this area deepen the knowledge of contemporary autobiography and allows one to capture what makes it attractive.