In film and television, drama is a category or genre of narrativefiction (or semi-fiction) intended to be more serious than humorous in tone.[1] Drama of this kind is usually qualified with additional terms that specify its particular super-genre, macro-genre, or micro-genre,[2] such as soap opera, police crime drama, political drama, legal drama, historical drama, domestic drama, teen drama, and comedy-drama (dramedy). These terms tend to indicate a particular setting or subject-matter, or else they qualify the otherwise serious tone of a drama with elements that encourage a broader range of moods. To these ends, a primary element in a drama is the occurrence of conflict—emotional, social, or otherwise—and its resolution in the course of the storyline.
All forms of cinema or television that involve fictional stories are forms of drama in the broader sense if their storytelling is achieved by means of actors who represent (mimesis) characters. In this broader sense, drama is a mode distinct from novels, short stories, and narrative poetry or songs.[3] In the modern era before the birth of cinema or television, "drama" within theatre was a type of play that was neither a comedy nor a tragedy. It is this narrower sense that the film and television industries, along with film studies, adopted. "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.[4]
Types of drama in film and television
The Screenwriters Taxonomy contends that film genres are fundamentally based upon a film's atmosphere, character and story, and therefore the labels "drama" and "comedy" are too broad to be considered a genre.[2] Instead, the taxonomy contends that film dramas are a "Type" of film; listing at least ten different sub-types of film and television drama.[5]
Docudramas are dramatized adaptations of real-life events. While not always completely accurate, the general facts are more-or-less true.[6] The difference between a docudrama and a documentary is that in a documentary it uses real people to describe history or current events; in a docudrama it uses professionally trained actors to play the roles in the current event, that is "dramatized" a bit. Examples: Black Mass (2015) and Zodiac (2007).
Different from docudramas, docu-fictional films combine documentary and fiction, where actual footage or real events are intermingled with recreated scenes.[7] Examples: Interior. Leather Bar (2013) and Your Name Here (2015).
Coined by film professor Ken Dancyger, these stories exaggerate characters and situations to the point of becoming fable, legend or fairy tale.[9] Examples: Fantastic Mr. Fox (2009) and Maleficent (2014).
Light drama
Light dramas are light-hearted stories that are, nevertheless, serious in nature.[10] Examples: The Help (2011) and The Terminal (2004).
Psychological dramas are dramas that focus on the characters' inner life and psychological problems.[11] Examples: Requiem for a Dream (2000), Oldboy (2003), Babel (2006), Whiplash (2014), and Anomalisa (2015)
Satire can involve humor, but the result is typically sharp social commentary that is anything but funny. Satire often uses irony or exaggeration to expose faults in society or individuals that influence social ideology.[12] Examples: Thank You for Smoking (2005) and Idiocracy (2006).
Straight drama
Straight drama applies to those that do not attempt a specific approach to drama but, rather, consider drama as a lack of comedic techniques.[12] Examples: Ghost World (2001) and Wuthering Heights (2011).
According to the Screenwriters' Taxonomy, all film descriptions should contain their type (comedy or drama) combined with one (or more) of the eleven super-genres.[2] This combination does not create a separate genre, but rather, provides a better understanding of the film.
According to the taxonomy, combining the type with the genre does not create a separate genre.[2] For instance, the "Horror Drama" is simply a dramatic horror film (as opposed to a comedic horror film). "Horror Drama" is not a genre separate from the horror genre or the drama type.[13]
Action dramas tend to be visceral with dynamic fight scenes, extensive chase scenes, and heart-racing stunts correlated with dramatic story and character arcs. The hero is nearly always sharp-witted, quick on their feet, and able to improvise mentally and physically. The hero begins the film with an internal problem, quickly followed by an external problem. By the story's end, the hero resolves both problems.[2]
Crime drama
Crime dramas explore themes of truth, justice, and freedom, and contain the fundamental dichotomy of "criminal vs. lawman". Crime films make the audience jump through a series of mental "hoops"; it is not uncommon for the crime drama to use verbal gymnastics to keep the audience and the protagonist on their toes.[2]
In a drama thriller, the protagonist is often an unwitting hero reluctantly drawn into the story and must do battle with an epic villain to save the lives of innocent victims; the hero inevitably finds himself deeply involved in a situation involving insane criminals with a very dark past, who will threaten, double-cross, and kill anyone who stands in their way.[14]
According to screenwriter and scholar Eric R. Williams:
Even the typical good guys in other genres (the police, detectives, and guards) can't be trusted in a thriller. Granted, there are "good guys" in a thriller, but the audience and hero never really know who they are until the end. Thrillers explore the ideas of Hope and Fear, constantly tearing the hero (and more importantly: the audience) between these two extremes. It is not uncommon to have the audience hope that the hero will defeat the villain yet remain fearful that they will not. Often, there is a central mystery that the protagonist must solve, one that is obfuscated from the audience and the hero, so that it is difficult to know what is needed to successfully unravel the impending sense of doom that hangs over the hero.[2]
According to Eric R. Williams, the hallmark of fantasy drama films is "a sense of wonderment, typically played out in a visually intense world inhabited by mythic creatures, magic or superhuman characters. Props and costumes within these films often belie a sense of mythology and folklore – whether ancient, futuristic, or other-worldly. The costumes, as well as the exotic world, reflect the personal, inner struggles that the hero faces in the story."[2]
Horror dramas often involve the central characters isolated from the rest of society. These characters are often teenagers or people in their early twenties (the genre's central audience) and are eventually killed off during the course of the film. Thematically, horror films often serve as morality tales, with the killer serving up violent penance for the victims' past sins.[5] Metaphorically, these become battles of Good vs. Evil or Purity vs. Sin.
Day-in-the-life films takes small events in a person's life and raises their level of importance. The "small things in life" feel as important to the protagonist (and the audience) as the climactic battle in an action film, or the final shootout in a western.[5] Often, the protagonists deal with multiple, overlapping issues in the course of the film – just as we do in life.
Romantic dramas are films with central themes that reinforce our beliefs about love (e.g.: themes such as "love at first sight", "love conquers all", or "there is someone out there for everyone"); the story typically revolves around characters falling into (and out of, and back into) love.[15]
The science fiction drama film is often the story of a protagonist (and her allies) facing something "unknown" that has the potential to change the future of humanity; this unknown may be represented by a villain with incomprehensible powers, a creature we do not understand, or a scientific scenario that threatens to change the world; the science fiction story forces the audience to consider the nature of human beings, the confines of time or space or the concepts of human existence in general.[16]
In the sports super-genre, characters will be playing sports. Thematically, the story is often one of "Our Team" versus "Their Team"; their team will always try to win, and our team will show the world that they deserve recognition or redemption; the story does not always have to involve a team. The story could also be about an individual athlete or the story could focus on an individual playing on a team.[17]
War films typically tells the story of a small group of isolated individuals who – one by one – get killed (literally or metaphorically) by an outside force until there is a final fight to the death; the idea of the protagonists facing death is a central expectation in a war film. In a war film even though the enemy may out-number, or out-power, the hero, we assume that the enemy can be defeated if only the hero can figure out how.[5]
Films in the western super-genre often take place in the American Southwest or Mexico, with a large number of scenes occurring outdoors so we can soak in scenic landscapes. Visceral expectations for the audience include fistfights, gunplay, and chase scenes. There is also the expectation of spectacular panoramic images of the countryside including sunsets, wide open landscapes, and endless deserts and sky.[2]
Some film categories that use the word "comedy" or "drama" are not recognized by the Screenwriters Taxonomy as either a film genre or a film type. For instance, "Melodrama" and "Screwball Comedy" are considered Pathways,[18] while "Romantic Comedy" and "Family Drama" are macro-genres.[19]
Family drama
A macro-genre in the Screenwriters Taxonomy. These films tell a story in which many of the central characters are related. The story revolves around how the family as a whole reacts to a central challenge. There are four micro-genres for the Family Drama: Family Bond, Family Feud, Family Loss, and Family Rift.[2]
A sub-type of drama films that uses plots that appeal to the heightened emotions of the audience. Melodramatic plots often deal with "crises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship".[20] Film critics sometimes use the term "pejoratively to connote an unrealistic, pathos-filled, camp tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences".[21] Also called "women's movies", "weepies", tearjerkers, or "chick flicks". If they are targeted to a male audience, then they are called "guy cry" films. Often considered "soap-opera" drama.
A comedy film is a category of film which emphasizes humor. These films are designed to make the audience laugh through the amusement. Films in this style traditionally have a happy ending. Comedy is one of the oldest genres in the film—and derived from the classical comedy in theatre. Some of the earliest silent films were comedies, as slapstick comedy often relies on visual depictions, such as sight gags and pratfalls, so they can be enjoyed without requiring sound. To provide drama and excitement to silent movies, live music was played in sync with the action on the screen, by pianos, organs, and other instruments. When sound films became more prevalent during the 1920s, comedy films grew in popularity, as laughter could result from both burlesque situations but now also from humorous dialogue.
Fantasy films are films that belong to the fantasy genre with fantastic themes, usually magic, supernatural events, mythology, folklore, or exotic fantasy worlds. The genre is considered a form of speculative fiction alongside science fiction films and horror films, although the genres do overlap. Fantasy films often have an element of magic, myth, wonder, escapism, and the extraordinary.
A film genre is a stylistic or thematic category for motion pictures based on similarities either in the narrative elements, aesthetic approach, or the emotional response to the film.
Action film is a film genre in which the protagonist is thrust into a series of events that typically involve violence and physical feats. The genre tends to feature a mostly resourceful hero struggling against incredible odds, which include life-threatening situations, a dangerous villain, or a pursuit which usually concludes in victory for the hero.
Thriller is a genre of fiction with numerous, often overlapping, subgenres, including crime, horror and detective fiction. Thrillers are characterized and defined by the moods they elicit, giving their audiences heightened feelings of suspense, excitement, surprise, anticipation and anxiety. This genre is well-suited to film and television.
Crime films, in the broadest sense, is a film genre inspired by and analogous to the crime fiction literary genre. Films of this genre generally involve various aspects of crime and its detection. Stylistically, the genre may overlap and combine with many other genres, such as drama or gangster film, but also include comedy, and, in turn, is divided into many sub-genres, such as mystery, suspense or noir.
Romance films, romance movies, or ship films involve romantic love stories recorded in visual media for broadcast in theatres or on television that focus on passion, emotion, and the affectionate romantic involvement of the main characters. Typically their journey through dating, courtship or marriage is featured. These films make the search for romantic love the main plot focus. Occasionally, romance lovers face obstacles such as finances, physical illness, various forms of discrimination, psychological restraints or family resistance. As in all quite strong, deep and close romantic relationships, the tensions of day-to-day life, temptations, and differences in compatibility enter into the plots of romantic films.
Japanese television drama, also called dorama (ドラマ), are television programs that are a staple of Japanese television and are broadcast daily. All major TV networks in Japan produce a variety of drama series including romance, comedy, detective stories, horror, jidaigeki, thriller, and many others. Single episode, or "tanpatsu" dramas that are usually two hours in length are also broadcast. For special occasions, there may be a one or two-episode drama with a specific theme, such as one produced in 2015 for the 70-year anniversary of the end of World War II.
Slice of life is a depiction of mundane experiences in art and entertainment. In theater, slice of life refers to naturalism, while in literary parlance it is a narrative technique in which a seemingly arbitrary sequence of events in a character's life is presented, often lacking plot development, conflict, and exposition, as well as often having an open ending.
The erotic thriller is a film subgenre defined as a thriller with a thematic basis in illicit romance or erotic fantasy. Though exact definitions of the erotic thriller can vary, it is generally agreed "bodily danger and pleasure must remain in close proximity and equally important to the plot." Most erotic thrillers contain scenes of softcore sex and nudity, though the frequency and explicitness of those scenes can differ from film to film.
Michael Eklund is a Canadian television and film actor who is known for playing the role of the villain or antihero. His characters are often described as being "creepy".
Thriller film, also known as suspense film or suspense thriller, is a broad film genre that evokes excitement and suspense in the audience. The suspense element found in most films' plots is particularly exploited by the filmmaker in this genre. Tension is created by delaying what the audience sees as inevitable, and is built through situations that are menacing or where escape seems impossible.
A romantic thriller is a narrative that involves elements of the romance and thriller genres. A good thriller provides entertainment by making viewers uncomfortable with moments of suspense, the heightened feeling of anxiety and fright. A thriller is more a familiar concept and description than a pure genre. It is not a genre with a precise definition. It can vary from comedy and melodrama to adventure and romance. All thrillers are a combination of different genres. The basic thriller trait of suspense fits with some genres better than with others. For example, crime, sci-fi and romance allow more scope for suspense than screwball comedies or musicals do.
Depictions of race in horror films has been the subject of commentary. Critics have discussed the representation of race in horror films in relation to the presence of racist ideas, stereotypes and tropes within them. The horror genre has conversely also been used to explore social issues including race, particularly following popularization of social thrillers in the 2010s.
Daniel Zovatto-Blanco is a Costa Rican American film and television actor. Since 2012, he has starred in films of the horror genre, Beneath (2013), It Follows (2014), and Don't Breathe (2016), as well as the romantic comedy Laggies (2014). Zovatto made his television debut in 2014, guest starring in an episode of Agents of S.H.I.E.L.D. He has since held recurring roles as Gideon LeMarchal in Revenge (2014), and Jack in Fear the Walking Dead (2016). In 2018 he appeared in one of the lead roles in HBO's Here And Now, and a year later he was cast in Penny Dreadful: City of Angels as the series protagonist, which premiered in 2020.
The Triangle of Knowledge is a writing technique to create and amplify tension in a screenplay, teleplay or stage play identified by Eric R. Williams. The Triangle represents ‘three minds’ that contain knowledge within a scene: the Protagonist, the audience, and any other Character in the scene. According to Williams, tension is created or enhanced when one of the three corners of the triangle is deprived knowledge in the scene.
Inspired by the biological classification system of the Linnaean taxonomy, screenwriter Eric R. Williams developed the Screenwriters Taxonomy in 2017 to create a common language of creative collaboration for filmmakers. Williams’ central thesis in The Screenwriters Taxonomy: A Roadmap to Collaborative Storytelling is that the term “genre” is used so broadly to describe films that the modern use of the word has become meaningless. The Screenwriter's Taxonomy proposes seven categories for discussing the creative process of telling cinematic stories.
Type
Super Genre
Macrogenres
Microgenres
Voice
Pathway
Point of View
References
↑ "Drama". Merriam-Webster, Incorporated. 2015. a play, movie, television show, that is about a serious subject and is not meant to make the audience laugh
Neale, Steve. 2000. Genre and Hollywood. London: Routledge. ISBN0-415-02606-7.
Sheehan, Helena. 1987. Irish Television Drama: A Society and Its StoriesISBN0-86029-011-5
Williams, Eric R. (2017) The Screenwriters Taxonomy: A Roadmap to Creative Storytelling. New York, NY: Routledge Press, Studies in Media Theory and Practice. ISBN978-1-315-10864-3.
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