Since the 1980s, writers and directors have been experimenting with mixing genres. Each genre represents particular conventions for editing. For example, the horror genre relies on a high degree of stylization, using subjective camera placement and motion. Because of the nature of the subject matter, pace is important. Although film noir also highlights the world of the nightmare, it tends to rely less on movement and pace. Indeed, film noir tends to be even more stylized and more abstract than the horror genre. Each genre relies on visual composition and pace in different ways. As a result, audiences have particular emotional expectations when viewing a film from a particular genre.
When two genres are mixed in one film, each genre brings along its conventions. This can sometimes make an old story seem fresh. However, the results for editing of these two sets of conventions can be surprising. At times, the films are more effective, but at other times, they simply confuse the audience. Because the mixed-genre film has become an important new narrative convention, its implications for editing must be considered.
There were numerous important mixed-genre films in the 1980s, including Jean-Jacques Beineix's Diva (1982) and Joel Coen's Raising Arizona (1987), but the focus here is on three: Jonathan Demme's Something Wild (1986), David Lynch's Blue Velvet, and Errol Morris's The Thin Blue Line (1988).
Something Wild is a mix of screwball comedy and film noir. The film, about a stockbroker who is picked up by an attractive woman, is the shifting story of the urban dream (love) and the urban nightmare (death).
Screwball comedies tend to be rapidly paced, kinetic expressions of confusion. Film noir, on the other hand, is slower, more deliberate, and more stylized. Both genres focus sometimes on love relationships.
The pace of the first part of Something Wild raises our expectations for the experience of the film. The energy of the screwball comedy, however, gives way to a slower-paced dance of death in the second half of the film. Despite the subject matter, the second half seems anticlimactic. The mixed genres work against one another, and the result is less than the sum of the parts.
David Lynch mixed film noir with the horror film in Blue Velvet. He relied on camera placement for the identification that is central to the horror film, and he relied on sound to articulate the emotional continuity of the movie. In fact, he used sound effects the way most filmmakers use music, to help the audience understand the emotional state of the character and, consequently, their own emotional states.
Lynch allowed the sound and the subjectivity that is crucial in the horror genre to dominate the stylization and pacing of the film. As a result, Blue Velvet is less stylized and less cerebral than the typical film noir work. Lynch's experiment in mixed genre is very effective. The story seems new and different, but its impact is similar to such conventional horror films as William Friedkin's The Exorcist (1973) or David Cronenberg's Dead Ringers (1988).
Errol Morris mixed the documentary and the police story (the gangster film or thriller) in The Thin Blue Line, which tells the story of a man wrongly accused of murder in Texas. The documentary was edited for narrative clarity in building a credible case. With clarity and credibility as the goals of the editing, the details of the case had to be presented in careful sequence so that the audience would be convinced of the character's innocence. It is not necessary to like or identify with him. The credible evidence persuades us of the merits of his cause. The result can be dynamic, exciting, and always emotional.
Morris dramatized the murder of the policeman, the crime that has landed the accused in jail. The killing is presented in a dynamic, detailed way. It is both a shock and an exciting event. In contrast to the documentary film style, many close-ups are used. This sequence, which was repeated in the film, was cut to Phillip Glass's musical score, making the scene evocative and powerful. It is so different from the rest of the film that it seems out of place. Nevertheless, Morris used it to remind us forcefully that this is a documentary about murder and about the manipulation of the accused man.
The Thin Blue Line works as a mixed-genre film because of Glass's musical score and because Morris made clear the goal of the film: to prove that the accused is innocent.
Mixing genres is a relatively new phenomenon, but it does offer filmmakers alternatives to narrative conventions. However, it is critical to understand which editing styles, when put together, are greater than the sum of their parts and which, when put together, are not.
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