@article {891, title = {Questions of Genre}, journal = {Screen}, volume = {31}, year = {1990}, note = {+ pdf}, month = {1990}, pages = {45{\textendash}66}, keywords = {capital, commodity, evolution, film, genre, hybrid, institution, journalism, process, Todorov}, author = {Neale, Steve} } @article {1278, title = {Neoliberal frames and genre of inequality: Recession-era chick flicks and male-centered corporate melodrama}, journal = {European Journal of Cultural Studies}, volume = {16}, year = {2013}, pages = {344-361}, abstract = {

Media forms play a vital role in making cultural and political sense of the complex economic developments and profound ideological uncertainties which have accompanied the global recession. This article analyses how popular genre cinema tackles the inequalities \– in particular, gender inequalities \– that follow from the financial crisis, situating Hollywood\’s representational strategies in the context of recessionary media culture. It posits and analyses two sub-genres which demonstrate different approaches to an altered socio-economic climate: the recessionary \‘chick flick\’ and the corporate melodrama. Amid the financial crisis these sub-genres shift emphasis to respond to changing circumstances, notably in relation to the once-ubiquitous trope of choice central to post-feminist media culture; neoliberal choice rhetoric is now considerably harder to maintain. The two case studies contrast the different ways in which female-centred chick flicks and male-centred corporate melodramas address unemployment, downward mobility and the challenges of work\–life balance.

}, keywords = {film, gender, neoliberalism}, author = {Negra, Diane and Tasker, Yvonne} } @book {1296, title = {Music Genres and Corporate Cultures}, year = {1999}, pages = {224}, publisher = {Routledge}, organization = {Routledge}, address = {London}, abstract = {

Music Genres and Corporate Cultures explores the seemingly haphazard workings of the music industry, tracing the uneasy relationship between economics and culture; {\textquoteleft}entertainment corporations\&$\#$39; and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Polygram in managing different genres, artists and staff. How do takeovers affect the treatment of artists? Why has Polygram been perceived as too European to attract US artists? And how did Warner\&$\#$39;s wooden floors help them sign Green Day? Through in-depth case studies of three major genres; rap, country, and salsa, Negus explores the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. He examines the tension between raps public image as the spontaneous {\textquoteleft}music of the streets\&$\#$39; and the practicalities of the market, and asks why country labels and radio stations promote top-selling acts like Garth Brooks over hard-to-classify artists like Mary Chapin-Carpenter, and how the lack of soundscan systems in Puerto Rican record shops affects salsa music\&$\#$39;s position on the US Billboard chart. Drawing on over seventy interviews with music industry personnel in Britain and the United States, Music Genres and Corporate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business styles while stressing that music production takes within a broader culture, not totally within the control of large corporations.

From: www.amazon.com/Music-Genres-Corporate-Cultures-Keith/dp/0415174007

}, isbn = {978-0415174008}, author = {Negus, Keith} } @inbook {892, title = {Genres from the Bottom Up: What Has the Web Brought Us}, booktitle = {Information in a Networked World: Proceedings of the 64th Annual Meeting of the American Society for Information Science and Technology}, volume = {38}, year = {2001}, note = {+ genre information science}, month = {2001}, pages = {330{\textendash}339}, publisher = {Information Today, Inc.}, organization = {Information Today, Inc.}, address = {Medford, NJ}, keywords = {automated genre recognition, classification, genre, internet, user behavior, web}, author = {Nilan, Michael and Pomerantz, Jeffrey and Paling, Stephen}, editor = {Aversa, Elizabeth and Manley, Cynthia} } @article {1315, title = {The history of the case report: a selective review.}, journal = {JRSM Open}, volume = {5}, year = {2014}, month = {04/2014 Apr}, pages = {2054270414523410}, abstract = {

The clinical case report is a popular genre in medical writing. While authors and editors have debated the justification for the clinical case report, few have attempted to examine the long history of this genre in medical literature. By reviewing selected literature and presenting and discussing excerpts of clinical case reports from Egyptian antiquity to the 20th century, we illustrate the presence of the genre in medical science and how its form developed. Central features of the clinical case report in different time periods are discussed, including its main components, structure, style and author presence.

}, issn = {2054-2704}, doi = {10.1177/2054270414523410}, author = {Nissen, Trygve and Wynn, Rolf} } @article {RN42, title = {The Relevance of Feenberg{\textquoteright}s Critical Theory of Technology to Critical Visual Literacy: The Case of Scientific and Technical Illustration}, journal = {Journal of Technical Writing and Communication}, volume = {37}, number = {3}, year = {2007}, pages = {253-266}, doi = {10.2190/TW.37.3.b}, author = {Northcut, Kathryn M.} } @article {1273, title = {The Sims: Real Life as Genre}, journal = {Information, Communication, and Society}, volume = {6}, year = {2010}, pages = {577-592}, chapter = {577}, abstract = {

This article examines one of the most popular computer games\ The Sims\ to consider whether the shared understanding of the game\&$\#$39;s \"rules\&$\#$39; can be understood through the concept of genre. The main argument is that the genre\ being used is \"real life\&$\#$39;. The game\&$\#$39;s creators are assuming the players share with them, and with each other, an understanding of real life, which can be transposed into the game world. The article explores this notion of a real-life narrative that is shared, by considering the ways in which family and other relationships are both conceptualized and played out in the game. Whilst real life as genre\ is problematized here, the tensions and conflicts of contemporary real-world conceptualizations of family and other relationships do appear to be represented in the game. What is interesting then, given this, are the ways in which players negotiate the gameplay. The article concludes by suggesting that players are active agents negotiating both the game\&$\#$39; s version of real life, and their own real-world experiences.

}, keywords = {computer games}, author = {Nutt, Diane and Railton, Diane} } @book {1168, title = {What Writers Know: the Language, Process, and Structure of Written Discourse}, year = {1982}, publisher = {Academic Press}, organization = {Academic Press}, address = {New York}, isbn = {0-12-523480-5}, author = {Nystrand, Martin} } @book {1169, title = {Towards a Rhetoric of Everyday Life: New Directions in Research on Writing, Text, and Discourse}, year = {2003}, publisher = {University of Wisconsin Press}, organization = {University of Wisconsin Press}, address = {Madison}, isbn = {0-299-18170-7}, author = {Nystrand, Martin and Duffy, John} }