Universitat Internacional de Catalunya

Film Genres

Film Genres
Second semester
Film Creation
Géneros cinematográficos
Main language of instruction: Spanish

Teaching staff


The concept of film genre is complex to define. It's a difficult task to draw the limits between one genre and another, or to determine the reasons or parameters that help to classify the genres. However, to be aware of the richness of each of the accepted genres is essential for a richer reading of the cinema that surrounds us and to carry out audiovisual works that contribute and enrich the tradition of the genre . 

This course aims to address the discussion around the different theoretical concepts surrounding the definition of film genre . It also provides the main features of the great film genres , holders of tradition and history in film history . It also aims to recognize the importance of social and historical context that facilitates and underpins the evolution of genres .

Pre-course requirements

No prerequisites are required on this subject.


- Obtain the necessary basic knowledge about the concept of genres and film genres to use in the field of communication.

- Recognize and identify works of different genres from the analysis and observation of the main parameters in representative sequences.

- Assess the importance of certain pelícuas and the historical and cultural context that allowed the evolution of genres.

- Ability to perform a critical and argument on different aspects worked on the subject.


  • 01 - The ability to adapt to varying circumstances
  • 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
  • 07 - The ability to apply the deontology and respect for the audiovisual sector
  • 08 - The ability of critical analysis, synthesis, concretion and abstraction
  • 11 - The ability to generate debate and reflection
  • 13 - The ability to create spoken and written communication
  • 14 - Knowledge and mastery of rhetoric and oratory to communicate own ideas
  • 16 - The ability to manage, analysis and reflect on content
  • 19 - The ability of informative documentation
  • 20 - Knowledge and mastery of bibliographic media
  • 22 - Knowledge and mastery of the distinction between opinion and information / colloquial and cultured register
  • 25 - The ability to maximize creative development
  • 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
  • 27 - The ability to adapt to distinct audio visual publics and markets.
  • 30 - The ability to study the feasibility of an audiovisual product
  • 31 - The ability to understand the financial systems of media groups and companies.
  • 37 - The ability to contextualize and critically analyze the organizational structure of global communication
  • 38 - The ability to understand and apply the structure of the audiovisual system
  • 39 - The ability to understand and apply the legal dimension of an audiovisual product
  • 41 - The ability to know how the distinct elemental agencies of the audio visual sector function
  • 42 - The ability to distinguish, analyze and dominate the distinct genres and formats of television, film and radio
  • 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes
  • 51 - Knowledge and mastery of the functioning of Corporate and Institutional Communication.
  • 53 - Lingustic ability in Catalan, Spanish and English
  • 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.

Learning outcomes

- The students possess basic knowledge on major film genres.

- Be able to recognize and discuss the theoretical complexity surrounding the definition of gender.

- Understand the importance of social and historical context that influences the different genres.

- Be able to reflect on the different parameters that define each gender throughout the tradition of it.


1. Introduction: What is genre? Relationship between production and audience. Remaking genres: Genre vs. Gender. Fiction and non-fiction.

2. Film noir, variations: from classic noir to New Hollywood neo-noir.

3. Western. From the conquest of space to the drifts of the road movie.

4. Melodrama: imitation of life. Seriality and biopic.

5. Comedy. From screwball comedy to romantic comedy.

6. Musical. Reflection of social transformations vs. the television commercialisation of the video clip.

7. Horror and fantastic cinema. Alterity and inner monster. Adventure cinema: Adolescence and nostalgia on Netflix.

8. Science fiction: from the outer journey to metaphysics.

Teaching and learning activities

In person

Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students.
Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested.
Lab. Working groups that combine theory and practice. The aim of these is not to undertake already known techniques, but instead to make progress that is both theoretical and technical. These Lab sessions will culminate in the creation of a professional or semi-professional product.
Meeting Point. Meetings will be organised with notable people from the professional and scientific fields or the international field, and students. These sessions will take the form of conferences, work sessions, discussions, or interviews, etc.

Evaluation systems and criteria

In person

The student must attend 80% of the classes. 

The subject and the content taught will be evaluated as follows: 

- Abstract, essential filmography and bibliography: 10%

- Final essay: 70%

- Participation and exercises during the sessions: 20%

It will be valued: 

- Ability to develop academic rigour, responsibility, ethics and professionalism. 

- Capacity for critical analysis, synthesis, concretion and abstraction. 

- Ability to generate debate and reflection. 

- Ability to create oral and written communication. 

- Knowledge and mastery of rhetoric and oratory to communicate their own ideas. 

- Capacity of informative documentation. - Knowledge and mastery of the distinction between opinion and information / colloquial records and cults. 

- Ability to develop the sense of good taste and perfection in the final and aesthetic finish of the projects. 

The second call may be overcome by performing a job with characteristics similar to that required in the first call or the delivery.

Bibliography and resources

ALTMAN, R. Los géneros cinematográficos. Barcelona: Paidós, 2000.

ASTRE, G.A.; Hoarau, A.P. El universo del western. Madrid: Fundamentos, 1975 (4ª ed. 1997)

BASSA, J.; FREIXAS, R. El cine de ciencia ficción: una aproximación. Barcelona: Paidós Ibérica, 1997.

BOU, Núria i PÉREZ, Xavier. El temps de l'heroi. Èpica i masculinitat en el cinema de Hollywood. Barcelona:

Paidós, 2000.

BYRGE, D.-MILLER, R.M. The Screwball Comedy Film: A History & filmography, 1934-1942. McFarland, 2001.

CAVELL, Stanley. La búsqueda de la felicidad. La comedia de enredo matrimonial en Hollywood. Paidós:

Barcelona, 1994.

CASAS, Quim. El western: el género norteamericano. Barcelona: Paidós Ibérica, S.A., 1994.

EVERSON, W.K. El western de Hollywood. Barcelona: Paidós Ibérica, 1995.

FEUER, J. El musical de Hollywood. Madrid: Verdoux, 1992

FREIXAS, R. El cine de ciencia-ficción. Barcelona: Paidós, 1993.

HEREDERO, C. F.; SANTAMARINA, A. El cine negro. Maduración y crisis de la escritura clásica. Barcelona: Paidós Ibérica, 1998.

LENNE, G. El cine fantástico y sus mitologías. Barcelona: Anagrama, 1974

LOSILLA, C. El cine de terror: una introducción. Barcelona: Paidós, 1993

MAST, G.-COHEN, M. (eds.) Film Genre Criticism. Nueva York: Oxford University Press, 1985

NEALE, Steve (Ed.) Genre and contemporary Hollywood. Londres: BFI, 2002.

PÉREZ, P. El cine melodramático. Barcelona: Paidós, 2004

PASZKIEWICZ, K. Rehacer los géneros. Mujeres cineastas dentro y fuera de Hollywood. Barcelona: Icaria editorial, 2017.

SCHATZ, Thomas. Hollywood Genres. Formulas, filmmaking and the studio system.McGraw Hil-Humanities,



Complementary bibliography

BENAVENTE, Fran. El héroe trágico en el western. El género y sus límites. Sevilla: Athenaica, 2017.

BENDAZZI, G. Cartoons. 110 años de cine de animación. Madrid: Ocho y Medio, 2003. 

BOURGET, J.L. Le mélodrame hollywoodien. París: Stork, 1985

COMA, J. [et al.] Luces y sombras del cine negro. Barcelona: Dirigido por..., 1990.

CRESPO, P. La revolución del western y otros ensayos. Barcelona: A.T.E., 1973. 

GRANT, Barry Keith (ed.). Film genre reader III. Austin: University of Texas Press, 2003.

MIGUEL, C. de. La ciencia ficción: un agujero negro en el cine de género. Universidad del País Vasco, 1988.

PALACIOS, Jesús. (ed). NeoNoir. Madrid: T&B Editores, 2011.

QUINTANA, Angel. Después del cine. Imagen y realidad en la era digital. Barcelona: Acantilado, 2011.

SÁNCHEZ, Sergi. Películas clave del cine de ciencia-ficción. Barcelona: Robinbook, 2007.

SÁNCHEZ BIOSCA, V. Cine y vanguardias artísticas. Barcelona: Paidós, 2004.

SÁNCHEZ NORIEGA, J.L. Obras maestras del cine negro. Bilbao: Mensajero, 1998.

THORET, Jean-Baptiste. Le cinéma américain des années 70. París: Cahiers du Cinéma, 2006.