ABSTRACT

This essay revisits the theoretical framework of Tom Gunning’s account of cine-genres to delineate an approach to genre suited to domains of inquiry related to, yet distinct from, film studies. It considers how Gunning’s emphasis on non-continuity allows for genre analysis based on form of expression and energetic transformations, instead of limiting it to content, structure, and economic rationality. Gunning’s shift in emphasis also allows for consideration of another domain in which non-continuity is often dismissed as an anomaly: transmedia series. The essay turns to ‘original video animation’ or OVA of 1980s Japan to explore the implications of Gunning’s ‘multilinear’ machine of non-continuity for thinking transmedia-genre.

摘要

本文重新审视了汤姆·冈宁对电影类型的描述的理论框架，以描绘一种适合与电影研究相关但又不同于电影研究的探究领域的类型方法。它考虑了冈宁对非连续性的强调如何允许基于表达形式和能量转换的类型分析，而不是将其限制在内容、结构和经济理性上。Gunning 的重点转移也允许考虑另一个领域，在该领域中，非连续性经常被视为异常现象：跨媒体系列。这篇文章转向 1980 年代日本的“原创视频动画”或 OVA，以探讨 Gunning 的非连续性“多线性”机器对跨媒体类型思考的影响。