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[[File:Gone With The Wind 1967 re-release.jpg|thumb|right|''[[Gone with the Wind (film)|Gone with the Wind]]'' is a popular romance drama.]]
[[File:Gone With The Wind 1967 re-release.jpg|thumb|right|''[[Gone with the Wind (film)|Gone with the Wind]]'' is a popular romance drama.]]


In [[film]] and [[television show|television]], '''drama''' is a category or genre of [[narrative]] [[fiction]] (or [[docudrama|semi-fiction]]) intended to be more serious than [[humour|humorous]] in tone.<ref>{{cite web|publisher=Merriam-Webster, Incorporated|title=Drama|year=2015|url=http://www.merriam-webster.com/dictionary/drama|quote=a play, movie, television show, that is about a serious subject and is not meant to make the audience laugh}}</ref> Drama of this kind is usually qualified with additional terms that specify its particular super-genre, macro-genre, or micro-genre,<ref name=":0" /> such as [[soap opera]], [[police procedural|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 (narrative)|setting]] or subject-matter, or else they qualify the otherwise serious tone of a drama with elements that encourage a broader range of [[Mood (literature)|moods]]. To these ends, a primary element in a drama is the occurrence of [[Conflict (process)|conflict]]—emotional, social, or otherwise—and its resolution in the course of the storyline.
In [[film]] and [[television show|television]], '''drama''' is a category or genre of [[narrative]] [[fiction]] (or [[docudrama|semi-fiction]]) intended to be more serious than [[humour|humorous]] in tone.<ref>{{cite web|publisher=Merriam-Webster, Incorporated|title=Drama|year=2015|url=http://www.merriam-webster.com/dictionary/drama|quote=a play, movie, television show, that is about a serious subject and is not meant to make the audience laugh}}</ref> The drama of this kind is usually qualified with additional terms that specify its particular super-genre, macro-genre, or micro-genre,<ref name=":0" /> such as [[soap opera]], [[police procedural|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 (narrative)|setting]] or subject matter, or they combine a drama's otherwise serious tone with elements that encourage a broader range of [[Mood (literature)|moods]]. To these ends, a primary element in a drama is the occurrence of [[Conflict (process)|conflict]]—emotional, social, or otherwise—and its resolution in the course of the storyline.


All forms of [[Film industry|cinema]] or [[television]] that involve [[Fiction|fictional stories]] are forms of [[Drama|drama in the broader sense]] if their storytelling is achieved by means of [[actor]]s who [[Representation (arts)|represent]] ([[mimesis]]) [[Character (arts)|characters]]. In this broader sense, drama is a [[Mode (literature)|mode]] distinct from [[novel]]s, [[Short story|short stories]], and narrative [[poetry]] or [[song]]s.<ref name="elam98">Elam (1980, 98).</ref> In the modern era before the birth of cinema or television, "drama" within [[theatre]] was a type of [[Play (theatre)|play]] that was neither a [[Comedy (drama)|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]].<ref>Banham (1998, 894–900).</ref>
All forms of [[Film industry|cinema]] or television that involve [[Fiction|fictional stories]] are forms of [[Drama|drama in the broader sense]] if their storytelling is achieved by means of actors who [[Representation (arts)|represent]] ([[mimesis]]) [[Character (arts)|characters]]. In this broader sense, drama is a [[Mode (literature)|mode]] distinct from novels, [[Short story|short stories]], and narrative [[poetry]] or [[song]]s.<ref name="elam98">Elam (1980, 98).</ref> In the modern era, before the birth of cinema or television, "drama" within [[theatre]] was a type of [[Play (theatre)|play]] that was neither a [[Comedy (drama)|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]].<ref>Banham (1998, 894–900).</ref>


==Types of drama in film and television==
==Types of drama in film and television==
{{Self-contradictory|about=States horror drama as both a distinct genre as well as defining it as just a straight horror film with no comedy. which is it?|date=January 2024}}
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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.<ref name=":0">{{Cite book|last=Williams, Eric R.|url=https://www.worldcat.org/oclc/993983488|title=The screenwriters taxonomy : a roadmap to collaborative storytelling|publisher=Routledge Studies in Media Theory and Practice|year=2017|isbn=978-1-315-10864-3|location=New York, NY|oclc=993983488}}</ref> Instead, the taxonomy contends that film dramas are a “Type” of film; listing at least ten different sub-types of film and television drama.<ref name=":1">{{Cite book|last=Williams, Eric R.|url=https://www.worldcat.org/oclc/986993829|title=Screen adaptation : beyond the basics : techniques for adapting books, comics, and real-life stories into screenplays|publisher=Focal Press|year=2017|isbn=978-1-315-66941-0|location=New York|oclc=986993829}}</ref>

⚫
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.<ref name=":0">{{Cite book|last=Williams, Eric R.|url=https://www.worldcat.org/oclc/993983488|title=The screenwriters taxonomy : a roadmap to collaborative storytelling|publisher=Routledge Studies in Media Theory and Practice|year=2017|isbn=978-1-315-10864-3|location=New York, NY|oclc=993983488}}</ref> Instead, the taxonomy contends that film dramas are a "Type" of film; listing at least ten different sub-types of film and television drama.<ref name=":1">{{Cite book|last=Williams, Eric R.|url=https://www.worldcat.org/oclc/986993829|title=Screen adaptation : beyond the basics : techniques for adapting books, comics, and real-life stories into screenplays|publisher=Focal Press|year=2017|isbn=978-1-315-66941-0|location=New York|oclc=986993829}}</ref>


===Docudrama===
===Docudrama===
{{Main|Docudrama}}
{{Main|Docudrama}}

Docudramas are dramatized adaptations of real-life events. While not always completely accurate, the general facts are more-or-less true.<ref>{{Cite web|title=Documentary Is Never Neutral {{!}} History|url=http://www.documentaryisneverneutral.com/words/docalthis.html|access-date=2020-06-16|website=www.documentaryisneverneutral.com}}</ref> 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 (film)|Black Mass]]'' (2015) and ''[[Zodiac (film)|Zodiac]]'' (2007).
Docudramas are dramatized adaptations of real-life events. While not always completely accurate, the general facts are more-or-less true.<ref>{{Cite web |last=Ogunleye |first=Foluke |title=Television Docudrama as Alternative Records of History |url=http://www.documentaryisneverneutral.com/words/docalthis.html |access-date=2020-06-16 |website=Documentary Is Never Neutral}}</ref> 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 (film)|Black Mass]]'' (2015) and ''[[Zodiac (film)|Zodiac]]'' (2007).


===Docufiction===
===Docufiction===
{{Main|Docufiction}}
{{Main|Docufiction}}

Different from docudramas, docu-fictional films combine documentary and fiction, where actual footage or real events are intermingled with recreated scenes.<ref>{{Cite web|title=Producing Docu-Fiction {{!}} Center for Documentary Studies at Duke University|url=https://documentarystudies.duke.edu/courses/producing-docu-fiction|access-date=2020-06-16|website=documentarystudies.duke.edu}}</ref> Examples: ''[[Interior. Leather Bar.|Interior. Leather Bar]]'' (2013) and ''[[Your Name Here (2015 film)|Your Name Here]]'' (2015).
Unlike docudramas, docu-fictional films combine documentary and fiction, where actual footage or real events are intermingled with recreated scenes.<ref>{{Cite web |title=Producing Docu-Fiction |url=https://documentarystudies.duke.edu/courses/producing-docu-fiction |access-date=2020-06-16 |website=Center for Documentary Studies at Duke University}}</ref> Examples: ''[[Interior. Leather Bar.|Interior. Leather Bar]]'' (2013) and ''[[Your Name Here (2015 film)|Your Name Here]]'' (2015).


===Comedy drama===
===Comedy drama===
{{Main|Comedy drama}}
{{Main|Comedy drama}}

A comedy drama is a serious story that contains some characters or scenes inherently humorous to the audience.<ref name=":2">{{Cite book|last=Williams|first=Eric R.|url=https://www.audible.com/pd/Falling-in-Love-with-Romance-Movies-Audiobook/B07XPDH9YT|title=Falling in Love with Romance Movies (Episode #3 Comedy and Tragedy: Age Does Not Protect You )|publisher=Audible|year=2019|language=en}}</ref> Examples include ''[[Three Colours: White]]'' (1994), ''[[The Truman Show]]'' (1998), ''[[The Man Without a Past]]'' (2002), ''[[The Best Exotic Marigold Hotel]]'' (2011), and ''[[Silver Linings Playbook]]'' (2012).
Many otherwise serious productions have humorous scenes and characters intended to provide [[comic relief]]. A comedy drama has humor as a more central component of the story, along with serious content.<ref name=":2">{{Cite book|last=Williams|first=Eric R.|url=https://www.audible.com/pd/Falling-in-Love-with-Romance-Movies-Audiobook/B07XPDH9YT|title=Falling in Love with Romance Movies (Episode #3 Comedy and Tragedy: Age Does Not Protect You )|publisher=Audible|year=2019|language=en}}</ref> Examples include ''[[Three Colours: White]]'' (1994), ''[[The Truman Show]]'' (1998), ''[[The Man Without a Past]]'' (2002), ''[[The Best Exotic Marigold Hotel]]'' (2011), and ''[[Silver Linings Playbook]]'' (2012).


===Hyperdrama===
===Hyperdrama===
{{Main|Hyperdrama}}
{{Main|Hyperdrama}}

Coined by film professor [[Ken Dancyger]], these stories exaggerate characters and situations to the point of becoming fable, legend or fairy tale.<ref>{{Cite book|last=Dancyger, Ken.|url=https://www.worldcat.org/oclc/941876150|title=Alternative scriptwriting : beyond the hollywood formula.|date=2015|publisher=Focal|isbn=978-1-138-17118-3|location=England|oclc=941876150}}</ref> Examples: ''[[Fantastic Mr. Fox (film)|Fantastic Mr. Fox]]'' (2009) and ''[[Maleficent (film)|Maleficent]]'' (2014).
Coined by film professor [[Ken Dancyger]], these stories exaggerate characters and situations to the point of becoming fable, legend or fairy tale.<ref>{{Cite book|last=Dancyger, Ken.|url=https://www.worldcat.org/oclc/941876150|title=Alternative scriptwriting : beyond the hollywood formula.|date=2015|publisher=Focal|isbn=978-1-138-17118-3|location=England|oclc=941876150}}</ref> Examples: ''[[Fantastic Mr. Fox (film)|Fantastic Mr. Fox]]'' (2009) and ''[[Maleficent (film)|Maleficent]]'' (2014).


===Light drama===
===Light drama===
Light dramas are light-hearted stories that are, nevertheless, serious in nature.<ref>{{Cite book|last=Jones, Phil, 1958 April 22-|url=https://www.worldcat.org/oclc/85485014|title=Drama as therapy : theory, practice, and research|date=2007|publisher=Routledge|isbn=978-0-415-41555-2|edition= 2nd|location=London|oclc=85485014}}</ref> Examples: ''[[The Help (film)|The Help]]'' (2011) and ''[[The Terminal]]'' (2004).
Light dramas are light-hearted stories that are, nevertheless, serious in nature.<ref>{{Cite book|last=Jones|first=Phil|url=https://www.worldcat.org/oclc/85485014|title=Drama as therapy : theory, practice, and research|date=2007|publisher=Routledge|isbn=978-0-415-41555-2|edition= 2nd|location=London|oclc=85485014}}</ref> Examples: ''[[The Help (film)|The Help]]'' (2011) and ''[[The Terminal]]'' (2004).


===Psychological drama===
===Psychological drama===
{{Main|Psychological drama}}
{{Main|Psychological drama}}

Psychological dramas are dramas that focus on the characters' inner life and psychological problems.<ref>{{Cite web|title=Subgenre - Psychological Drama|url=https://www.allmovie.com/subgenre/psychological-drama-d542|access-date=2021-05-20|website=AllMovie|language=en}}</ref> Examples: ''[[Requiem for a Dream]]'' (2000), ''[[Oldboy (2003 film)|Oldboy]]'' (2003), ''[[Babel (film)|Babel]]'' (2006), ''[[Whiplash (2014 film)|Whiplash]]'' (2014), and ''[[Anomalisa]]'' (2015)
Psychological dramas are dramas that focus on the characters' inner life and psychological problems.<ref>{{Cite web|title=Subgenre - Psychological Drama|url=https://www.allmovie.com/subgenre/psychological-drama-d542|access-date=2021-05-20|website=AllMovie|language=en}}</ref> Examples: ''[[Requiem for a Dream]]'' (2000), ''[[Oldboy (2003 film)|Oldboy]]'' (2003), ''[[Babel (film)|Babel]]'' (2006), ''[[Whiplash (2014 film)|Whiplash]]'' (2014), and ''[[Anomalisa]]'' (2015)


=== Satirical drama ===
=== Satirical drama ===
{{see also|Satire (film and television)}}
{{See also|Satire (film and television)}}

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.<ref name=":3">{{Cite book|last=Williams|first=Eric R.|url=https://www.audible.com/pd/Falling-in-Love-with-Romance-Movies-Audiobook/B07XPDH9YT|title=Falling in Love with Romance Movies (Episode #8 Satire and Social Commentary)|publisher=Audible|year=2019|language=en}}</ref> Examples: ''[[Thank You for Smoking]]'' (2005) and ''[[Idiocracy]]'' (2006).
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.<ref name=":3">{{Cite book|last=Williams|first=Eric R.|url=https://www.audible.com/pd/Falling-in-Love-with-Romance-Movies-Audiobook/B07XPDH9YT|title=Falling in Love with Romance Movies (Episode #8 Satire and Social Commentary)|publisher=Audible|year=2019|language=en}}</ref> Examples: ''[[Thank You for Smoking]]'' (2005) and ''[[Idiocracy]]'' (2006).


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== Type/genre combinations ==
== Type/genre combinations ==
[[File:Salah&Naglaa.jpg|thumb|[[Salah Zulfikar]] and [[Naglaa Fathi]] in ''[[My Husband's Wife]]'' (1970)]]
[[File:Salah&Naglaa.jpg|thumb|[[Salah Zulfikar]] and [[Naglaa Fathi]] in ''[[My Husband's Wife]]'' (1970)]]

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.<ref name=":0" /> This combination does not create a separate genre, but rather, provides a better understanding of the film.
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.<ref name=":0" /> 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.<ref name=":0" /> 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.<ref>{{Cite web|last=Williams|first=Eric. R.|date=2018|title=How to View and Appreciate Great Movies (episode #4: Genre Layers and Audience Expectations)|url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html|access-date=2020-06-14|website=English|language=en}}</ref>
According to the taxonomy, combining the type with the genre does not create a separate genre.<ref name=":0" /> 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.<ref>{{Cite web|last=Williams|first=Eric. R.|date=2018|title=How to View and Appreciate Great Movies (episode #4: Genre Layers and Audience Expectations)|url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html|access-date=2020-06-14|website=English|language=en}}</ref>

=== Action drama ===
{{See|Action film}}

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.<ref name=":0" />


=== Crime drama ===
=== 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.<ref name=":0" /> 
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.<ref name=":0" /> 


Examples of crime dramas include: ''[[The Godfather]]'' (1972), ''[[Chinatown (1974 film)|Chinatown]]'' (1974), ''[[Goodfellas]]'' (1990), ''[[The Usual Suspects]]'' (1995), and ''[[The Big Short (film)|The Big Short]]'' (2015).
Examples of crime dramas include: ''[[The Godfather]]'' (1972), ''[[Chinatown (1974 film)|Chinatown]]'' (1974), ''[[Goodfellas]]'' (1990), ''[[The Usual Suspects]]'' (1995), ''[[The Big Short (film)|The Big Short]]'' (2015), and ''[[Udta Punjab]]'' (2016).

=== Drama thriller ===
In a drama thriller, the protagonist is often an unwitting [[reluctant hero|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.<ref>{{Cite web |title=Thriller & Suspense |url=https://silverscreenanalysis.com/thriller-suspense/ |publisher=The SilverScreen Analysis |date=2016-11-19 |access-date=2020-06-16 |language=en-US}}</ref>

According to screenwriter and scholar Eric R. Williams:
{{blockquote|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.<ref name=":0" />}}

Films such as ''[[Seven (1995 film)|Se7en]]'' (1995), ''[[Zodiac (film)|Zodiac]]'' (2007), ''[[Shutter Island (film)|Shutter Island]]'' (2010), and ''[[Black Swan (film)|Black Swan]]'' (2010) are thriller dramas.


=== Fantasy drama ===
=== Fantasy drama ===
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 and/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."<ref name=":0" />
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."<ref name=":0" />


Examples of fantasy dramas include ''[[The Lord of the Rings (film series)|The Lord of the Rings]]'' (2001-2003), ''[[Pan’s Labyrinth]]'' (2006), ''[[Where the Wild Things Are (film)|Where the Wild Things Are]]'' (2009), and ''[[Life of Pi (film)|Life of Pi]]'' (2012).
Examples of fantasy dramas include ''[[The Lord of the Rings (film series)|The Lord of the Rings]]'' (2001–2003), ''[[Pan's Labyrinth]]'' (2006), ''[[Where the Wild Things Are (film)|Where the Wild Things Are]]'' (2009), and ''[[Life of Pi (film)|Life of Pi]]'' (2012).


=== Horror drama ===
=== Horror drama ===
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.<ref name=":1" /> Metaphorically, these become battles of Good vs. Evil or Purity vs. Sin. 
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.<ref name=":1" /> Metaphorically, these become battles of Good vs. Evil or Purity vs. Sin. 


''[[Psycho (1960 film)|Psycho]]'' (1960), ''[[Halloween (1978 film)|Halloween]]'' (1978), ''[[The Shining (film)|The Shining]]'' (1980), ''[[The Conjuring]]'' (2013), ''[[It (2017 film)|It]]'' (2017), ''[[mother!]]'' (2017), and ''[[Hereditary (film)|Hereditary]]'' (2018) are examples of horror drama films.
''[[Psycho (1960 film)|Psycho]]'' (1960), ''[[Halloween (1978 film)|Halloween]]'' (1978), ''[[The Shining (film)|The Shining]]'' (1980), ''[[The Conjuring]]'' (2013), ''[[It (2017 film)|It]]'' (2017), ''[[mother!]]'' (2017), and ''[[Hereditary (film)|Hereditary]]'' (2018) are examples of horror drama films.


=== Life drama (day-in-the-life) ===
=== Life drama (day-in-the-life) ===
{{See|Slice of life}}
{{Further|Slice of life}}


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.<ref name=":1" /> Often, the protagonists deal with multiple, overlapping issues in the course of the film – just as we do in life. 
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.<ref name=":1" /> Often, the protagonists deal with multiple, overlapping issues in the course of the film – just as we do in life. 


Films of this type/genre combination include: ''[[The Wrestler (2008 film)|The Wrestler]]'' (2008), ''[[Fruitvale Station]]'' (2013), and ''[[Locke (film)|Locke]]'' (2013).
Films of this type/genre combination include: ''[[The Wrestler (2008 film)|The Wrestler]]'' (2008), ''[[Fruitvale Station]]'' (2013), and ''[[Locke (film)|Locke]]'' (2013).


=== Romantic drama ===
=== Romantic drama ===
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.<ref>{{Cite book |last=Williams |first=Eric R. |url=https://www.audible.com/pd/Falling-in-Love-with-Romance-Movies-Audiobook/B07XPDH9YT |title=Falling in Love with Romance Movies (Episode #2 Genre: To Feel the Sun on Both Sides) |publisher=Audible |year=2019 |language=en}}</ref>
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.<ref>{{Cite book |last=Williams |first=Eric R. |url=https://www.audible.com/pd/Falling-in-Love-with-Romance-Movies-Audiobook/B07XPDH9YT |title=Falling in Love with Romance Movies (Episode #2 Genre: To Feel the Sun on Both Sides) |publisher=Audible |year=2019 |language=en}}</ref>


'' [[Annie Hall]]'' (1977), ''[[The Notebook]]'' (2004), ''[[Carol (film)|Carol]]'' (2015), ''[[Her (film)|Her]]'' (2013)'', and [[La La Land]]'' (2016) are examples of romance dramas.
''[[Annie Hall]]'' (1977), ''[[The Notebook]]'' (2004), ''[[Carol (film)|Carol]]'' (2015), ''[[Her (film)|Her]]'' (2013)'', and [[La La Land]]'' (2016) are examples of romance dramas.


=== Science fiction drama ===
=== Science fiction drama ===
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, and/or the concepts of human existence in general.<ref>{{Cite web |last=Williams |first=Eric R. |date=2018 |title=How to View and Appreciate Great Movies (Episode #6 Themes on Screen) |url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html |access-date=2020-06-16 |website=English |language=en}}</ref>
The science fiction drama film is often the story of a protagonist (and their 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.<ref>{{Cite web |last=Williams |first=Eric R. |date=2018 |title=How to View and Appreciate Great Movies (Episode #6 Themes on Screen) |url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html |access-date=2020-06-16 |website=English |language=en}}</ref>


Examples include: ''[[Metropolis (1927 film)|Metropolis]]'' (1927), ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' (1968), ''[[A Clockwork Orange (film)|A Clockwork Orange]]'' (1971), ''[[Blade Runner]]'' (1982) and its sequel ''[[Blade Runner 2049]]'' (2017), ''[[Children of Men]]'' (2006), and ''[[Arrival (film)|Arrival]]'' (2016).
Examples include: ''[[Metropolis (1927 film)|Metropolis]]'' (1927), ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' (1968), ''[[A Clockwork Orange (film)|A Clockwork Orange]]'' (1971), ''[[Blade Runner]]'' (1982) and its sequel ''[[Blade Runner 2049]]'' (2017), ''[[Children of Men]]'' (2006), and ''[[Arrival (film)|Arrival]]'' (2016).


=== Sports drama ===
=== Sports drama ===
{{See|Sports film}}
{{Further|Sports film}}


Obviously, 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.<ref>{{Cite journal |last=Firestein |first=David J. |date=2007 |title=Fields of Dreams: American Sports Movies |journal=E Journal USA |volume=12 }}</ref>
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.<ref>{{Cite journal |last=Firestein |first=David J. |date=2007 |title=Fields of Dreams: American Sports Movies |journal=E Journal USA |volume=12 }}</ref>


Examples of this genre/type include: ''[[The Hustler]]'' (1961), ''[[Hoosiers (film)|Hoosiers]]'' (1986), ''[[Remember the Titans]]'' (2000), and ''[[Moneyball (film)|Moneyball]]'' (2011).
Examples of this genre/type include: ''[[The Hustler]]'' (1961), ''[[Hoosiers (film)|Hoosiers]]'' (1986), ''[[Remember the Titans]]'' (2000), and ''[[Moneyball (film)|Moneyball]]'' (2011).


=== War drama ===
=== War drama ===
{{See|War film}}
{{Further|War film}}


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.<ref name=":1" /> 
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.<ref name=":1" /> 


Examples include: ''[[Apocalypse Now]]'' (1979), ''[[Come and See]]'' (1985), ''[[Life Is Beautiful|Life is Beautiful]]'' (1997), ''[[The Hurt Locker]]'' (2008), ''[[1944 (film)|1944]]'' (2015), ''[[Wildeye]]'' (2015), and ''[[1917 (2019 film)|1917]]'' (2019).
Examples include: ''[[Apocalypse Now]]'' (1979), ''[[Come and See]]'' (1985), ''[[Life Is Beautiful|Life is Beautiful]]'' (1997), ''[[Black Book (film)]]'' (2006), ''[[The Hurt Locker]]'' (2008), ''[[1944 (film)|1944]]'' (2015), ''[[Wildeye]]'' (2015), and ''[[1917 (2019 film)|1917]]'' (2019).


=== Western drama ===
=== Western drama ===
Line 116: Line 112:


== Misidentified categories ==
== Misidentified categories ==
⚫
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,<ref>{{Cite web|last=Williams|first=Eric R.|date=2018|title=How to View and Appreciate Great Movies (episode #22 Pathways to Great Antagonists)|url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html|access-date=2020-06-14|publisher=The Great Courses |language=en}}</ref> while "romantic comedy" and "family drama" are macro-genres.<ref>{{Cite web|last=Williams|first=Eric R.|date=2018|title=How to View and Appreciate Great Movies (episode #3 Movie Genre: It's Not What You Think)|url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html|access-date=2020-06-14 |publisher=The Great Courses |language=en}}</ref>

⚫
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,<ref>{{Cite web|last=Williams|first=Eric R.|date=2018|title=How to View and Appreciate Great Movies (episode #22 Pathways to Great Antagonists)|url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html|access-date=2020-06-14|publisher=The Great Courses |language=en}}</ref> while "Romantic Comedy" and "Family Drama" are macro-genres.<ref>{{Cite web|last=Williams|first=Eric R.|date=2018|title=How to View and Appreciate Great Movies (episode #3 Movie Genre: It's Not What You Think)|url=https://www.thegreatcourses.com/courses/how-to-view-and-appreciate-great-movies.html|access-date=2020-06-14 |publisher=The Great Courses |language=en}}</ref>


=== Family drama ===
=== 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''.<ref name=":0" />
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''.<ref name=":0" />


=== Melodrama ===
=== Melodrama ===
{{Main|Melodrama}}
{{Main|Melodrama}}
⚫
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".<ref>{{Cite web |title=Greatest Tearjerkers - Scenes and Moments |url=https://www.filmsite.org/tearjerkers.html|access-date=2020-06-16|website=www.filmsite.org}}</ref> Film critics sometimes use the term "pejoratively to connote an unrealistic, pathos-filled, [[Camp (style)|camp]] tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences".<ref>{{Cite web|title=Melodramas Films|url=https://www.filmsite.org/melodramafilms.html|access-date=2020-06-16|website=www.filmsite.org}}</ref> 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 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".<ref>{{Cite web |title=Greatest Tearjerkers – Scenes and Moments |url=https://www.filmsite.org/tearjerkers.html|access-date=2020-06-16|website=Filmsite |first1=Tim |last1=Dirks }}</ref> Film critics sometimes use the term "pejoratively to connote an unrealistic, pathos-filled, [[Camp (style)|camp]] tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences".<ref>{{Cite web|title=Melodramas Films |url=https://www.filmsite.org/melodramafilms.html |access-date=2020-06-16|website=Filmsite}}</ref> 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.
⚫
===Crime drama / police procedural / legal drama===

⚫
{{see also|Crime drama|police procedural|legal drama}}
===Liturgical drama / Religious drama / Christian drama===
{{See also|Liturgical drama|Christian drama}}
Focuses on religious characters, mystery play, beliefs, and respect.

⚫
===Crime drama/police procedural/legal drama/courtroom drama===
⚫
{{See also|Crime drama|police procedural|legal drama}}
Character development based on themes involving criminals, law enforcement and the legal system.
Character development based on themes involving criminals, law enforcement and the legal system.


=== Historical drama ===
=== Historical drama ===
{{main|Historical drama}}
{{Main|Historical drama}}

Films that focus on dramatic events in history.
Films that focus on dramatic events in history.


=== Medical drama ===
=== Medical drama ===
{{main|Medical drama}}
{{Main|Medical drama}}

Focuses on doctors, nurses, hospital staff, and ambulance saving victims and the interactions of their daily lives.
Focuses on doctors, nurses, hospital staff, and ambulance saving victims and the interactions of their daily lives.


Line 150: Line 152:
*[[Tragicomedy]]
*[[Tragicomedy]]


==References==
== Citations ==
{{reflist}}
{{reflist}}


== General and cited references ==
==Sources==
{{refbegin}}
{{refbegin}}
* Banham, Martin, ed. 1998. ''The Cambridge Guide to Theatre.'' Cambridge: Cambridge University Press. {{ISBN|0-521-43437-8}}.
* Banham, Martin, ed. 1998. ''The Cambridge Guide to Theatre.'' Cambridge: Cambridge University Press. {{ISBN|0-521-43437-8}}.
Line 164: Line 166:
{{refend}}
{{refend}}


{{Dramatic television series}}
{{Film genres}}
{{Film genres}}
{{Filmsbygenre}}
{{Filmsbygenre}}

Revision as of 08:55, 1 July 2024

"TV drama" and "Television drama" redirect here. For other uses, see Television drama (disambiguation).

Gone with the Wind is a popular romance drama.

In film and television, drama is a category or genre of narrative fiction (or semi-fiction) intended to be more serious than humorous in tone.[1] The 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 they combine a drama's otherwise serious tone 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]

Docudrama

Main article: Docudrama

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).

Docufiction

Main article: Docufiction

Unlike 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).

Comedy drama

Main article: Comedy drama

Many otherwise serious productions have humorous scenes and characters intended to provide comic relief. A comedy drama has humor as a more central component of the story, along with serious content.[8] Examples include Three Colours: White (1994), The Truman Show (1998), The Man Without a Past (2002), The Best Exotic Marigold Hotel (2011), and Silver Linings Playbook (2012).

Hyperdrama

Main article: Hyperdrama

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 drama

Main article: Psychological drama

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)

Satirical drama

See also: Satire (film and television)

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).

Type/genre combinations

File:Salah&Naglaa.jpg
Salah Zulfikar and Naglaa Fathi in My Husband's Wife (1970)

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]

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] 

Examples of crime dramas include: The Godfather (1972), Chinatown (1974), Goodfellas (1990), The Usual Suspects (1995), The Big Short (2015), and Udta Punjab (2016).

Fantasy drama 

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]

Examples of fantasy dramas include The Lord of the Rings (2001–2003), Pan's Labyrinth (2006), Where the Wild Things Are (2009), and Life of Pi (2012).

Horror drama 

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. 

Psycho (1960), Halloween (1978), The Shining (1980), The Conjuring (2013), It (2017), mother! (2017), and Hereditary (2018) are examples of horror drama films.

Life drama (day-in-the-life)

Further information: Slice of life

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. 

Films of this type/genre combination include: The Wrestler (2008), Fruitvale Station (2013), and Locke (2013).

Romantic drama

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.[14]

Annie Hall (1977), The Notebook (2004), Carol (2015), Her (2013), and La La Land (2016) are examples of romance dramas.

Science fiction drama

The science fiction drama film is often the story of a protagonist (and their 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.[15]

Examples include: Metropolis (1927), Planet of the Apes (1968), A Clockwork Orange (1971), Blade Runner (1982) and its sequel Blade Runner 2049 (2017), Children of Men (2006), and Arrival (2016).

Sports drama

Further information: Sports film

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.[16]

Examples of this genre/type include: The Hustler (1961), Hoosiers (1986), Remember the Titans (2000), and Moneyball (2011).

War drama

Further information: War film

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] 

Examples include: Apocalypse Now (1979), Come and See (1985), Life is Beautiful (1997), Black Book (film) (2006), The Hurt Locker (2008), 1944 (2015), Wildeye (2015), and 1917 (2019).

Western drama 

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] 

Examples of western dramas include: True Grit (1969) and its 2010 remake, Mad Max (1979), Unforgiven (1992), No Country for Old Men (2007), Django Unchained (2012), Hell or High Water (2016), and Logan (2017).

Misidentified categories

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,[17] while "romantic comedy" and "family drama" are macro-genres.[18]

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]

Melodrama

Main article: Melodrama

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".[19] 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".[20] 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.

Liturgical drama / Religious drama / Christian drama

See also: Liturgical drama and Christian drama

Focuses on religious characters, mystery play, beliefs, and respect.

Crime drama/police procedural/legal drama/courtroom drama

See also: Crime drama, police procedural, and legal drama

Character development based on themes involving criminals, law enforcement and the legal system.

Historical drama

Main article: Historical drama

Films that focus on dramatic events in history.

Medical drama

Main article: Medical drama

Focuses on doctors, nurses, hospital staff, and ambulance saving victims and the interactions of their daily lives.

Teen drama

See also: List of teen dramas

Focuses on teenage characters, especially where a secondary school setting plays a role.

See also

Citations

  1. ^ "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
  2. ^ a b c d e f g h Williams, Eric R. (2017). The screenwriters taxonomy : a roadmap to collaborative storytelling. New York, NY: Routledge Studies in Media Theory and Practice. ISBN 978-1-315-10864-3. OCLC 993983488.
  3. ^ Elam (1980, 98).
  4. ^ Banham (1998, 894–900).
  5. ^ a b c d Williams, Eric R. (2017). Screen adaptation : beyond the basics : techniques for adapting books, comics, and real-life stories into screenplays. New York: Focal Press. ISBN 978-1-315-66941-0. OCLC 986993829.
  6. ^ Ogunleye, Foluke. "Television Docudrama as Alternative Records of History". Documentary Is Never Neutral. Retrieved 16 June 2020.
  7. ^ "Producing Docu-Fiction". Center for Documentary Studies at Duke University. Retrieved 16 June 2020.
  8. ^ Williams, Eric R. (2019). Falling in Love with Romance Movies (Episode #3 Comedy and Tragedy: Age Does Not Protect You ). Audible.
  9. ^ Dancyger, Ken. (2015). Alternative scriptwriting : beyond the hollywood formula. England: Focal. ISBN 978-1-138-17118-3. OCLC 941876150.
  10. ^ Jones, Phil (2007). Drama as therapy : theory, practice, and research (2nd ed.). London: Routledge. ISBN 978-0-415-41555-2. OCLC 85485014.
  11. ^ "Subgenre - Psychological Drama". AllMovie. Retrieved 20 May 2021.
  12. ^ a b Williams, Eric R. (2019). Falling in Love with Romance Movies (Episode #8 Satire and Social Commentary). Audible.
  13. ^ Williams, Eric. R. (2018). "How to View and Appreciate Great Movies (episode #4: Genre Layers and Audience Expectations)". English. Retrieved 14 June 2020.
  14. ^ Williams, Eric R. (2019). Falling in Love with Romance Movies (Episode #2 Genre: To Feel the Sun on Both Sides). Audible.
  15. ^ Williams, Eric R. (2018). "How to View and Appreciate Great Movies (Episode #6 Themes on Screen)". English. Retrieved 16 June 2020.
  16. ^ Firestein, David J. (2007). "Fields of Dreams: American Sports Movies". E Journal USA. 12.
  17. ^ Williams, Eric R. (2018). "How to View and Appreciate Great Movies (episode #22 Pathways to Great Antagonists)". The Great Courses. Retrieved 14 June 2020.
  18. ^ Williams, Eric R. (2018). "How to View and Appreciate Great Movies (episode #3 Movie Genre: It's Not What You Think)". The Great Courses. Retrieved 14 June 2020.
  19. ^ Dirks, Tim. "Greatest Tearjerkers – Scenes and Moments". Filmsite. Retrieved 16 June 2020.
  20. ^ "Melodramas Films". Filmsite. Retrieved 16 June 2020.

General and cited references

  • Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8.
  • Cook, Pam, and Mieke Bernink, eds. 1999. The Cinema Book. 2nd ed. London: British Film Institute. ISBN 0-851-70726-2.
  • Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents ser. London and New York: Methuen. ISBN 0-416-72060-9.
  • Hayward, Susan. 1996. Key Concepts in Cinema Studies. Key Concepts ser. London: Routledge. ISBN 0-415-10719-9.
  • Neale, Steve. 2000. Genre and Hollywood. London: Routledge. ISBN 0-415-02606-7.
  • Sheehan, Helena. 1987. Irish Television Drama: A Society and Its Stories ISBN 0-86029-011-5
  • Williams, Eric R. (2017) The Screenwriters Taxonomy: A Roadmap to Creative Storytelling. New York, NY: Routledge Press, Studies in Media Theory and Practice. ISBN 978-1-315-10864-3.
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