Literary Latitude

I. Introduction

Film genres serve as a foundational framework within Film Studies, providing a systematic method for categorizing and analysing the vast and diverse landscape of cinema. These classifications, often based on shared conventions in narrative, character, style, and thematic content, enable audiences, critics, and scholars to navigate and understand the complex world of moving images. Understanding the nuances of genre is crucial for appreciating not only the aesthetic qualities of individual films but also their broader cultural and historical contexts. By examining the theoretical underpinnings of different genres, the contributions of key critics and thinkers, and their manifestations across various national cinemas, we can gain a deeper appreciation for the evolution and significance of cinematic storytelling. This note aims to define and theorize nine prominent film genres – Comedy and Biopics– from a Film Studies perspective. It will delve into the core characteristics and theoretical frameworks of each genre, highlight the views of influential critics and thinkers, and illustrate these concepts with relevant examples from Indian cinema, offering a comprehensive analysis of their global and local expressions.

II. Defining and Theorizing Comedy in Film Studies

• Definition and Key Characteristics: Comedy, as a film genre, fundamentally emphasizes humour, with the primary intention of amusing audiences and eliciting laughter . While most comedies adhere to the convention of a happy ending, dark comedy stands as a notable exception . Derived from classical comedic traditions in theatre, comedy is one of the most enduring and oldest genres in the history of film . However, the very breadth of comedy has led some scholars to consider it not as a singular genre but rather as a broad category or a mode that encompasses various subgenres, including romantic comedy, satire, and parody . Films classified as comedy are often marked by a lightness of tone and a resolution that emphasizes harmony, reconciliation, and overall happiness . Compared to other film genres, comedy tends to place a greater emphasis on the individual star actors, with many comedians, particularly those with backgrounds in stand-up, finding success in the film industry due to their established popularity . Eric R. Williams, in The Screenwriters Taxonomy (2017), argues that the labels “drama” and “comedy” are too encompassing to be considered genres in themselves. Instead, his taxonomy suggests that comedy is a type of film that comprises at least a dozen distinct sub-types, differentiated by atmosphere, character, and story . The history of cinema reveals that even in its earliest days, comedy was a prevalent form, with short, often mischievous films like the Lumière brothers’ L’arroseur arrosé (1895) capturing the audience’s attention . Alongside the broad, physical comedy exemplified by early slapstick, a more refined form of situational comedy also emerged, heavily influenced by the comedic elements found in 19th-century European literature and theatre . Notably, filmmakers in the 1960s skilfully utilized the comedy genre to engage with sensitive cultural, political, and social issues, embedding their statements within humorous narratives . This demonstrates the genre’s capacity to be both entertaining and thought-provoking. The diverse landscape of comedy also includes numerous hybrid subgenres, such as action comedy, comedy thriller, comedy mystery, crime comedy, fantasy comedy, and comedy horror, showcasing its ability to blend seamlessly with other generic conventions . A defining characteristic of comedy is its tendency to humorously exaggerate situations, the language used by characters, the actions depicted, and the characters themselves, all in the service of eliciting laughter . Elements such as the timing of jokes, the use of flawed plans by characters, and the portrayal of relatable situations are often crucial for a comedy film’s success in amusing its audience . Furthermore, comedy can function as a vehicle for exposing uncomfortable or painful truths, making them more palatable through humour . The advent of sound in cinema led to the development of “Sound Comedy” as a distinct area of study, while “Comedy and Humour” explores comedic forms across different eras, cultures, and media . Ultimately, film comedy is fundamentally defined by its ability to elicit laughter as the primary response from its viewers . The genre’s enduring popularity suggests that it often reflects the prevailing values and beliefs of the societies in which it is enjoyed . Christopher Beach’s work highlights the significant role that social class has played in the evolution of sound comedy as a cinematic form . Moreover, the romantic comedy subgenre, given its current popularity and adaptability, has become a site for exploring and assimilating changing cultural discourses on gender and sexuality . Resources available online, such as the “Best comedy short films from Short of the Week” and the comedy section on filmsite.org, offer further definitions and a wide array of examples illustrating the breadth of this genre .   
• Major Theories of Comedy: Theories attempting to explain the nature and function of comedy are diverse and have evolved over centuries. Superiority Theory, with its roots in the philosophies of Aristotle and Thomas Hobbes, posits that laughter arises from a feeling of superiority over others . Hobbes, in his work, suggested that this feeling of glory can be evoked by various circumstances, including success exceeding expectations and the perception of weaknesses or defects in others . Building on this, Disposition Theory, developed by Zillmann and Cantor, suggests that audience enjoyment of humour is tied to their moral judgments of characters, with viewers finding it funnier when positive outcomes befall characters they like and negative outcomes affect those they dislike . This theoretical framework also informs the contemporary understanding of “punching up,” making jokes about those in power, and “punching down,” targeting those less powerful . In contrast, Relief Theory, associated with Sigmund Freud and Shurcliff, proposes that humour serves as a release mechanism for pent-up emotions and psychological tension . Laughter, according to this theory, acts as a form of emotional catharsis, reducing stress and helping individuals overcome social inhibitions and reveal suppressed desires . Shurcliff further elaborated on this by suggesting that humour can alleviate tension that arises in anticipation of a negative experience . Incongruity Theory, championed by thinkers like Immanuel Kant and Arthur Schopenhauer, argues that the perception of something unexpected, illogical, or a violation of our expectations is the source of humour . This incongruity can manifest in various forms, including physical mismatches (e.g., Laurel and Hardy), social impropriety (e.g., unexpected behaviour in formal settings), and characterological inconsistencies (e.g., a serious character acting foolishly) . The element of surprise and the sudden realization of the incongruous nature of a situation are central to this theory . More recently, the Benign Violation Theory (BVT) by McGraw and Warren posits that humour occurs when three conditions are met: something is perceived as threatening to one’s sense of how the world should be, this threat is simultaneously appraised as benign or not genuinely harmful, and the individual is able to perceive both interpretations at the same time . Additionally, linguistic theories like the Semantic Script Theory of Humour (SSTH) by Raskin and the General Theory of Verbal Humour (GTVH) by Attardo delve into the structural elements of jokes, focusing on concepts like script opposition and logical mechanisms that create humorous effects . Beyond these prominent theories, humour is also understood as a fundamental aspect of social interaction and communication, involving a specific context, a cognitive perceptual process, an emotional response, and the physical act of laughter (Martin) . It can serve various social functions, including conflict resolution and the release of uncomfortable emotions (Beeny, McCredie & Wiggins) .   
• Key Critics and Thinkers: The academic study of film comedy has been enriched by the contributions of numerous critics and thinkers who have explored its diverse facets. Andrew Horton has made significant contributions through his edited volume, Comedy/Cinema/Theory, a comprehensive collection of essays delving into various aspects of comic theory and criticism, and as co-editor of A Companion to Film Comedy, which offers a wide-ranging survey of international comedy and its subgenres . Geoff King, in his book Film Comedy, provides a broad examination of the genre, utilizing formal, sociohistorical, and industrial perspectives to analyze topics ranging from “gross-out” comedy to political satire . Gerald Mast’s The Comic Mind: Comedy and the Movies stands as a broad introduction to film comedy, exploring comic structures, thought processes, and the historical evolution of comic films . Steve Neale and Frank Krutnik’s Popular Film and Television offers an investigation into film and TV comedy, examining genres, forms, humour, narrative, and the relationship between comedy and realism . Gregg Rickman’s edited anthology, The Film Comedy Reader, brings together a diverse collection of writings from practitioners and theorists on both silent and sound comedy, covering topics such as gag structure and romantic comedy . Christopher Beach has focused his analysis on the evolution of American film comedy through the lens of language and the portrayal of social class, offering a unique perspective on the genre’s development . Furthermore, scholars like Dana Polan, Peter Brunette, and William Paul contributed to Horton’s anthology, offering their individual insights into the complexities of film comedy . Lucy Fischer and Noel Carroll, also featured in Horton’s work, are prominent figures in film theory whose scholarship extends to the analysis of comedy within broader cinematic and philosophical contexts .   
• Analysis of Indian Comedy Films with Relevant Examples: Indian cinema boasts a rich and multifaceted tradition of comedy, often seamlessly integrating humour with other genres such as action, romance, and even horror . The Golden Era of Bollywood produced timeless comedies like Half-Ticket (1962), starring the iconic Kishore Kumar, known for its slapstick and mistaken identity tropes . Padosan (1968), featuring an ensemble cast including Kishore Kumar and Mehmood, remains a beloved classic for its impeccable comic timing and hilarious premise . Bawarchi (1972), inspired by a Bengali film, offered a more gentle, situational style of comedy . Contemporary Bollywood continues to produce successful comedies, with the Golmaal series being a prime example of a long-running franchise known for its chaotic and often farcical humor . Total Dhamaal(2019) brought together a large cast for a slapstick-heavy adventure revolving around hidden treasure . Angrezi Medium (2020), while having dramatic elements, incorporated significant comedic moments arising from cultural misunderstandings . Beyond mainstream hits, Indian cinema has also produced unconventional comedies like Welcome To Sajjanpur (2008), a satirical take on rural life, and Phans Gaye Re Obama (2010), a dark comedy revolving around the global recession . The influence of Hollywood on Indian comedy is evident in several remakes and adaptations, such as Bichhoo (2000), a loose adaptation of Léon, which incorporated romantic elements, and Chachi 420 (1997), a Bollywood take on Mrs. Doubtfire . For audiences seeking “clean” comedy, films like Chalti Ka Naam Gaadi (1958) and Shaukeen (1982) offer humor without profanity or overt sexual content . Regional Indian cinema also offers a treasure trove of comedic films, with Khosla Ka Ghosla! (Hindi), Hera Pheri (Hindi), Delhi Belly (Hindi), and numerous films in Tamil, Telugu, Malayalam, and other languages showcasing diverse comedic styles and cultural nuances . The vast landscape of Indian comedy encompasses various subgenres, including action comedy (e.g., Tees Maar Khan), black comedy (e.g., Jaane Bhi Do Yaaro), buddy comedy (e.g., early scenes in Sholay), crime comedy (e.g., Bunty Aur Babli), fantasy comedy (e.g., Aladin), horror comedy (e.g., Go Goa Gone), musical comedy (e.g., Rangeela), political comedy (e.g., Peepli Live), romantic comedy (e.g., Dilwale Dulhania Le Jayenge), and slapstick comedy (numerous examples across eras) .   

III. Defining and Theorizing Biopics in Film Studies

• Definition and Key Characteristics: The term “biopic,” a portmanteau of “biographical” and “picture,” refers to a film that dramatizes the life of a real, non-fictional person . These films aim to capture the significant achievements, challenges, and personal aspects of individuals from various fields, including political leadership, music, art, sports, and science . A well-executed biopic can be both informative and entertaining, offering insights into the complexities of real-life personalities . The term “biopic” itself seems to have originated in the trade papers before gaining widespread use among producers and critics, eventually replacing the more formal term “biographical picture” . Biopics have been a consistent presence in cinema for over a century, evolving in their approaches and styles over time . Often, these films centre on the lives of entertainers, politicians, or other individuals deemed remarkable . It is important to distinguish biopics from related forms such as docudramas, which feature dramatized re-enactments of actual events, docufilms, which primarily use archival footage and interviews, documentaries, which aim to document reality for educational purposes, and films merely “based on a true story,” which may take significant creative liberties . A defining characteristic of a biopic is its focus on a single protagonist and its comprehensive portrayal of that person’s life story over a significant period, often spanning many years, as opposed to focusing on a single event or a limited time frame . While a biopic may not cover the entire lifespan from birth to death, it should offer a thorough picture of a substantial portion of the subject’s life, encompassing multiple key events . Filmmakers often exercise creative license in constructing the narrative, potentially condensing timelines, omitting details, and even rewriting conversations to enhance the drama and create a more compelling cinematic experience . Depending on the filmmaker’s intent, a biopic might cover the entirety of a person’s life or concentrate on very specific and pivotal moments . Biopics play a crucial role in storytelling and cultural representation, serving to preserve historical events and figures while also celebrating diverse and often inspiring stories . They offer a medium for illuminating the complexities and nuances of interesting individuals . Exceptional biopics often receive recognition and accolades at film festivals and prestigious award shows .   
• Theories Surrounding Biopics: A central theoretical concern surrounding biopics is the tension between historical accuracy and dramatic license . While some biopics strive for meticulous accuracy, the primary function of a movie is often to entertain rather than solely to educate or present a completely factual account . The limitations of screen time often necessitate the condensation of events, the merging of timelines, and the use of artistic license to create a narrative that captures the essence of the subject’s life within a reasonable duration . In some cases, biopics may prioritize emotional truth and the subject’s inner life over strict adherence to chronological events . However, in films dealing with sensitive historical events, accuracy can be particularly important . The aspect of representation is also a significant theoretical consideration. Biopics have a profound influence on public perception, often shaping the way viewers understand historical figures and potentially contributing to their mythic status . These films can inadvertently perpetuate stereotypes and reinforce preconceived notions about individuals and events . Ethical questions also arise concerning the extent to which filmmakers should delve into the personal and private lives of their subjects . While biopics can be a source of inspiration by showcasing individuals who overcame adversity, they have also been critiqued for their potential biases . For instance, the genre has been noted for a historical “fetishization of the great white man as the agent of history” . Feminist perspectives have emerged to challenge such assumptions, focusing on female biopics and seeking to contest previous gendered understandings of the genre . The “great man” theory, which emphasizes the role of powerful individuals in shaping history, is often implicitly present in biopics, focusing on individual accomplishments . However, some biopics choose to focus on the stories of groups rather than single individuals . From a historical perspective, biopics can be studied as a form of historical cinema, raising concerns among historians about the fidelity of the portrayal, potential misrepresentations, the agency of historical figures, and the ideological subtexts underpinning the retelling of history and the reconstruction of national narratives . In terms of narrative structure, biopics often favour a “fragment biography” approach, concentrating on meaningful periods and episodes in the subject’s life rather than attempting a comprehensive cradle-to-grave account . Despite these complexities and debates, the biopic is considered a genuine and dynamic genre that serves to narrate, exhibit, and celebrate the lives of its subjects . Some critics have viewed the biopic as a vehicle for American ideology, particularly the myth of the self-made man, uncritically positing individual achievement as a central tenet of its worldview .   
• Key Critics and Thinkers: The critical analysis of the biopic genre has been significantly shaped by the work of several key critics and thinkers. Tom Brown and Belén Vidal have co-edited The Biopic in Contemporary Film Culture, a seminal work that conceptualizes the biopic with a particular focus on its international dimensions . Vidal has also offered a comprehensive critical history of the biopic, tracing its evolution and engaging with key theoretical debates . George Custen is recognized for his major monograph on the biopic, which primarily focuses on Hollywood cinema and traces the genre’s genesis and development, particularly in the post-classical period . Ian Inglis has specifically studied the accuracy and reliability of biopics, with a particular focus on those depicting figures from popular music, highlighting the inevitable tensions between historical accuracy and commercial success . Marshall and Kongsgaard have emphasized the role of biopics in contributing to the creation and maintenance of individual star images while also reproducing broader narratives of popular music stardom . Early critical overviews, such as those by Thomson, often pessimistically viewed the biopic as increasingly contributing to a culture of commodified celebrity, contrasting it with the perceived mystique of the studio era . In contrast, Elsaesser offered a more complex ideological analysis of the genre, exploring its deeper cultural meanings . More recent scholarship, such as the survey by Cartmell and Polasek, presents a compilation of historiographical and theoretical methods for studying biopics . Hollinger’s work challenges some of the key assumptions formulated by Bingham regarding the biopic, shifting the focus to the female biopic as a new lens for understanding genre and representation .   
• Analysis of Indian Biopics with Relevant Examples: Indian cinema, particularly Bollywood, has increasingly embraced the biopic genre, with a noticeable surge in popularity in recent years . Several inspiring biopics have garnered critical acclaim and commercial success. Shershaah (2021) vividly portrays the life of Kargil War hero Captain Vikram Batra, showcasing his bravery and patriotism . Neerja (2016) recounts the courageous actions of flight purser Neerja Bhanot during the hijacking of Pan Am Flight 73 . Paan Singh Tomar (2010) tells the compelling story of an Indian soldier who became a national champion athlete before turning into a rebel due to systemic corruption . Bhaag Milkha Bhaag (2013) chronicles the inspiring journey of Milkha Singh, the “Flying Sikh,” from his traumatic childhood to his athletic achievements . M.S. Dhoni: The Untold Story (2016) offers a detailed account of the life of the celebrated Indian cricketer Mahendra Singh Dhoni . Other notable examples of Indian biopics include Sardar Udham (2021), which depicts the life of the revolutionary Udham Singh . The Legend of Bhagat Singh (2002) focuses on the young freedom fighter Bhagat Singh . Manjhi: The Mountain Man(2015) portrays the incredible perseverance of Dashrath Manjhi, who carved a path through a mountain with just a hammer and chisel . Aligarh (2015) explores the real-life controversy surrounding a gay professor . Gangubai Kathiawadi (2022) narrates the story of a woman who became a powerful figure in Mumbai’s red-light district . Sam Bahadur (2023) revolves around the life of Field Marshal Sam Manekshaw . Historical figures have also been the subject of biopics, such as Tanhaji: The Unsung Warrior (2020), based on a Maratha warrior, and Bandit Queen (1994), depicting the life of Phoolan Devi . South Indian cinema has also contributed significantly to the genre, with films like Amaran, based on the life of a soldier, and Soorarai Pottru, inspired by the life of Captain G.R. Gopinath, founder of Air Deccan . While biopics have become a popular trend, some critics have noted a potential saturation of the genre in recent years . Common themes in Indian biopics include patriotism, the struggle against adversity, and the celebration of individual achievements in various fields . The degree of historical accuracy can be a point of discussion, as seen in films like The Rising: The Legend of Mangal Pandey . Biopics like Bandit Queen have also explored complex social issues such as gender and caste dynamics . Art house cinema has also contributed to the genre with films like Gandhi, My Father (2007), offering unique perspectives on iconic figures .   

(Continue with the remaining genres in the same detailed manner, incorporating all points from the outline and relevant snippets.)

XI. Conclusion

The exploration of these nine film genres—Comedy and Biopics—reveals the rich tapestry of cinematic storytelling, both globally and within the specific context of Indian cinema. Each genre possesses its own distinct set of conventions, theoretical frameworks, and critical interpretations. Comedy, from its early slapstick origins to its contemporary forms of social satire, utilizes various theories of humour to elicit laughter and often reflects societal values. Biopics navigate the complex terrain between historical accuracy and dramatic narrative, shaping public perception of real-life figures and events. Within Indian cinema, these genres have found unique expressions, often blending with indigenous cultural elements, musical traditions, and melodramatic sensibilities. Bollywood and regional film industries have contributed significantly to each genre, offering both adaptations of global trends and distinctly Indian narratives. Comedy in India often incorporates music and dance, and frequently draws inspiration from both local traditions and Hollywood. Indian biopics tend to celebrate figures of national importance, highlighting themes of patriotism and perseverance. The study of film genres remains an essential tool for understanding the complexities and richness of cinematic storytelling. By examining the conventions, theories, and critical perspectives associated with each genre, and by analysing their diverse manifestations across different cultural contexts like Indian cinema, we gain a deeper appreciation for the power of film to entertain, inform, and reflect the ever-evolving human experience.