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| Introduction | |
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| In the Genre Jungle | |
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| Cinematic genre: an empirical category | |
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| Every use has its own typology | |
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| Viewers' guides | |
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| Reference volumes: dictionaries and encyclopaedias | |
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| Lack of agreement over cinematic categories | |
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| An impossible typology? | |
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| Different levels of characterisation | |
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| Different frames of reference | |
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| The mixing of genres | |
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| The hierarchy of genres | |
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| The question of history | |
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| Looking for the Rules of Genre | |
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| Looking for genre's formal rules | |
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| Russian formalists and cinematic genres | |
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| The notion of a theoretical genre | |
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| Genre: an intertextual phenomenon | |
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| Genre as architext | |
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| Genre: a continuous and infinite text | |
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| In search of the structures of genre | |
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| Grand narrative structures | |
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| Elementary structures of narrative | |
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| Semantic-syntactic definitions of genre | |
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| The Semantic-syntactic definition of genre | |
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| An open approach to context | |
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| What Is the Purpose of Genres? | |
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| A production tool | |
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| The standardisation/differentiation dialectic | |
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| The avoidance of generic ascription by Hollywood studios | |
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| The social functions of genre | |
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| Genres and the production of stereotypes in contemporary culture | |
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| An instrument of ideological repression | |
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| A collective cultural expression | |
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| The limits of ideological and ritual functions | |
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| The communicative function of genre | |
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| Generic 'rails' | |
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| Generic mediation | |
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| The Generic Identities of a Film | |
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| The relations between film and genre | |
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| Generically modelled films, and generically marked films | |
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| The genre film | |
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| Genre and auteur | |
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| The uses of generic identity | |
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| Generic redefinitions | |
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| Two examples: film noir and the woman's film | |
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| Genre, series, auteur: categories of interpretation | |
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| The mixing of genres: pluri-generic attributes | |
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| The myth of the pure genre | |
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| Post-modern augmentation of genre-mixing | |
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| Parody and pastiche | |
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| How Should One Think About the History of a Genre? | |
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| To put an end to the theory of generic evolution | |
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| Organicism and evolutionism: the genre's destiny | |
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| The limits of historical determinism | |
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| Towards a complex history of genres | |
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| The birth of a cinematic genre | |
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| A post-dated birth certificate | |
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| Cultural interactions and cinematic recreation | |
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| The notion of genrification | |
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| Genrification outside of Hollywood | |
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| Hybridization and mutation of genres | |
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| Alliances and ruptures | |
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| Reversals and successes | |
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| Eclipses and resurgences | |
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| Genres in Context | |
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| Cultural identity and the circulation of genres | |
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| Trans-national genres and local genres: a misleading dichotomy | |
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| The genre of melodrama, or melodramatic genres? | |
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| The circulation of genres | |
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| Generic regimes | |
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| The rationale of generic regimes | |
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| The Hollywood genre system | |
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| Generic regimes outside of Hollywood | |
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| The series and generic labels of early cinema | |
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| Conclusion | |
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| Select Bibliography | |
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| Index of Films | |