Sub-genres:

Subgenres, as a means of classification used by producers and audiences, are constantly begin re–negotiated. This is an essential process if a subgenre is to maintain its success and popularity. Audiences and producers constantly attempt to define and re-define the subgenres that are popular at any given time. However, a definitional approach to classification is not a always the most appropriate way of establishing subgenre, as the elements that appear within them tend to be more fluid and not a checklist of conventions. 'Genres... are not discrete systems, consisting of a fixed number of listable items' (Gledhill 1985). One of the main things changing in genres is the subgenres themselves as there is an increase in hybrids.Social, political and cultural issues affect genres and as cross-generic features are combined to meet market forces, hybrids and new subgenres are thus created.

Sub-genres serve to differentiate and categorize media texts. They are essential for producers because it enables them to construct for a segmented audience with predictable responses. They allow them to reutilise actors, sets and props, consequently providing them with financial savings. This then enables them to more easily predict their budgets and provide security for their investors.Subgenres are also advantageous for audiences because they alrea

dy have an idea of what to expect from media products, subsequently making their choices in regards to entertainment, easier. They are also empo-ered to enjoy subtle variations within a foreseeable framework, whilst having a consistent form of release and escapism. Their ability to follow the narratives, recognise plots and characters is also heightened as they can identify these aspects from previous media texts of the same subgenre. Furthermore, audiences can experience a sense of cultural and emotional security.

In the 1990s series such as Hotel and The Airport were a hybrid form of documentary and soap opera, appropriately titled ‘docusoap’ and began to take the prime slots in terrestrial TV channels. These shows were extremely popular for TV producers in that they did not require scripts, actors or expensive sets and yet pulled in a large share of the viewing audience. 

This type of programme became acceptable and desirable to the audience and through this process of negotiation, more subgenres began to develop. Abercombie described this process as where the ‘boundaries are shifting and becoming more permeable’. The early 2000s saw the production of hybrids and subgenres dramatically increase. The most significant of these was Big Brother. Initially marketed as a social experiment, it appealed to it audience on a number of levels. It provided them with entertainment through the comedic exploits of the characters, a means of social interaction as people discussed their antics with their friends and read about them in the tabloids and a sense of information albeit in a pseudo-scientific way.

Subgenres in film have also developed significantly over the years. For example, disaster films are a subgenre of action films. The focus of such films is on a spectacular catastrophe and a small group of individuals in impending danger, and how they must contrive a method of escape. Pressure is developed by focusing on the miraculous means of rescue and whether all the characters have the inner strength to survive the torment. An example of this is ‘2012’, a science fiction disaster directed by Roland Emmerich. Another example is ‘chick flicks’ which are derived from the genre romantic comedies. These movies are pre-dominantly about 

family calamities and emotional catharsis, some traditional tear jerkers and fantasy-action adventures, often with blasphemy and empowered females. They also involve families, mothers, daughters, children, women, and women's issues. These films are often told from the female perspective, and star a female protagonist or heroine. This type of film became very prominent in the mid-80s and into the 90s. An example of this ‘Pretty Women’ directed by Garry Marshall. There are also thrillers which are often hybrids with other genres. The different subgenres include action-thrillers, crime-caper thrillers, western-thrillers, film-noir thrillers and romantic comedy-thrillers. Thriller and suspense films are virtually identical and interchangeable categorizations. These are the types of movies that provide intense excitement, tension, a high level of expectancy, ambiguity and nervousness. An example of an action thriller is 2 Fast 2 Furious directed by John Singleton. The movie is about an ex-cop who returns and teams up with his ex-con friend; they transport a shipment of dirty money for Miami based import-export dealer Verone, whilst working with undercover agent Monica Fuentes to bring him down.

However, some subgenres go out of fashion too and it is essential that they remain fluid in order to remain popular with audiences and thus with producers. Steve Neale describes the concept of genres as being ‘instances of repetition and difference'but it is the innovation in the ‘difference’ that makes the genre attractive to new and existing audiences. In order to remain fashionable, a subgenre has to reach out to new and different audiences. Subgenres that have gone out of fashion may draw in the elements of the genres that are currently in vogue in order to enhance their own popularity. Reality TV could be said to have invigorated other TV genres. For example, the talent show has received an overwhelming facelift in the form of X-Factor and Pop Idol etc, by introducing elements of reality TV. The same could be said for the game show in programmes such as Deal No Deal. All of these programmes work by requiring the audience to ‘get to know’ the real people appearing on them, judge and empathise with them on their journey.

Finally, subgenres have to be able to withstand criticism if it is to remain general popularity. As long as the elements are fluid and re-negotiated to reflect the changing needs of the audience, a subgenre will remain fashionable. Furthermore, the impact the cross-generic features have had on other subgenres is evidence of the ‘process of change’ within them. It could therefore be said that there is no such thing as a subgenre being fashionable, because it is simply a fluid repertoire of elements that change according to audience demand.

Concerning thrillers specifically, there are several sub-genres which are directly incorporated with them.  For instance , film-noir, Super action and detective mystery.