@article {1188,
	title = {Riding Off into the Sunrise: Genre Contingency and the Origin of the Chinese Western},
	journal = {PMLA},
	volume = {122},
	year = {2007},
	month = {October 2007},
	pages = {1482-98},
	chapter = {1482},
	abstract = {<p>The paradoxical dependence of genre histories on historically accidental acts of naming and on transcendental critical imagination is demonstrated by the Chinese western, a little-understood genre that has become a major part of Chinese-language cinema over the past two decades. After the genre was proposed in 1984 by the Chinese film theorist Zhong Dianfei, as a realist reaction against the ideological excesses of the Cultural Revolution, its ambiguous status as a Hollywood import quickly became a proxy for larger cultural battles over China\&$\#$39;s place in an American-dominated international cultural system. Moreover, despite assurances by Zhong and other critics that the genre was not susceptible to Hollywood influence, the production history of the genre from the late 1980s to the present demonstrates a pattern of generic influence and eventual fusion that tracks Chinese state-owned studios\&$\#$39; evolution from subsidized propaganda organs to participants in a globalized entertainment industry.</p>
},
	keywords = {american western film, china, dramatic arts, film, genre study, nationalism, western china},
	issn = {0030-8129},
	doi = {10.1632/pmla.2007.122.5.1482},
	author = {Daniel Fried}
}
@inbook {1189,
	title = {The Politics of Genre},
	booktitle = {Debating World Literature},
	year = {2004},
	pages = {163-74},
	publisher = {Verso},
	organization = {Verso},
	address = {New York},
	isbn = {1859844588},
	author = {Stephen Heath}
}
@book {1190,
	title = {Grief and Genre in American Literature, 1790-1870},
	year = {2011},
	pages = {200},
	publisher = {Ashgate},
	organization = {Ashgate},
	address = {Burlington },
	isbn = {1409420868},
	author = {Desiree Henderson}
}
@article {1191,
	title = {The Work of Genre: Labor, Identity, and Modern Capitalism in Wordsworth and Verga},
	journal = {PMLA},
	volume = {127},
	year = {2012},
	month = {September 2012},
	pages = {925-31},
	chapter = {925},
	keywords = {English literature; 1800-1899; Nineteenth Century; Wordsworth, Giovanni (1840-1922); I Malavoglia (1881); The House by the Medlar Tree; Italian literature; novel, William (1770-1850);},
	issn = {0030-8129},
	doi = {10.1632/pmla.2012.127.4.925},
	author = {Joseph Luzzi}
}
@article {1192,
	title = {Remapping Genre through Performance: From {\textquoteleft}American{\textquoteright} to {\textquoteleft}Hemispheric{\textquoteright} Studies},
	journal = {PMLA},
	volume = {122},
	year = {2007},
	month = {October 2007},
	pages = {1416-30},
	chapter = {1416},
	abstract = {<p>Performance as a genre allows for alternative mappings, providing a set of strategies and conventions that allow scholars to see practices that scripted genres might occlude. Like other genres, performance encompasses a broad range of rehearsed and codified behaviors, such as dance, theater, music recitals, sports events, and rituals. A performance lens allows scholars to look at acts, things, and ideas as performance. Looking at America as performance might explain why it is difficult to approach it as a disciplinary field of study. What might the shift in genres-from the scripted genres associated with the archive to the live, embodied behaviors that are the repertoire of cultural practices-enable? This essay proposes that an analysis of the performance of America might allow scholars to rethink not only their object of analysis but also their scholarly interactions.</p>
},
	keywords = {humanities; American studies; Latin America; genre},
	issn = {0030-8129},
	doi = {10.1632/pmla.2007.122.5.1416},
	author = {Diana Taylor}
}
