Classifying 'How They Get There' in terms of genre is difficult because it does not directly conform nor rely on the coventions of a specific, mainstream genre. However, as Christine Gledhill proposed, 'genres are not definite systems consisting of a fixed number of listable items', supporting the idea that 'How They Get There' produces its own unique genre.
The film begins with a close-up of a shoe standing by the curb which then leads into a sequence of close-up shots centring around a male character. Whilst sugnalling him out as a significant character, this also creates the enigma as to who he is and why he is important. The ambient lighting provides the appearance of natural daylight, whilst matched with the ordinary setting of a street and the casual clothing, gives the feeling of a drama genre. The stance of the male character, leaning casually against the hood of a care gives impressions of him being very cocksure and confidnet and is overtly cliche, reminiscent of scenes from other films such as 'Grease'. With this is mind, the introduction of the female character instantly provides connotations of a romance genre, particularly as through the use of a shot/reverse shot, it is evident tat the male is instantly fixated on her. Though the female's red jumper carries symbolism of danger, foreboding the events to come.
The sequence of shot/reverse shot creates a sense of humour as it is shown thast the male and female begin mimicking each other which conforms to comedy convention, introducing elements of yet another genre. This supports Steve Neale's theory that 'genre are not systems, but processes of systimisation' as already, 'How They Get There' has demonstrated conventions of three separate genres.
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