Evolving Crime Fiction: Genre Conventions Explored

When you ponder the term 'genre', what does it mean to you? It is likely that you all generally consider it to be a type or category of text, but does it truly align with this definition? Good morning, Year 11. As you prepare for your HSC course next year, our focus will be on how the genre of crime fiction has evolved over time, with various elements in a text either supporting, questioning, or expanding upon genre conventions. So, what exactly is genre?

Although genre is challenging to define, there are diverse interpretations of the term as the boundaries between genres constantly shift due to evolving values.

According to Daniel Chandler, defining genres may not initially appear difficult, but it is actually a theoretical minefield. Jane Feuer argues that genre is ultimately an abstract conception. These critics highlight the importance of understanding genre as a concept that can be applied to different contexts beyond its fundamental relevance to a text.

In light of changing contexts and values evolving over time and giving rise to new conventions, I have come to concur with Stephen Neale's perspective that "Genres are instances of repetition and difference.

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.. difference is absolutely essential to the economy of genre" (Neale, 1980). This notion aptly captures the continual evolution of cultural values and attitudes in our societal environment, wouldn't you agree?

Today, I will concentrate on how different adaptations of crime fiction genre have been influenced by social and cultural factors to stay relevant. Neale also points out that genres help in influencing values.

I will then analyze how Alfred Hitchcock's Rear Window and Tom Stoppard's The Real Inspector Hound have reshaped and expanded traditional crime conventions in their respective works, sometimes challenging audience expectations.

Rear Window and The Real Inspector Hound both explore and challenge the cozy conventions of their respective societies. While Rear Window delves into post-war voyeurism and women's issues within its social setting, The Real Inspector Hound parodies the traditional 'whodunit' narrative of the Golden Age in a satirical manner, questioning ideas of justice and reality vs. illusion.

Both texts aim to challenge and expand crime conventions while also delving into the societal human conditions and issues of their time, making them influential works in the genre. Hitchcock's 1954 film, Rear Window, breaks traditional suspenseful crime fiction conventions by focusing on solving a crime and proving its occurrence.

In Rear Window, the film delves into the changing roles of women and questions the morality of voyeurism. These themes are a reflection of the concerns of the post-war period, where societal shifts were challenging traditional gender norms shaped by WW2. The scene where Jeff peers through his camera lens at unfolding scenes in neighboring apartments serves as a visual metaphor for the ethical implications of voyeurism portrayed in Rear Window.

By showcasing hidden worlds in his films, Hitchcock provides a glimpse into American society, using each block as a microcosm. Like in The Real Inspector Hound, Hitchcock breaks away from traditional crime conventions by avoiding showing the crime itself. This shift can be attributed to the tension between the conservative American government and the increasing social acceptance of sexuality, stemming from film censorship during that era.

Hitchcock cleverly uses the concept of voyeurism by subverting a cozy setting, a convention that reflects McCarthyism, where society was fractured by paranoia about communism during the Golden Age. As the camera pans across Jeff's apartment, focusing on his photography tools and highlighting his obsession with observation, Jeff's dilemma of feeling trapped in his apartment drives him to consider "something drastic" to escape from his boredom. This foreshadows his future hobby of spying on his neighbors.

Hitchcock wanted to capture social insecurity and fear through the character of Jeff, who becomes consumed by his spying on Thorwald. What starts as innocent curiosity transforms into a desperate attempt to uncover criminal behavior. Tension builds with panning shots until Jeff finally takes action, revealing evidence in Thorwald's apartment. However, the dangers of voyeurism are revealed through the use of non-diagetic sound and the quick motion of Jeff falling out the window.

Hitchcock challenges the ethical grey areas of voyeurism by highlighting society's fear of disrupting social structures, depicting a society morphing into "a race of peeping toms." Despite shifting attitudes towards women in the workplace, how did Lisa transform into a sleuth and femme fatale, showcasing the changing independence and roles of women? In a bold move, Hitchcock subverts a fundamental crime genre rule – typically there is only one detective!

Characterized by a high angle shot, Jeff is seen bound to his wheelchair with a cast on his injured leg symbolizing the identity boundary he faces. This leaves Jeff feeling helpless, a recurring motif in the film where he struggles to assert his male dominance and hopes to break free from his limitations. When Lisa appears, the dark lighting and shadows around her symbolize Jeff's sense of intimidation as men were uneasy with the changing roles of women in the post-war era.

Hitchcock uses Jeff's confinement at home in a feminine position to emphasize Lisa as the amateur detective, highlighted by her consistent control over Jeff in the framing. This challenges traditional female roles in crime fiction as femme fatales, reinforcing arrogant masculinity. Despite this, Lisa's strength and unwavering resolve ultimately result in her crucial involvement in "the next assignment," showcased in the tracking shot of her searching Thorwald's apartment. This unconventional portrayal of Lisa as a detective culminates in the film's resolution and restoration.

Hitchcock demonstrates the evolution of crime conventions by defying traditional norms and showcasing the increasing empowerment and importance of women in society. By featuring both men and women as primary detectives, Rear Window not only strengthens and expands upon the boundaries of the crime genre, but also mirrors the shifting values of society, making it a significant piece of crime fiction literature even in modern times. In contrast to Hitchcock's approach of reinventing crime writing conventions, Stoppard completely disregards them.

In his exploration of classical Golden Age crime conventions, Stoppard shows how the crime genre reflects society's evolving values. By prompting the audience to consider whether distinguishing between reality and illusion in crime is crucial, Stoppard also raises questions about the concept of justice. Today, in a post-modern world shaped by shifting societal norms, the traditional divide between reality and illusion is no longer as significant as it was in the Golden Age, as Stoppard implies.

Breaking traditional conventions, Stoppard intersects the margins of a play-within-a-play to blur reality. In contrast to Rear Window's portrayal of society through a cozy setting, Stoppard parodies it to show that crime can exist outside conventional boundaries, ultimately challenging societal norms. This parody is emphasized through the use of contrivance, exemplified by Mrs.

Drudge’s dialogue about the "somewhat isolated Muldoon Manor, which is surrounded by deadly swamps and fog," is critiqued by Stoppard as he challenges S.S Van Dyne’s code stating that "the detective himself" should never be the culprit. Instead, Stoppard places the murderous role on Puckeridge, revealed to be Inspector Hound and Magnus. The exaggerated climax of a series of revelations in the final scene highlights the melodramatic and absurd nature of the play. Stoppard uses pauses, exclamation points, and stage directions to emphasize this, blurring the line between reality and illusion. By denouncing traditional crime fiction conventions, Stoppard questions society’s perception of truth and justice within the genre.

In the context of the text, is there always a need for a hero figure? The authorities in the play are not central figures, similar to the police in Rear Window where justice is not achieved. However, unlike the incompetent police in Rear Window, Inspector Hound lacks traditional detective traits and is continuously mocked through stage directions like wearing "inflatable swamp boots and carrying a foghorn" in his entrance.

Therefore, both The Real Inspector Hound and Hitchcock’s Rear Window have effectively challenged the conventions of crime fiction, establishing themselves as significant contributions to the evolution of the genre. In doing so, they have each played a crucial role in revolutionizing crime fiction over time. Without a doubt, Hitchcock’s Rear Window skillfully challenges traditional crime film conventions by reflecting the cultural values of the post-war era in a unique and innovative way.

Furthermore, Stoppard expanded genre boundaries in The Real Inspector Hound by mocking traditional character and plot norms from the Golden Age, reflecting postmodernist ideas during a pivotal time for evolution. Therefore, both works have evolved into significant crime fiction pieces by creatively reimagining existing crime standards in various ways.