Genre Theory in The Sopranos

 

___Genres are a set of conventions or properties that classify the narratives of a text within a certain category(ies). According to Grossberg, genre theory is a way of defining and measuring the preferences of the author; this can explain why the categories are occasionally the focus of debate. The textual properties in this analysis are drawn from a particular episode of The Sopranos. The classification of these textual properties is primarily based on the content and form contained within the one episode.

___The Sopranos is a critically acclaimed television show that has received notoriety through its ability to reshape its genre conventions. The once classical fiction story of an organized crime/mafia family has had its formulaic principles fundamentally changed by the contemporary setting of a mob-boss in eastern New Jersey who faces modern dilemmas in a world that is easily identifiable to its viewer audience. The Sopranos has abandoned the familiar continuity between it and the programs it resembles, most notably, The Godfather films for example.

___Traditionally, plots of syndicated crime were set in fictional worlds having a primary focus on the mob-boss and the actions and/or repercussions he and his decisions make. The mob-boss is defined as leader, he is in control of his environment and the scenarios he encounters; there are usually episodic moments where his exceptional judgement prevails and his leadership within the organization is confirmed and unquestioned. It is common for the story to concentrate on one dimension of the mob-boss' life, be it his blood family or his surrogate crime family. The Sopranos differs as the series' seasons rotate between a focus on his family life to on his mafia life. The main character, Tony Soprano has a duality whose nature is mirrored within the very storyline of the show. Classic genre conventions would never allow for the leader to appear as unstable, or to have questionable judgement or mental instability. In this episode, we see Tony Soprano attend his weekly psychiatric sessions (produced by the strain of leading dual lives). This is clearly unconventional to classic genre expectations as visiting a psychiatrist denotes mental troubles, and is a clear sign of weakness. The Sopranos harnesses this real life aspect which not only authenticates and improves the credibiltiy, but allows for interesting plots in other episodes. This episode in particular sees Tony receive a message in a dream concerning one of his colleagues. Tony acts upon his dreamy intuition and discovers critical information concerning his colleague's loyalty. To follow an intuition steming from a dream opposes the sound judgement and instinctual nature a leader is supposed to have, one could argue Tony's willingness to follow his dreams flaws his objective composure a leader is thought to have.

___The set of conventions The Sopranos shares with the classic mafia genre are indicators that it resembles itself closer to this, than to any other genre. These include practicing close family values, domestic issues, and the occasional involvement of the professional with personal lifestyles. The illegal business operations of a crime syndicate appear quite ordinary, and are rightfully expected. However, this episode includes a homicide. Murder frequently occurs in the mafia crime world, but this episode includes the exceptional example of the leader, Tony, having to make a decision to remove one of his own crew members as he has been relaying information to the FBI. A feature that is tragic among the mafia genre and is usually climatic; it comes as no surprise that this action occurs in this episode--the season finale.

___Whereas genre theory positions its theoretical basis in a compilation of varying indicators, it is true no one indicator can be considered fundamental to decisively classifying it within one particular genre. The Sopranos stands alone as the difficulty of placing it within a genre is attributed to its qualities of independently defying what is expected of the content and of the formal qualities classical mafia genres look to group it among. Because the particulars of genre theory look to classify the text, and in this case cannot, does this raise the question of whether The Sopranos can be fitted within any one genre? Does it raise the expectations for future programming attempting to replicate its nature, further complicating the theoretical genre debate? Despite an insufficient number of similarities to the mafia genre, it seems unlikely The Sopranos will ever conclusively place itself within one subsuming genre. In light of this discussion, one might attribute the success of The Sopranos to this very quality. But as I previously mentioned, this is precisely what leaves the debate over genre theory in permanent flux.

 

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Mark Rinella