To what extent does the new American crime film reflect hybridity of genre?

This commentary on my several recent published works discusses how my research on the recent crime film has revealed it to be an engine of genre hybridity, focusing on two directions: 1) the crime film’s development of strands of other genres, and 2) the ‘victim’ figure’s, as one of the crime film’s principal archetypes, use to develop several other genres. This study incorporates my research of the broader trend of ‘crime films’ to analyze a greater fluidity of genres through use of the principal style. It also presents an overview of genre theory and how I develop one on crime hybridity. This commentary identifies and analyzes how each chapter of my book-length study, The New American Crime Film (see Appendix A), analyzes a new strand of crime hybridity used to develop another genre. In the shorter pieces I discuss (see Appendices B-E), I analyze how filmmakers use the ‘victim’ figure of the crime tradition to draw connectivity and reinterpret another related genre.