 Mary Ann Doane, for example, argued that the woman's film is not a "pure genre" because it is crossed and informed by a number of other genres such as melodrama, film noir, the gothic, and horror film.Similarly, film scholar Scott Simmon argues that the woman's film has remained "elusive" to the point of having its very existence questioned.This elusiveness, he argues, is partially due to the fact that the woman's film is an oppositional genre which can only be defined in opposition to male-centered genres like the Western and gangster film.