Question: What film genre does The Tree That Remembers and Fight for the Planet fall under?

Context articles: Film genre
Luboml: My Heart Remembers
Actuality film
Santa Claus in film
Woman's film
Fight for the Planet
OP Eiga
Our Casuarina Tree
The Tree That Remembers
Singapore Short Film Awards

A film genre is a motion picture category based on similarities in either the narrative elements or the emotional response to the film (namely, serious, comic, etc.).
 Most theories of film genre are borrowed from literary genre criticism.
 The basic genres include fiction and documentary, from which subgenres have emerged, such as docufiction and docudrama.
 Other subgenres include the courtroom and trial-focused drama known as the legal drama.
 Types of fiction which may seem unrelated can also be combined to form hybrid subgenres, such as the melding of horror and comedy in the "Evil Dead" films.
 Other popular combinations are the romantic comedy and the action comedy film.
Luboml: My Heart Remembers is a 2003 documentary film produced by Eileen Douglas and Ron Steinman and funded by The Aaron Ziegelman Foundation.
 It compiles survivor interviews, archival photographs and film footage to reconstruct a sense of life in Luboml, one of the five thousand small shtetls (Jewish market towns) that were destroyed by the Holocaust.
 The film explores the vibrant Jewish life that –once central to European Jewry – is now forever lost.
 Made in 2003, "Luboml: My Heart Remembers" was called a “must see gem” by "The Forward".
The actuality film is a non-fiction film genre that, like the documentary film, uses footage of real events, places, and things, yet unlike the documentary is not structured into a larger argument, picture of the phenomenon or coherent whole.
 In practice, actuality films preceded the emergence of the documentary.
 During the era of early cinema, actualities—usually lasting no more than a minute or two and usually assembled together into a program by an exhibitor—were just as popular and prominent as their fictional counterparts.
 The line between "fact" and "fiction" was not so sharply drawn in early cinema as it would become after the documentary came to serve as the predominant non-fiction filmmaking form.
 An actuality film is not like a newspaper article so much as it is like the still photograph that is published along with the article, with the major difference being that it moves.
 Apart from the traveling actuality genre, actuality is one film genre that remains strongly related to still photography.
Motion pictures featuring Santa Claus abound and apparently constitute their own subgenre of the Christmas film genre.
 Early films of Santa revolve around similar simple plots of Santa's Christmas Eve visit to children.
 In 1897, in a short film called "Santa Claus Filling Stockings", Santa Claus is simply filling stockings from his pack of toys.
 Another film called "Santa Claus and the Children" was made in 1898.
 A year later, a film directed by George Albert Smith in titled "Santa Claus" (or "The Visit from Santa Claus" in the United Kingdom) was created.
 In this picture, Santa Claus enters the room from the fireplace and proceeds to trim the tree.
 He then fills the stockings that were previously hung on the mantle by the children.
 After walking backward and surveying his work, he suddenly darts at the fireplace and disappears up the chimney.
 "Santa Claus' Visit" in 1900 featured a scene with two little children kneeling at the feet of their mother and saying their prayers.
 The mother tucks the children snugly in bed and leaves the room.
 Santa Claus suddenly appears on the roof, just outside the children's bedroom window, and proceeds to enter the chimney, taking with him his bag of presents and a little hand sled for one of the children.
 He goes down the chimney and suddenly appears in the children's room through the fireplace.
 He distributes the presents and mysteriously causes the appearance of a Christmas tree laden with gifts.
 The scene closes with the children waking up and running to the fireplace just too late to catch him by the legs.
 A 1909 film by D. W. Griffith titled "A Trap for Santa Claus" shows children setting a trap to capture Santa Claus as he descends the chimney, but instead capture their father who abandoned them and their mother but tries to burglarize the house after he discovers she inherited a fortune.
 A twenty-nine-minute 1925 silent film production titled "Santa Claus", by explorer/documentarian Frank E. Kleinschmidt, filmed partly in northern Alaska, feature Santa in his workshop, visiting his Eskimo neighbors, and tending his reindeer.
 A year later, another movie titled "Santa Claus" was produced with sound on De Forest Phonofilm.
 Over the years, various actors have donned the red suit (aside from those discussed below), including Monty Woolley in "Life Begins at Eight-thirty" (1942), Alberto Rabagliati in "The Christmas That Almost Wasn't" (1966), Dan Aykroyd in "Trading Places" (1983), Jan Rubes in "One Magic Christmas" (1985), David Huddleston in "" (1985), Jonathan Taylor Thomas in "I'll Be Home for Christmas" (1998), and Ed Asner in "Elf" (2003).
 Later films about Santa vary, but can be divided into the following themes.
The woman's film is a film genre which includes women-centered narratives, female protagonists and is designed to appeal to a female audience.
 Woman's films usually portray "women's concerns" such as problems revolving around domestic life, the family, motherhood, self-sacrifice, and romance.
 These films were produced from the silent era through the 1950s and early 1960s, but were most popular in the 1930s and 1940s, reaching their zenith during World War II.
 Although Hollywood continued to make films characterized by some of the elements of the traditional woman's film in the second half of the 20th century, the term itself disappeared in the 1960s.
 The work of directors George Cukor, Douglas Sirk, Max Ophüls, and Josef von Sternberg has been associated with the woman's film genre.
 Joan Crawford, Bette Davis, and Barbara Stanwyck were some of the genre's most prolific stars.
Fight for the Planet is a 2009 Canadian film.
 Directed, produced, and edited by Colin Carter, Fight for the Planet is a call to action film about global warming, and the future of our society as it steps into a new environmentally conscious era.
 Fight for the Planet was 16-year-old director Colin Carter's first feature film, and is the first in a row of award winning features ("Please Kill Mr. Know It All" (2012) and Blueprints (2013)).
 The film went on the tour the international film festival circuit in the summer of 2010, and later was distributed for curricular use in Ontario high schools.
 A page about the film and the Director is published in the current Ontario grade 10 science textbook.
OP Eiga (オーピー映画 ) , also known as Ōkura Eiga (大蔵映画 ) is the largest and one of the oldest independent Japanese studios which produce and distribute pink films. Along with Shintōhō Eiga, Kantō, Million Film, and Kōji Wakamatsu's production studio, Ōkura was one of the most influential studios on the pink film genre.
 Among the many notable pink films released by the studio are Satoru Kobayashi's "Flesh Market" (1962), the first film in the pink film genre.
The poem begins with the description of the tree.
 The poet says that the creeper has wound itself round the rugged trunk of the Casuarina Tree, like a huge Python.
 The creeper has left deep marks on the trunk of the tree.
 The tree is so strong that it bears the tight hold of the creeper.
 The tree is described as being gallant, and possibly brave, as very few trees could survive in the strangle-hold of this creeper.
 The poet then goes on to describe the life that thrives amidst every facet of the tree.
 The tree is metaphorical said as a giant due to its huge size, strength and boldness.
 The Casuarina Tree is covered with creeper which bears red crimson flowers which appear as though the tree is wearing a colorful scarf.
 Often at night, the garden echoes and it seems to be jubilant and the song (of a nightingale) has no end; it continues till dawn.
 At dawn when the poet opens her window she is delighted to see the Casuarina Tree.
 Mostly in winters a gray baboon is seen sitting on the crest of the tree seeing the sunrise with her younger ones leaping and playing in the tree's boughs.
 The shadow of the tree appears to fall on the huge water tank.
 Toru Dutt says that it is not because of the majestic appearance of the Casuarina Tree that it is dear to her heart and soul, but also that she along with her siblings spent happy moments under it.
 Toru Dutt has brought out the theme of nature as something that shares feeling with humans, that lightens the burden on the heart.
 The poet continues with a description of how strong the image of the tree is, even when in lands far away.
 Even in France and Italy (where the poet studied), she can hear the tree's lament.
 The poet wishes to consecrate the tree's memory and importance for the sake of those who are now dead - and looks ahead to her own death, hoping that the tree be spared obscurity (or that no-one will remember it).
 She immortalizes the tree through this poem like how Wordsworth sanctified the Yew trees of Borrowdale.
 She says "May love defend thee from Oblivion's curse'"- by which she means that she is glad that her love for the Casuarina will protect it from the curse of being forgotten.
The Tree That Remembers is a 2002 animated documentary by Iranian filmmaker Masoud Raouf, exploring the lives of former political prisoners like himself who had been active in the democratic movement during the days of the Shah of Iran, only to face imprisonment and torture under the Islamic regime after the 1979 Iranian revolution.
The Singapore Short Film Awards (abbreviation: SSFA) is an annual event which promotes and recognises excellence in short films in Singapore.
 It began in 2010 and was jointly organised by The Substation and Objectifs, presented by The Substation's Moving Images.
 Created by filmmaker Chai Yee Wei, former Programme Manager of The Substation's Moving Images Low Beng Kheng and current Co-Founder of Objectifs Yuni Hadi, the Singapore Short Film Awards highlights quality work done annually in the short film genre in Singapore - by seeking out new talent, reflecting current standards of the short film genre and to bring together both the veterans and the young talents as a community to create a space for networking and sharing.