Romantic Comedy: Boy Meets Girl Meets GenreRomantic Comedy offers an introduction to the analysis of a popular but overlooked film genre. The book provides an overview of Hollywood's romantic comedy conventions, examining iconography, narrative patterns, and ideology. Chapters discuss important subgroupings within the genre: screwball sex comedy and the radical romantic comedy of the 1970s. A final chapter traces the lasting influence of these earlier forms within current romantic comedies. Films include: Pillow Talk (1959), Annie Hall (1977), and You've Got Mail (1998). |
Contents
screwball comedies | 18 |
the sex comedy | 38 |
the radical romantic comedy | 59 |
the neotraditional romantic comedy | 85 |
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Common terms and phrases
acknowledges Alvy Alvy's Annie Hall aware Best Friend's Wedding boy meets Brad Bringing Up Baby camera characteristics characters CINEMA classic comedy's contemporary contexts contrast conventions couple couple's elements Ellie Elliot emotional emphasis employed evoke example feelings female film's filmmakers final gender genre Godfrey Goodbye Girl Happened One Night hero heterosexual Hollywood humour ideology importance insults Irene Jessica Jules Kate and Leopold Kathleen Kinsey's Krutnik Lose a Guy Lover Come Back Mail mainstream romantic comedy male marriage marry masquerade mise-en-scène narrative neo-traditional romantic comedy pair partner Paula persona Peter Pillow Talk play playboy plot Production Code protagonists radical romantic comedy realises referencing relationship reveals romantic love romcom scene screwball comedy seen self-referentiality self-reflexivity sex comedy sexual fulfilment slapstick Sleepless in Seattle song sub-genre suggest Susan texts theme traditional tropes underline Unmarried Woman usual viewer virgin visual wants women You've Got Mail