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Romantic comedy analysis
Romantic comedy genre essay
Romantic comedy movies essay
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Recommended: Romantic comedy analysis
Bryce Fechner
Professor Tom Sobchack
FILM 4210
8 May 2014
FILM 4210 Final Paper
The romantic comedy genre, although widely seen throughout the last few decades, has existed for quite some time. Its prevalence and predictability have often been parodied but the genre’s popularity and box office success can not be denied. Some of the earliest incarnations of romantic comedy form appear in literature, Shakespeare’s Midsummer Night’s Dream for example. The genre has been prevalent in film ever since the technology’s inception. Popular examples from that time include Girl Shy (1924) and Trouble in Paradise (1932). The three films discussed in this paper all fall into the category of romantic comedy and are each unique in their own way. When Harry Met Sally... (1989) is a film that succeeded both commercially and critically despite its conventional structure. Annie Hall (1977) added an element of seriousness to the genre and experimented with the format through its non-linear storytelling. Silver Linings Playbook (2012) explored the topic of mental health through each of its main characters and the effect it has on their relationship makes the story very compelling. Each of these films are critically acclaimed with a total of nine Academy Award nominations and five wins between the three of them, including best picture. They illustrate that, in spite of the numerous failures and flaws of the romantic comedy film, there is still the possibility to innovate and excel within this multifaceted genre.
(It is important that a working understanding of these films is established to give some context for the paper, so I will provide a brief synopsis of each one before continuing on with a deeper discussion of it.) When Harry Met Sally... foll...
... middle of paper ...
...on follows, coupled with a vow to stay together come what may. However, their separate discussions with their therapists make it evident there is an unspoken divide. When Alvy accepts an offer to present an award on television, they fly out to Los Angeles, with Alvy's friend, Rob (Tony Roberts). However, on the return trip, they agree that their relationship is not working. After losing her to her record producer, Tony Lacey (Paul Simon), he unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship but changes the ending: now she accepts.
The last meeting for them is a wistful coda on New York's Upper West Side, when they have both moved on to someone new. Alvy's voice returns with a summation: love is essential, especially if it is neurotic. Annie torches "Seems Like Old Times" and the credits roll.
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
For this project, two films were viewed. The first one is Annie, a film made in the early 80s about a girl in an orphanage. She is then brought to live in a mansion for a week with one of the richest men in this world. He doesn’t like her at first, but he learns to love the little girl, and adopt her. The second film, Cinderella man, is about a boxer who loses his job after he breaks his hand during a match. He is then left to fend for his family. He begins to slowly rise up as a boxer and fight again, much to his wife’s distaste. For this project, I will discuss the similarities and differences between the films, and the time period, setting, and characters. Annie is the first film.
Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
A review of the online library of romantic comedies on video streaming sites like Hulu and Netflix revealed no less than 50 highly consumer-rated romantic ...
Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.
Shumway, David, R. “Cinema Journal.” Screwball Comedies: Constructing Romance, Mystifying Marriage. Texas: University of Texas Press, 1999. 7 – 23. Print.
From the discussion above, it can be established there is a correlation between traditional and current films. For instance, the roles of the main characters in the film are developed throughout the film, just as in the films today. Additionally, the use of animation complements the humorous part of a film. From the love story of Miles and Marylin, it can be deduced that true love overcomes love-for-money. Finally, the protagonist achieves a happy ending whilst the antagonist suffers for his inhumane actions.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Johnson R. Kimberly, and Holmes M. Bjarne. "Contradictory Messages: A Content Analysis of Hollywood-Produced Romantic Comedy Feature Films." Communication Quarterly 57 (2009): 1-22. Print.