Academic literature on the topic 'Romantic comedies'

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Journal articles on the topic "Romantic comedies"

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Sihite, Manda Chrisencia, Kunto Adi Wibowo, and Detta Rahmawan. "ANALISA SEKSISME LINGUISTIK TERBUKA PADA DIALOG PEREMPUAN DALAM FILM “10 THINGS I HATE ABOUT YOU, (500) DAYS OF SUMMER, DAN SUPERBAD ”." Jurnal Harkat : Media Komunikasi Gender 20, no. 1 (2024): 34–46. http://dx.doi.org/10.15408/harkat.v20i1.40727.

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Abstract. This study analyzes sexist dialogue directed at female characters in romantic comedy films using a quantitative content analysis method. The research was conducted on three romantic comedies: "10 Things I Hate About You", "(500) Days of Summer", and "Superbad". The study aims to highlight the categories of sexist remarks present in romantic comedies. A reliability test was performed, showing a high agreement among coders in identifying categories of sexist dialogue. This research is expected to raise awareness about the representation of women in films and to identify the distributio
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Tian, Junwu, and Shuyue Liu. "The Speech Act of Promising in Romantic Love." Critical Survey 36, no. 2 (2024): 75–94. http://dx.doi.org/10.3167/cs.2024.360206.

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Abstract Full of men and women in love, Shakespeare's comedies have triggered abundant discussions of the dramatist's treatment of romantic relationships, which, however, nearly ignore the importance of language use. This pragmatic reading of Shakespearean comedies undertakes to explore the speech act of promising of characters in love. By incorporating quantitative data and qualitative insights, the research outlines the attributes and distribution of promising in four comedies, compares gender differences in the use of promising, and scrutinises the change of promising during the shift in lo
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Taylor, A. G., and C. M. Cunningham. "Etiquette Education for the Goal of Marriage: White, Heterosexual, Feminine Success and the Narrative Formula of Hollywood Romantic Comedies." Utah Journal of Communication 1, no. 1 (2023): 10–17. https://doi.org/10.5281/zenodo.7796433.

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Many Hollywood romantic comedy films feature a scene of a woman being trained in social etiquette practices. Social etiquette education for women is seen as the end goal of serving their male counterpart (Simonian, 2010). More recently, this trope can be seen in romantic comedies featuring non-white male protagonists. This paper asks how this message promotes normative gender and racial ideologies though media representation in the top-grossing Hollywood romantic comedies? The purpose of this work is to map out the path of protagonists in romantic comedy films seeking social mobility and the i
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Ostrowska [UAlberta], Elżbieta. "Emotional investments: Contemporary Polish romantic comedy and neoliberalism." Literatura i Kultura Popularna 24 (April 18, 2019): 143–53. http://dx.doi.org/10.19195/0867-7441.24.11.

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Emotional investments: Contemporary Polish romantic comedy and neoliberalismThe author of the article argues that neoliberalism, along with its attendant economic and social ideas, has affected romantic comedy’s politics of emotion and consequently its narrative and formal strategies. The article analyzes two recent romantic comedies, Nigdy w życiu Never Again in My Life, dir. Ryszard Zatorski, 2004 and Listy do M. Letters to Santa, dir. Mitja Okorn, 2011 as exemplifying neoliberal “adjustments” of Polish romantic comedy, specifically employing the conventions typical of family movies. The aut
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Eads, Martha Greene. "The Anti-Romantic Comedies of Dorothy L. Sayers." Modern Drama 44, no. 2 (2001): 214–31. http://dx.doi.org/10.3138/md.44.2.214.

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McCracken, Janet. "Ruination and Redemption in Billy Wilder's Romantic Comedies." Film & History: An Interdisciplinary Journal 53, no. 1 (2023): 4–18. http://dx.doi.org/10.1353/flm.2023.a903044.

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Amaral, Carolina Oliveira Do. "The Temporality of (Serialized) Romantic Comedy." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 13, no. 2 (2020): 78–89. http://dx.doi.org/10.31165/nk.2020.132.581.

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Romantic comedies have a temporal structure based on suspense that I call temporality of the almost: the micro-narrative structure that repeatedly makes erotic resolution almost happen at several points in the story. This article analyzes how this temporality of constant and continual deferral functions as a retardatory structure posing obstacles apparently in order to keep characters apart, but, in fact, increasing the desire between them, and also between narrative and spectators.
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Desilla, Louisa. "Happily lost in translation: Misunderstandings in film dialogue." Multilingua 38, no. 5 (2019): 601–18. http://dx.doi.org/10.1515/multi-2018-0123.

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Abstract This article examines the construal, cross-cultural relay and comprehension of misunderstandings by filmmakers, translators and audiences respectively of Bridget Jones’s Diary (2001) and Bridget Jones: The Edge of Reason (2004). It reports on findings of a case-study on implicatures in these two romantic comedies (Desilla 2009/2012/2014). Both genuine and feigned misunderstandings are found in the two films. Inter alia, the analysis will show that misunderstandings can serve comedic and/or narrative functions, the latter pertaining to both characterisation and, more crucially, plot ad
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남장현. "Comic Actors and their Extemporizations in Shakespeare’s Romantic Comedies." Shakespeare Review 43, no. 2 (2007): 225–46. http://dx.doi.org/10.17009/shakes.2007.43.2.002.

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Wheatley, K. "Comedies of Manners: British Romantic-Era Writers on America." Eighteenth-Century Life 25, no. 2 (2001): 63–77. http://dx.doi.org/10.1215/00982601-25-2-63.

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Dissertations / Theses on the topic "Romantic comedies"

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Macedo, Litiane Barbosa. "Hollywood romantic comedies." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/123434.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2014.<br>Made available in DSpace on 2014-08-06T18:12:08Z (GMT). No. of bitstreams: 1 326765.pdf: 1947912 bytes, checksum: 24a5ffd6256800c0a39b95337f4997fd (MD5) Previous issue date: 2014<br>Comédias românticas têm sido produzidas no cinema popular desde os primeiros filmes com som (Grindon, 2012). Considerando a popularidade deste gênero (Abbott & Jermyn, 2009), e o papel da mídia na construção de identidad
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McWilliam, Kelly. "Girl Meets Girl: Lesbian Romantic Comedies." Thesis, University of Queensland, 2006. https://eprints.qut.edu.au/12503/1/12503.pdf.

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Six decades after the romantic comedy emerged as a Hollywood genre in 1934, the first romantic comedies with a central lesbian couple, including Marita Giovanni’s Bar Girls and Rose Troche’s Go Fish, were released in 1994. This study argues that Bar Girls and Go Fish represent the first in a group of films whose numbers and similarities enable their consideration as a romantic comedy sub-genre, namely the ‘lesbian romantic comedy’. This study identifies and analyses this sub-genre. It contends that these films have emerged as the predominant (and perhaps only) form of mainstream lesbian featur
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Kirkendoll, Elizabeth. "“Slightly Overlooked Professionally”: Popular Music in Postmillennial Romantic Comedies." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531250614267114.

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Mulawka, Natalia. "Representation of Marriage and Relationships in Romantic Comedies from 2010." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23626.

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The mass media portrays traditional forms of marital status in contemporary films despite changing demographics. This thesis argues that romantic relationships are presented as a normative and significant part of completing a predetermined life course in adulthood. Specifically, recent films are entrenched with ideological messages regarding heterosexual marriage and fail to represent singles adequately. In Canadian society, legal marriage is becoming less frequent, common law relationships are increasing, family formations are more diverse, and individuals are happily choosing to be single. T
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Porst, Luke. "The Last of the Romantic Comedies: The Death and the Eventual Rebirth of the Genre." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461077800.

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Swanicke, Helena Ann. "How women are portrayed in the romantic comedies Pillow Talk (1959) and When Harry Met Sally (1989)." Thesis, Drew University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10099210.

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<p> This study examines how women are portrayed in <i>Pillow Talk</i> and <i>When Harry Met Sally,</i> two iconic romantic comedies from different time periods, 1959 and 1989, respectively. The analysis relies primarily on three film scholars, Tamar Jeffers McDonald, Mark Rubinfeld, and Hilary Radner. With the sex comedy <i>Pillow Talk</i> and the neo-traditional comedy <i>When Harry Met Sally</i> highlighting different time periods, and reflecting a society&rsquo;s desires, anxieties, and assumptions, these different romantic comedy subgenres deliver male and female gazes, which lead us on a
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Stull, Gretchen Brinson Susan L. "It's a man's world representations of gender and competing ideologies in ""Shaun of the Dead /." Auburn, Ala., 2008. http://hdl.handle.net/10415/1542.

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Stankovic, Aurora. "Romantiska komedier på DVD-omslag." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28248.

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The purpose of this thesis is to analyze DVD covers for the genre romantic comedy from the 2000s as a way to obtain patterns and codes provided by the genre. The theoretical framework consists of previous research that analyzed various posters, theories about semiotics, genre, and visual rhetoric.  These theories will help answer the main question and help with the analysis. The objects for observation are ten DVD covers from the genre romantic comedy and a qualitative content analysis is used for this thesis. The movies are from the US and they are all high in Box Office. Box Office stands fo
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Griffin, Stephanie A. "A qualitative inquiry into how romantic love has been portrayed by contemporary media and researchers." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149001149.

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Lozada, Guzman Myrna Irene. "El heroe romantico de la comedia de teatro largo de Manuel Breton de los Herreros." Thesis, University of Puerto Rico, Rio Piedras (Puerto Rico), 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13812921.

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<p> The comedies of Manuel Bret&oacute;n de los Herreros in the nineteenth century Spanish Romantic literature introduced a new character with romantic and neoclassic traits. This new personality pursued an internal, heroic mission to adapt to the codes of an evolving and modern world. Bret&oacute;n de los Herreros incorporated a novel form of romantic heroism, by combining the features of the romantic hero of the tragic drama into a person of neoclassic virtues. The prior romantic hero was replaced by Bret&oacute;n&rsquo;s modern man. The goal of this Dissertation is to confirm the comedy as
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Books on the topic "Romantic comedies"

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Ornstein, Robert. Shakespeare's comedies: From Roman farce to romantic mystery. University of Delaware Press, 1986.

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Ruiz, Manuela. Hollywood romantic comedies of the fifties: A critical study of a film genre. The Edwin Mellen Press, 2011.

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Kimmel, Daniel M. I'll have what she's having: Behind the scenes of the great romantic comedies. Ivan R. Dee, 2008.

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Sennett, Ted. Lunatics and lovers: A tribute to the giddy and glittering era of the screen's "screwball" and romantic comedies. Limelight Editions, 1985.

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Ciocca, Rossella. La musica dei sensi: Amore e pulsione nello Shakespeare comico-romantico. Bulzoni, 1999.

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Stoica, Candid. Culise (1990 2000). Tipo Moldova, 2013.

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Riva, Renee. Drama Queen Comedies: Three Romantic Theatrical Comedies. Independently Published, 2019.

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Burnham, Niki. Scary Beautiful (Simon Romantic Comedies). Simon Pulse, 2005.

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Ponti, Jamie. Animal Attraction (Simon Romantic Comedies). Simon Pulse, 2005.

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Gettin' Lucky (Simon Romantic Comedies). Simon Pulse, 2007.

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Book chapters on the topic "Romantic comedies"

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Draper, R. P. "Romantic Sentiment." In Shakespeare: The Comedies. Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-349-90880-6_4.

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Prado, Ignacio M. Sánchez. "Humorous Affects: Romantic Comedies in Contemporary Mexico." In Humor in Latin American Cinema. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-54357-8_10.

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McWilliam, Kelly. "Girl Meets Girl: Sexual Sitings in Lesbian Romantic Comedies." In Intimate Relationships in Cinema, Literature and Visual Culture. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55281-1_11.

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Bruno, Luca Paolo. "Bikini nel bakumatsu, intimi anacronismi. Il caso di Ōka Sabaki." In Connessioni. Studies in Transcultural History. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0422-4.26.

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Japanese Adult Computer Games feature a plethora of setting and themes, ranging from science fiction and fantasy to romantic comedies set in present-day Japan. A subset of these video games features historical or pseudo-historical backdrops for their narratives. An illustrative instance of this approach is the bakumatsu period in Japan, characterized by its unique societal mores and representational affordances. Despite such a setup, this video games remain firmly entrenched in anime-manga industry conventions. This brief contribution explores how these industry practices take precedence over
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Gutiérrez-Prado, Gonzalo, Lorena T. Espinoza-Robles, and Oscar A. Aybar-Cabezudo. "Postfeminism Perspectives in Female Portrayals within Peruvian Romantic Comedies Directed by Ani Alva." In Atlantis Highlights in Social Sciences, Education and Humanities. Atlantis Press International BV, 2024. https://doi.org/10.2991/978-94-6463-596-6_54.

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Ames, Melissa, and Sarah Burcon. "The Gendered Self-Help Reel: How Romantic Comedies Instruct Women on Dating Dos and Don’ts." In How Pop Culture Shapes the Stages of a Woman’s Life. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-56618-8_4.

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Abbott, Traci B. "The Comedic “Cis Surprise” (Romantic Partner Version)." In The History of Trans Representation in American Television and Film Genres. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97793-1_4.

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Ziter, Edward. "Charles Mathews, Low Comedian, and the Intersections of Romantic Ideology." In The Performing Century. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589483_11.

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Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.

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The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘c
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Carroll, William C. "Romantic comedies." In Shakespeare. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199245222.003.0016.

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Abstract When Shakespeare’s colleagues assembled the collection of his works known as the First Folio in 1623, seven years after his death, they divided the plays into three genres, or categories of drama: ‘Comedies’, ‘Histories’, ‘Tragedies’; these are largely still the genres modern critics invoke (though Cymbeline is no longer considered a tragedy, as it was in the Folio).
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Conference papers on the topic "Romantic comedies"

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Konickova, Veronika. "Influence of Romantic Comedies on Young Adults’ Perception of Relationships." In The Asian Conference on Arts and Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2186-229x.2023.14.

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Koroliova, Elfrida. "Director Victor Gherlac’s activity." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.06.

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The shows staged by Victor Gherlac in 1940-1950 corresponded to their time. In the Stefan Batca show, staged just before the outbreak of the war, the foreboding of the war felt. On the eve of Victory Day, the premiere of the spectacular musical comedy One Night in May took place. The show Under the Chestnuts in Prague, staged in the first post-war years, reflected the contrasting visions relevant at the time. The show The Outlaws staged the struggle of the people against the oppressors (which oppressors?) in 1949. In 1950, in the romantic entertainment of the operetta Trembita, people's hopes
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Duta, Florica. "I.L.Caragiale, important precursor and creator of the modern theatre concept." In Universitas Europaea: Towards a Knowledge Based Society Through Europeanisation and Globalisation. Free International University of Moldova, 2025. https://doi.org/10.54481/uekbs2024.v2.10.

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Thanks to the content, to the form of his plays and to the technique used, I.L. Caragiale is considered one of the precursors of the absurd theater and one of the creators of the modern concept of theater because he abandoned the traditional romantic forms of a literary theater in favor of a theatrical theater, revising the original constitutive elements of dramatic art: movement, pantomime, mimicry, puppetry, masks, the plastic element, the play of lights and shadows, the theatrical word. Caragiale's comedies, like the later theater of the absurd, suffer from a crisis of action, his theater i
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