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Journal articles on the topic 'Romantic comedies'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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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Jiang, Yunyun, and Diane Uschner. "Romantic Comedies and Responsive Adaptive Randomization in Clinical Trials." CHANCE 32, no. 4 (2019): 18–22. http://dx.doi.org/10.1080/09332480.2019.1695436.

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L. Alexander, Elizabeth. "Jalla! Jalla! and Import-Export: Two multicultural romantic comedies." Journal of Scandinavian Cinema 4, no. 3 (2014): 281–88. http://dx.doi.org/10.1386/jsca.4.3.281_1.

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Siddique, Salma. "“Someone to Check Her a Bit”." Feminist Media Histories 3, no. 2 (2017): 36–56. http://dx.doi.org/10.1525/fmh.2017.3.2.36.

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Identifying the earliest examples that document partition in Bombay cinema, this article delves into the relationship between a historic trauma and physical comedy through the star performance of Meena Shorey in a trilogy of romantic comedies, Ek Thi Larki (Once There Was a Girl, 1949), Dholak (Drumbeats, 1951), and Ek Do Teen (One Two Three, 1953). In these films, the female protagonist wrestles men, scales walls, drives tractors, and makes a spectacle of herself, demonstrating a complete disregard for received ideas of femininity. Informed by her multiple marriages, irreverent religious conv

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Celestino Deleyto Alcalá. "'They Lived Happily Ever After': Ending Contemporary Romantic Comedy." Miscelánea: A Journal of English and American Studies 19 (December 31, 1998): 39–56. https://doi.org/10.26754/ojs_misc/mj.199811012.

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The ideology of romantic comedies has often been located in their attitude to the traditional happy ending: an unproblematic happy ending makes for a film that supports dominant discourses; a problematised one suggests attempts to transgress narrative and cultural conventions. In this essay, I attempt to escape from this inflexible binary logic and propose an analysis of the endings of contemporary romantic comedy which explores the texts' incorporation of cultural transformations and, more specifically, how the strategies of containment and closure negotiate new attitudes in the realm of roma

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Sickels, Robert. ""We're in a tight spot!": The Coen Brothers' Screwy Romantic Comedies." Journal of Popular Film and Television 36, no. 3 (2008): 114–22. http://dx.doi.org/10.3200/jpft.36.3.114-122.

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Klaes, Kittsie. "Bridesmaids, Trainwreck, and the Regressive Role of Women in Romantic Comedies." Film Matters 8, no. 3 (2017): 66–72. http://dx.doi.org/10.1386/fm.8.3.66_1.

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Homan, Sidney. "Shakespeare's Comedies: From Roman Farce to Romantic Mystery by Robert Ornstein." Comparative Drama 22, no. 1 (1988): 91–93. http://dx.doi.org/10.1353/cdr.1988.0006.

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Desilla, Louisa. "Implicatures in film: Construal and functions in Bridget Jones romantic comedies." Journal of Pragmatics 44, no. 1 (2012): 30–53. http://dx.doi.org/10.1016/j.pragma.2011.10.002.

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Stevenson, A. E. "A Sleight of Hair." Feminist Media Histories 6, no. 4 (2020): 13–41. http://dx.doi.org/10.1525/fmh.2020.6.4.13.

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This essay considers the presence of Black women’s hair as a necessary fact of embodiment that disrupts postfeminist romantic comedies. It focuses on Something New (2006), notable as the first film in which the director, producer, writer, and star were all Black women, arguing that the ontological ruptures created by Kenya, the main character, disrupt the film’s neat classification into the postfeminist romantic comedy genre. The article argues that the Black female body, through the signifier of Black natural hair, invites a chaos into the narrative that makes the film’s contribution to the g

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Smolej, Tone, and Tanja Žigon. "Iz gledališke zgodovine: <i>Liebe kann alles</i> oziroma sezona 1833/34 na ljubljanskem stanovskem odru." Clotho 6, no. 1 (2024): 297–340. https://doi.org/10.4312/clotho.6.1.297-340.

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This article presents a fragment of Slovene theatre history, focusing on performances on the stage of the German-language Theatre of the Carniolan Provincial Estates (Ständisches Theater) in Ljubljana during its 1833/34 season. The introductory part describes Amalie Maschek, an opera singer with extensive experience in theatre practice, who was then directing the Ljubljana stage, followed by a detailed description of the season’s repertoire. The focus is exclusively on the dramatic productions, and not on the opera performances. The article shows that the theatre’s repertoire, which included

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Dosser, Max. "POP! Goes My Heart: The Sound of Specific and General Love in Romantic Comedies and Dramas." Music and the Moving Image 14, no. 3 (2021): 46–60. http://dx.doi.org/10.5406/musimoviimag.14.3.0046.

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Abstract This article argues the original compositions in the romantic comedy Music and Lyrics (2007) and the romantic drama A Star is Born (2018) illustrate the differing depictions of love in the two films—one rooted in the specificity of the on-screen relationship and the other more general and rooted in the emotion of the relationship—which reflect a distinctive positioning within their respective genres. If you want a happy ending, that depends, of course, on where you stop your story.1 —Orson Welles

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Marsh, Leslie L. "Women, Gender and Romantic Comedy in Brazil." Feminist Media Histories 3, no. 2 (2017): 98–120. http://dx.doi.org/10.1525/fmh.2017.3.2.98.

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This essay examines the romantic comedies S.O.S. mulheres ao mar (2014) and Meu passado me condena (2013), which repeat several tropes of the chanchada—a film comedy genre with its beginnings in early twentieth-century Brazil. Both offer a negotiation of changing class status in Brazil during a period of increasing international attention and economic growth (2002 to 2014). Although these films promote new notions of Brazilian cultural identity, they also sustain established hierarchies (of gender, race, ethnicity, sexuality) in favor of promoting neoliberal values and ways of being. In partic

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Lape, Susan. "Democratic Ideology and The Poetics of Rape in Menandrian Comedy." Classical Antiquity 20, no. 1 (2001): 79–119. http://dx.doi.org/10.1525/ca.2001.20.1.79.

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Many of Menander's comedies are structured according to a rape plot pattern in which a young Athenian citizen usually rapes and impregnates a female citizen prior to the opening of the play. In most cases, the rape leads to a happy ending: the marriage of the rapist and victim. This casual treatment of rape is striking because in all other respects Menander's plays are not only scrupulously faithful to Athenian law, they also use Athenian legal and social norms as their own generic conventions. Although the rape of a female citizen was a serious oense in Athenian law, potentially punishable wi

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Biedrzycka, Marta. "“The Beads” by Maria Wirtemberska – an interperiodic comedy of consolation." Papers in Literature, no. 12 (October 18, 2024): 41–55. http://dx.doi.org/10.31648/pl.9443.

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The article discusses the one-act comedy The Beads by Maria Wirtemberska, which remains in manuscript. The subject of the paper is an attempt to situate the duchess's work in the panorama of creative tendencies of the time, with particular attention to the circumstances of the text's creation, the types of Enlightenment comedies, as well as the culture of the théâtre de société and masquerades. In addition, the affiliation of The Beads to sentimental and romantic literature is considered, thus highlighting the problem of the drama's positioning in relation to literary movements and periods.

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Purinton, Marjean D. "On TeachingA Bold Stroke for a Husbandand Other Comedies by Romantic Women Playwrights." European Romantic Review 17, no. 3 (2006): 351–60. http://dx.doi.org/10.1080/10509580600816835.

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Cohen, Stephen. ""No Assembly but horn-beasts": The Politics of Cuckoldry in Shakespeare's Romantic Comedies." Journal for Early Modern Cultural Studies 4, no. 2 (2004): 5–34. http://dx.doi.org/10.1353/jem.2004.0003.

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Kelly, Veronica. "North Star and Southern Cross: Shakespeare's Comedies in Australia, 1903–1904." New Theatre Quarterly 26, no. 4 (2010): 383–94. http://dx.doi.org/10.1017/s0266464x10000680.

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Michael Gow's celebrated play Away (1986) commences with a tatty school version of Shakespeare's A Midsummer Night's Dream. Set in the era of anti-Vietnam War protests, Away ironically salutes the iconic performance traditions of the ‘romantic’ Dream. At the Prince's Theatre, Manchester, in 1901–02, actor-manager Robert Courtneidge directed elaborate productions of this play and As You Like It, and under the management of George Musgrove toured them to Australia, where Twelfth Night was added. These productions' ensemble casting was central to Courtneidge's and Musgrove's ambitions for address

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Hixon, Rebecca. "Romancing the Shrew, Redeeming the Tamer." Borrowers and Lenders: The Journal of Shakespeare Appropriations 16, no. 2 (2025): 27–44. https://doi.org/10.18274/q1r6vr12.

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Most contemporary adaptations of Taming fall under the umbrella of romantic comedy. Due to this genre’s emphasis on a romantic resolution, however, when Taming is adapted within its generic formula, it typically fails to provide a feminist rehabilitation of Shakespeare’s play. Such Taming adaptations can thus be labeled as specifically pop-feminist romantic comedies: a popular feminism that often fails to challenge the economic, patriarchal, political framework(s) that perpetuate gender inequality. This creates what I call Taming’s pop-feminist paradox: an attempt to neutralize the play’s miso

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Wojciechowska-Kucięba, Joanna. "Aesthetics of 1950s and 1960s interiors presented in Polish comedy films from that period." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 22, no. 31 (2019): 81–90. http://dx.doi.org/10.14746/i.2017.31.08.

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This article is an attempt at outlining key aesthetic standards of interior design of the 1950s and 1960s on the basis of examples exhibited in the Polish and foreign romantic comedies of that time. Some distinguishing features of 1960s Polish aesthetics were the characteristic abstract language, organic form, asymmetry, diagonal lines, arrangements based on “A” and “X” letter outlines and lively colours. Furniture design used new materials mostly plywood and plastics such as polyvinyl chloride and epoxy resins. The 1960s, called “small stabilization” by design historians, were slightly differ

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Lucchi Basili, Lorenza, and Pier Luigi Sacco. "Shakespeare in Love: A Fictional Transliteration of the Grammar of Heterosexual Mating." SAGE Open 9, no. 1 (2019): 215824401882237. http://dx.doi.org/10.1177/2158244018822376.

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This article explores the structure of the male–female interaction in the human mating process from the perspective of the so-called Tie-Up Theory, applying it to the analysis of a cinematic fictional narrative, namely the Shakespeare in love movie. We look at romantic fictional narratives as possible simulations with a social cognition valence, and show that, in the case study under exam, the actual structure of the interaction between the two main characters reflects the basic steps of a successful mating process. In view of this, the fact that the long-term couple is not formed at the end o

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Özdemir, Burcu Dabak. "Postfeminism à la Turca." Journal of Middle East Women's Studies 17, no. 2 (2021): 177–96. http://dx.doi.org/10.1215/15525864-8949436.

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Abstract This essay analyzes how postfeminism is constructed on a visual level in the Turkish context. It uses theories of postfeminism to discuss new popular romantic comedies of Turkish cinema by comparing the new female protagonists with the women portrayed in Yeşilçam melodramas. Three films—Kocan Kadar Konuş (dir. Kıvanç Baruönü, 2014), Hadi İnşallah (dir. Ali Taner Baltacı, 2014), and Aşk Nerede? (dir. Semra Dündar, 2015)—are analyzed from a postfeminist perspective, opening up a new scholarly discussion about the place of postfeminism in the Turkish cinema. These films represent what ma

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Faggella, Chiara. "Lifestyle and fashion in Mario Camerini’s romantic comedies Il Signor Max and I Grandi Magazzini." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 11, no. 1 (2018): 56–66. http://dx.doi.org/10.31165/nk.2018.111.522.

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Between the years 1922 and 1943, Italian Fascism revealed quite an ambivalent attitude towards lifestyle.[1] While the regime tried to impose standards of nationalistic moderation, popular entertainment of the time reveals that different aspects of culture never surrendered completely to the diktats of the regime. This article discusses the ways in which two films, Il Signor Max (Astra Film, 1937) and I Grandi Magazzini (Amato-Era Film, 1939) can provide a perspective into the consumer culture of Fascist Italy and its ambivalences. By presenting recurrent references to lifestyle commodities an

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Frampton, Jessica R., and Darren L. Linvill. "Green on the Screen: Types of Jealousy and Communicative Responses to Jealousy in Romantic Comedies." Southern Communication Journal 82, no. 5 (2017): 298–311. http://dx.doi.org/10.1080/1041794x.2017.1347701.

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Benson-Allott, Caetlin. "On Platforms: In Praise of Escapism." Film Quarterly 74, no. 1 (2020): 75–79. http://dx.doi.org/10.1525/fq.2020.74.1.75.

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With the onset of the COVID-19 pandemic, FQ columnist Caetlin Benson-Allott rejects streaming recommendations aimed at edification and instead embarks on her personal quest to find and understand the distinctive and therapeutic pleasures of cinematic escapism. Noting that escapism has been neglected by film theorists and critics—dismissed as an undignified, unsophisticated form of spectatorship—she suggests that this oversight explains her difficulty in identifying films that grant that particular kind of pleasure. An overview of her past and present cinematic guilty pleasures, from the B-grad

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Cho, Seong-Woong. "Stendhal and Literary Ambition." Hankuk University of Foreign Studies Literature Studies 89 (February 28, 2023): 27–53. http://dx.doi.org/10.22344/fls.2023.89.27.

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Stendhal, who is well known as art critic and romantic and realist novelist, was fascinated by the theater and often engaged in writing theatrical works without succeeding. His early vocation was to live in Paris by making comedies like Molière. He strengthened himself in critical reading and philosophical studying of the English, Italian and Spanish theatre. He took important theatrical works and developed them into his own immortal theatrical works. Selmours, Les deux Hommes and Letellier were advanced but were not finished. He failed to be a comic playwright because of his too much literary

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Harrod, Mary. "“Money can’t buy me love”: radical right-wing populism in French romantic comedies of the 2010s." New Review of Film and Television Studies 18, no. 1 (2020): 101–18. http://dx.doi.org/10.1080/17400309.2019.1664055.

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Smith, Paul Julian. "Screenings." Film Quarterly 69, no. 4 (2016): 78–81. http://dx.doi.org/10.1525/fq.2016.69.4.78.

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FQ Columnist Paul Julian Smith traces the changes in queer Mexican cinema since the 1990s and asks: What does it mean for a film to be both queer and mainstream? Recent Mexican features with lesbian, gay, and trans themes pose this question. They are audience-friendly genre movies, either romantic comedies or thrillers, naturalistic in style, apolitical in attitude, and commercially produced in the hope of exhibition in theaters. Reaching out through social media to a queer community of viewers, they also seek to connect closely with their audience. Smith suggests that a new corpus of queer fi

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Erofeeva, Natalia E., and Elena V. Kirichuk. "Book review: Smith, E. (2020) This Is Shakespeare. The most erotic comedy, the most dramatic tragedy, men burned by shame, cardboard villains, feminists, show business stars and more (Translated from English by M.G. Sukhotina. Moscow: Mann, Ivanov and Ferber)." Tekst. Kniga. Knigoizdanie, no. 28 (2022): 167–79. http://dx.doi.org/10.17223/23062061/28/11.

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Modern literary criticism offers the reader a whole sphere of Shakespearean studies based on the ideas of historical poetics. In accordance with the latter, we understand the images and problems of dramas, comedies and tragedies of the great English playwright in the key of romantic, symbolist, psychoanalytic, and other interpretations. Emma Smith offers a relevant reading of Shakespeare’s texts, based on theatrical productions and film adaptations of his works in the 20th and 21st centuries. The actualization of the Shakespearean heritage is being implemented in modern theater and cinema as a

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Mohanty, Anshuman, Aditi Mudgal, and Shirshendu Ganguli. "Mapping movie genre evolution (1994 – 2019) using the role of cultural and temporal shifts: a thematic analysis." F1000Research 12 (September 4, 2023): 662. http://dx.doi.org/10.12688/f1000research.127008.2.

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Background: The gratification each person seeks through a movie is different. Sometimes a person would seek information through movies or use them for educational purposes, and some might watch movies to escape into a world of fantasy or humour. Keeping in mind the diverse and ever-changing needs of the audience, the primary objective of this study is to observe the evolution of movie genre and content preference in India, which is one of the largest and culturally intriguing movies producing nation across the globe. Methods: To attain the objective, the researchers have thematically analysed

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Mohanty, Anshuman, Aditi Mudgal, and Shirshendu Ganguli. "Mapping movie genre evolution (1994 – 2019) using the role of cultural and temporal shifts: a thematic analysis." F1000Research 12 (June 13, 2023): 662. http://dx.doi.org/10.12688/f1000research.127008.1.

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Background: The gratification each person seeks through a movie is different. Sometimes a person would seek information through movies or use them for educational purposes, and some might watch movies to escape into a world of fantasy or humour. Keeping in mind the diverse and ever-changing needs of the audience, the primary objective of this study is to observe the evolution of movie genre and content preference in India, which is one of the largest and culturally intriguing movies producing nation across the globe. Methods: To attain the objective, the researchers have thematically analysed

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Anderson, Bissie. "Introduction to Standard Issue." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 13, no. 2 (2020): 1–4. http://dx.doi.org/10.31165/nk.2020.132.631.

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This standard issue features six contributions from postgraduate and early career scholars working at the intersections of media, communications, education, sociology, and technoculture. The articles differ in their objects of inquiry – from sound in digital games, social networking sites, and digital technology in education, to broadcast journalism and romantic comedies, but they broadly converge around a common focus on temporality and time. Between them, the contributions present a good mix of empirical work and significant conceptual development, moving forward theoretical debates in the f

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Ratna Indra Setyaningurm, Wanodya Kusumastuti, and Widyaning Hapasari. "Hubungan Antara Intensitas Membaca Manga Genre Boys Love Terhadap Sikap Positif Kepada Homoseksual." RISOMA : Jurnal Riset Sosial Humaniora dan Pendidikan 3, no. 2 (2025): 148–61. https://doi.org/10.62383/risoma.v3i2.684.

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Manga, or Japanese comics, are becoming increasingly popular among Indonesian boys and can be easily found online. Fujoshi refers to female fans and fundashi refers to male fans of the “boys love” genre, which is characterized by romantic comedies involving male protagonists in media such as literature, anime, and video games. The intensity of reading a particular “boys love manga” genre and a favorable view of homosexuality are the focus of this study. A correlation coefficient of 0.227 was obtained, indicating a weak but positive relationship of 22.7%, between the two variables in this study

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Lape, Susan. "The Terentian Marriage Plot: Reproducing Fathers and Sons." Ramus 33, no. 1-2 (2004): 35–52. http://dx.doi.org/10.1017/s0048671x00001119.

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In this study, I examine what it means to be a father, a son, and the father-son relationship in three Terentian comedies, the Andria, Self-Tormentor, and Adelphoe. Like the Menandrian originals on which they are based, these plays all employ a marriage plot centring on a young man's efforts to win and or retain his beloved in marriage or a temporary union. In each case, the story (or stories) about the romantic union of a young man and woman takes a back seat to a story about the negotiations between men needed to forge that union. As in Menander's plays, this homosocial orientation invests T

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Harrod, Mary. "Channeling globalism: Canal+ as transnational French genre film producer." Contemporary French Civilization: Volume 46, Issue 3 46, no. 3 (2021): 285–307. http://dx.doi.org/10.3828/cfc.2021.18.

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This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences

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Величковська, Юлія. "Особливості української антиколоніальної драматургії ХVIII – першої половини ХІХ ст." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 7, № 4 (2022): 15–22. http://dx.doi.org/10.15804/ppusn.2022.04.01.

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The article deal the general patterns and main trends in the formation and development of dramatic genres as a self-sufficient genre in Ukrainian literature of the XVIII – first half of the XIX century, aimed at highlighting anti-imperial ideas in close connection with the requirements of general literary genre and national traditions. It was found that the anti-colonial national literature found its expression in such genres as historical drama, drama-morality, vaudeville, social-household drama and comedy. «Vladimir» by Feofan Prokopovich, «God’s Mercy ...» by an unknown author, «Resurrectio

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Kosma, Yvonne. "Representations of Gender in Narrative Film: Images of Femininity in Greek Romantic Comedies of the 1960s and Adapting the Hollywood Ideal." International Journal of Interdisciplinary Social Sciences: Annual Review 2, no. 3 (2007): 213–18. http://dx.doi.org/10.18848/1833-1882/cgp/v02i03/52320.

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Jones, Robert A. "The scientist as artist: a study of The Man in the White Suit and some related British film comedies of the postwar period (1945-1970)." Public Understanding of Science 7, no. 2 (1998): 135–47. http://dx.doi.org/10.1177/096366259800700203.

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The Man in the White Suit is perhaps the major representation of a scientist in mainstream British films of the postwar period. The film was immensely popular at the time of its release in 1951 and continues to be influential today. This paper, which is part of an ongoing study of the image of scientists presented by the cinema during this period, analyzes The Man in the White Suit by comparing it with another film of the period, The Horse's Mouth, which presents an image of an artist, and two related film comedies. Many similarities can be seen between the characters of the scientists and the

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Jenkins, Claire. "‘You’re just some bitch who broke my heart and cut up my mom’s wedding dress’: Reading the wedding dress in Hollywood’s romantic comedies." Film, Fashion & Consumption 2, no. 2 (2013): 159–73. http://dx.doi.org/10.1386/ffc.2.2.159_1.

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Townsend, Nathan. "Working Title Films and Universal: The Integration of a British Production Company into a Hollywood Studio." Journal of British Cinema and Television 15, no. 2 (2018): 179–203. http://dx.doi.org/10.3366/jbctv.2018.0414.

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Working Title Films is arguably the most successful and well-known production company in Britain today. For over 30 years, it has produced a diverse range of critically and commercially successful British films including romantic comedies such as Four Weddings and a Funeral (1994) and Bridget Jones's Diary (2001), family films like Bean (1997) and Nanny McPhee (2005) and dramas including Atonement (2007) and The Theory of Everything (2014). For the majority of its history, however, Working Title has been defined in business terms by its status as a subsidiary of one of two multinational media

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Ryan, Connor. "Dark and gritty/slick and glossy: Genre, Nollywood and Lagos." Journal of African Cinemas 11, no. 3 (2019): 295–313. http://dx.doi.org/10.1386/jac_00022_1.

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Abstract In this article, I am concerned principally with Taxi Driver (Oriahi, 2015), Gbomo Gbomo Express (Taylaur, 2015), Just Not Married (Patrick, 2016), Ojukokoro (Greed) (Olaitan, 2016) as well as Catch.er (Taylaur, 2017). These films are characterized as much by the depiction of clever criminals as the cultivation of a cynical disposition from which transgressions of this sort appear stylish and violence is rendered 'cool'. Almost all of them turn on a scheme to dupe others of a large sum of money, and are punctuated by backstabbing partners in crime, tables turning by chance, edgy armed

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