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Journal articles on the topic 'Romantic comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Muro Munilla, Miguel Ángel. "La debatible existencia de una “comedia romántica”: “Muérete… ¡y verás!”, de Bretón de los Herreros, como parodia y pastiche de los dramas románticos." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1149. http://dx.doi.org/10.5944/signa.vol28.2019.25114.

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Este artículo participa en la polémica sobre la noción de comedia romántica. Después de revisar de forma crítica los argumentos de las aportaciones más relevantes sobre este asunto, se centra en la obra de Bretón de los Herreros Muérete… ¡y verás! —presentada por varios especialistas como ejemplo acabado de comedia romántica— y defiende que se trata, en realidad, de una curiosa mezcla de parodia y pastiche de los dramas románticos.This article participates in the controversy about the notion of romantic comedy. After critically reviewing the most relevant contributions to these notions, it foc

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2

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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3

HUTCHINGS, GEOFFREY. "DISGUISE AS MOTIF IN ROMANTIC COMEDY." English Studies in Africa 33, no. 2 (1990): 65–85. http://dx.doi.org/10.1080/00138399008690870.

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4

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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Juliandino, Lucky, and Dwi Setiawan. "Open Heart: Entering the Dynamic of Polyamorous Relationship." K@ta Kita 9, no. 1 (2021): 63–72. http://dx.doi.org/10.9744/katakita.9.1.63-72.

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Open Heart is a screenplay under a romantic comedy drama subgenre, which recounts a romantic tale about a monogamous, lonely, single man who is struggling to accept and exercise an open heart during a novel participation in polyamory that the woman he falls for is involved with. In this project, I investigated why my protagonist join a polyamorous courtship and how he handles the common hurdles in consensually non-monogamous (CNM) experiences, specifically, jealousy and stigma-based shame. I answered these problems using findings from polyamory, romantic jealousy and Gregory M. Herek’s sexual

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6

Jakob-Michael Stephan, Sigmund. "The Early Romantic Comedy of Aesthetic Disobedience." Oxford German Studies 50, no. 3 (2021): 350–64. http://dx.doi.org/10.1080/00787191.2021.1958573.

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7

Diggins, John Patrick. "Charlie Wilson's War: History as Romantic Comedy." Historically Speaking 9, no. 3 (2008): 47–48. http://dx.doi.org/10.1353/hsp.2008.0101.

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8

Greene, Jane M. "Hollywood's Production Code and Thirties Romantic Comedy." Historical Journal of Film, Radio and Television 30, no. 1 (2010): 55–73. http://dx.doi.org/10.1080/01439680903577268.

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9

Stevens, Kyle. "Romantic comedy and the virtues of predictability." New Review of Film and Television Studies 18, no. 1 (2020): 28–48. http://dx.doi.org/10.1080/17400309.2019.1664059.

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10

Thompson, Kristin. "Lubitsch, acting and the silent romantic comedy." Film History: An International Journal 13, no. 4 (2001): 390–408. http://dx.doi.org/10.2979/fil.2001.13.4.390.

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11

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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12

Guilluy, Alice. "The Lady Knows the Recipe." Bulletin of Sociological Methodology/Bulletin de Méthodologie Sociologique 140, no. 1 (2018): 7–38. http://dx.doi.org/10.1177/0759106318795219.

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This article outlines the methodology of my PhD thesis, which examined the reception of contemporary Hollywood romantic comedy in Britain, France and Germany. I underline the significant epistemological and methodological shift which took place over the course of four years, as my research went from a positivist mixed-methods study aiming to describe national differences in reception, to a constructivist and qualitative interrogation of the specific pleasures of romantic comedy viewing as manifested by a small group of participants. I conclude that whilst there is no single perfect feminist me

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13

Shearer, Martha. "The Comedy of Redevelopment: Romantic Comedy, Real Estate, and the "New" Times Square." JCMS: Journal of Cinema and Media Studies 60, no. 2 (2021): 105–28. http://dx.doi.org/10.1353/cj.2021.0005.

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14

Purinton, Marjean D. "Watches and Watching Time in British Romantic Comedy." Wordsworth Circle 39, no. 1-2 (2008): 46–49. http://dx.doi.org/10.1086/twc24045187.

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15

Gay, Penny. "Anne Brontë and the Forms of Romantic Comedy." Brontë Society Transactions 23, no. 1 (1998): 54–62. http://dx.doi.org/10.1179/030977698794126930.

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16

Clarkson, Oliver, and Andrew Hodgson. "Romantic Rhyme and the Airs that Stray." Romanticism 23, no. 2 (2017): 111–22. http://dx.doi.org/10.3366/rom.2017.0318.

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Romantic poetry is striking for the richness and variety of its rhymes. If it is concerned to resist the constraints rhyme might impose, it also harnesses those constraints as a source of creativity, stimulating both comedy and pathos. This essay shows that Romantic poets find in rhyme a resource which amplifies many of their defining concerns: a fascination with incongruous states of vision, a desire to reconcile oneness and variety, and an aspiration to capture without arresting the evanescence of experience. Rhyme in the hands of Romantic poets, we suggest, speaks of disharmonies as much as

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17

KangSeokJu. "Shakespeare’s Romantic Comedy and the Social Function of Laughter." Shakespeare Review 54, no. 2 (2018): 251–81. http://dx.doi.org/10.17009/shakes.2018.54.2.001.

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18

Robertson, Ritchie. "Shakespearean Comedy and Romantic Psychology in Hoffmann's "Kater Murr"." Studies in Romanticism 24, no. 2 (1985): 201. http://dx.doi.org/10.2307/25600532.

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19

Hersey, Eleanor. "Love and Microphones: Romantic Comedy Heroines as Public Speakers." Journal of Popular Film and Television 34, no. 4 (2007): 146–59. http://dx.doi.org/10.3200/jpft.34.4.146-159.

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20

Singh, Dr Pramod Kumar. "Mahesh Dattani’s “Do the Needful”: An Unconventional Romantic Comedy." SMART MOVES JOURNAL IJELLH 8, no. 10 (2020): 74–81. http://dx.doi.org/10.24113/ijellh.v8i10.10802.

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Mahesh Dattani is a contemporary Indian English Dramatist who gave voice to the 60 million English speakers of India through his drama. He is the first dramatist recognised for his contribution in this field. Through his plays, he raises the problems of eunuch, homosexuality, transgender, child- sexual abuse, gender-discrimination, thought towards HIV-infected people etc. To such issues, he called them ‘fringe issue’ to whom we face but never take it as a part of society. Through ‘Do the Needful’ Mahesh Dattani has presented the problems of male homosexuality. The play was broadcasted by BBC.

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21

Neale, S. "The Big romance or Something Wild?: romantic comedy today." Screen 33, no. 3 (1992): 284–99. http://dx.doi.org/10.1093/screen/33.3.284.

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22

Nersessian, Anahid J. "Romantic Liberalism and the Juridical Comedy: Robert Bage’s Hermsprong." Studies in Romanticism 50, no. 4 (2011): 639–59. http://dx.doi.org/10.1353/srm.2011.0003.

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23

Quinn, Emelia Jane. "No Country for Queer Dogs." Society & Animals 24, no. 5 (2016): 507–21. http://dx.doi.org/10.1163/15685306-12341424.

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This paper seeks to explore the potential of developing a distinct vegan mode of reading. It uses the increasing incidence of anthropomorphic canine companion animals in the contemporary Hollywood romantic comedy as a starting point, focusing on close readings of the filmsMarley and MeandLegally Blonde 2: Red White and Blonde. An analysis of the increasing incidence of domestic dogs in the romantic comedy is shown to have significance for examining social and cultural anxieties around how veganism, as the rejection of animal exploitation of any kind, might challenge the rigid human-animal divi

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24

Kahn, Lily. "The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (2017): 13–27. http://dx.doi.org/10.1515/mstap-2017-0016.

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This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenthcentury Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and ref

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Kuczera-Chachulska, Bernadetta. "MIĘDZY REALIZMEM OBSERWACJI A WIZJĄ. PROCES TWÓRCZY I WARTOŚĆ JEGO REZULTATU NA PRZYKŁADZIE PIERWSZEJ CZĘŚCI NIE-BOSKIEJ KOMEDII ZYGMUNTA KRASIŃSKIEGO." Colloquia Litteraria 13, no. 2 (2012): 7. http://dx.doi.org/10.21697/cl.2012.2.01.

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Between realism of observation and vision. Creative process and the value of its outcome A case study of Zygumnt Krasiński’s The Un-Divine Comedy. The article touches upon the characteristics of Zygmunt Krasiński’s creative process. The author analyses this issue in reference to the wellestablished in the history of literature argument of predominantly intellectual, historiosophical and visionary background to Krasiński’s writing. Using the example of the first part of The Un-Divine Comedy, she brings forward an argument on the weight and relevance of realistic observation of reality in the wr

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26

Réti, Zsófia O. "Film Genres after #MeToo: Promising Young Woman as a Rape-Revenge Film and a Rom-Com." Hungarian Journal of English and American Studies 29, no. 1 (2023): 189–206. http://dx.doi.org/10.30608/hjeas/2023/29/1/10.

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Abstract From 2017 on, the #MeToo movement has resulted in a set of new perspectives and narratives in cinema; narratives, which, so far, have only ever been presented from and for the point of view of the male gaze. A special case in this process is Emerald Fennel’s 2020 directorial debut, Promising Young Woman. This essay argues that the film not only capitalizes on rape-revenge genre clichés, but it also relies on the tropes of romantic comedy traditions to give a sharp critique of the cultural climate that tolerates, denies, and normalizes rape. The subversion of the male gaze, the central

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27

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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28

Quintal, Vanessa, and Ian Phau. "The role of movie images and its impact on destination choice." Tourism Review 70, no. 2 (2015): 97–115. http://dx.doi.org/10.1108/tr-03-2014-0009.

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Purpose – This study aims to examine whether movies are pivotal in developing empathy, nostalgia, perceived risk, place familiarity and place image that can shape viewer attitude towards and intention to visit a place. Design/methodology/approach – Data were collected from two sample frames of patrons at a large cinema chain located in a major shopping centre in Perth, Western Australia. The experimental group watched the romantic comedy, Friends with Benefits. The control group watched the romantic comedy, Desi Boyz which is set in London and India and is not associated with New York. A quota

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29

Killian, Kyle. "Girlfriend in a Coma: The Big Sick Resuscitates Romantic Comedy." Journal of Feminist Family Therapy 32, no. 1-2 (2020): 132–34. http://dx.doi.org/10.1080/08952833.2020.1735826.

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30

Deleyto, C. "Between friends: love and friendship in contemporary Hollywood romantic comedy." Screen 44, no. 2 (2003): 167–82. http://dx.doi.org/10.1093/screen/44.2.167.

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31

Richter, Nicole. "Hollywood Romantic Comedy: States of the Union, 1934-1965 (review)." MLN 122, no. 5 (2007): 1197–200. http://dx.doi.org/10.1353/mln.2008.0030.

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32

Harrod, Mary. "Sweet nothings? Imagining the inexpressible in contemporary French romantic comedy." Studies in French Cinema 13, no. 2 (2013): 171–87. http://dx.doi.org/10.1386/sfc.13.2.171_1.

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33

Pan, Xiaoyan. "The Carnival Features of "A Midsummer Night's Dream"." Journal of Higher Education Research 3, no. 3 (2022): 329. http://dx.doi.org/10.32629/jher.v3i3.887.

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Shakespeare's "A Midsummer Night's Dream" is a romantic comedy work, which is full of strange and absurd elements, presenting a romantic color of fantasy humor. The dramatic presentation of "A Midsummer Night's Dream" is very consistent with the literary theorist Bakhtin's carnival literary theory, who is from the former Soviet Union. This paper will discuss the connection between Bakhtin's carnival theory and the creation of "A Midsummer Night's Dream", and then a concrete analysis of the carnival characteristics of "A Midsummer Night's Dream" is made, in order to achieve a deep interpretatio

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34

Kompridis, Nikolas. "Moral Perfectionism and Cavell's Romantic Turn." Conversations: The Journal of Cavellian Studies, no. 2 (July 9, 2014): 24–34. http://dx.doi.org/10.18192/cjcs.v0i2.1101.

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The first book of Stanley Cavell’s that I read is the only book that I ardently wished I had written, The Pursuits of Happiness: The Hollywood Comedy of Remarriage. Why this book, and not some high impact, world-historical book like Heidegger’s Being and Time or Wittgenstein’s Philosophical Investigations? Well, there are a number of reasons, some of them personal and some of them, well, Cavellian. Most immediately, the book explained to me why I so much enjoyed watching again and again over the course of more than three decades the films which are the objects of Cavell’s interpretations — why

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35

Casado-Gual, Núria. "Ageing and romance on the big screen: the ‘silvering romantic comedy’ Elsa & Fred." Ageing and Society 40, no. 10 (2019): 2257–65. http://dx.doi.org/10.1017/s0144686x19000643.

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AbstractThe radical demographic change produced by the ageing population in the Western world has entailed a complete transformation of its popular culture. The cinema is one of the popular arts to have been especially affected by the so-called ‘longevity revolution’. In fact, an important part of Hollywood celebrity culture and the mainstream film audiences belong to the same ageing demographic. The increasing necessity to tell and consume stories of ageing for the big screen is not only reflected in the growing number of films that feature older characters in their lead roles, but also in th

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36

Jeongkeun Park. "The Transition from Satire to Romantic Comedy in Verdi's opera, Falstaff." Shakespeare Review 46, no. 3 (2010): 515–42. http://dx.doi.org/10.17009/shakes.2010.46.3.003.

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37

Bialosky, Marshall, Jack Beeson, Sheldon Harnick, and Clyde Fitch. "Captain Jinks of the Horse Marines: A Romantic Comedy in Music." Notes 42, no. 1 (1985): 167. http://dx.doi.org/10.2307/898285.

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38

Andracki, Thaddeus. "Everyone Dies in the End: A Romantic Comedy by Brian Katcher." Bulletin of the Center for Children's Books 68, no. 1 (2014): 35. http://dx.doi.org/10.1353/bcc.2014.0662.

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39

White, R. S. "Functions of poems and songs in Elizabethan romance and romantic comedy." English Studies 68, no. 5 (1987): 392–405. http://dx.doi.org/10.1080/00138388708598530.

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40

Jermyn, Deborah, and Janet McCabe. "Sea of love: place, desire and the beaches of romantic comedy." Continuum 27, no. 5 (2013): 603–16. http://dx.doi.org/10.1080/10304312.2013.824858.

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41

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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42

Yunus Anis, Muhammad. "HUMOR DAN KOMEDI DALAM SEBUAH KILAS BALIK SEJARAH." Jurnal CMES 6, no. 2 (2017): 199. http://dx.doi.org/10.20961/cmes.6.2.11714.

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This paper describes the brief history of Humour in Arabs from (1) the earlier preIslamic period, (2) the Islamic period, (3) the medieval Arabic Literature (Abbasid), and (4) Mamaluke, Fatimid, Ayyubid, and Ottoman periods. This paper will try to show that<br />Arabic literature is rife with the unique taste of Arabs in humour and comedy. Finally, the result of data analysis shows that humour in the earlier pre-Islamic period and the Islamic period is used dominantly at satirical poem which is called hija‟. But in the medieval period until Ottoman period, Arabic humour and comedy has be

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43

Bredar, Hannah. "Witty Shrews and Shrewish Wits." Explorations in Renaissance Culture 48, no. 1 (2022): 61–89. http://dx.doi.org/10.1163/23526963-04801003.

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Abstract This essay analyzes the devices and methods of satirical discourse as they are presented by Much Ado About Nothing’s Beatrice and The Taming of the Shrew’s Katherine. By exploring shared points of contact in the “flyting” scenes between Katherine, Beatrice, and their respective suitors, I discuss how ironic, critical speech comes to be elevated as satirical wit in one play, even as it is reduced to shrewish complaint in the other. Both readings complicate conventional understandings of these plays as comedy, especially insofar as they undercut the institution associated with the genre

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Früchtl, Josef. "Sensus and Dissensus Communis." Aesthetic Investigations 4, no. 1 (2020): 96–111. http://dx.doi.org/10.58519/aesthinv.v4i1.11927.

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The thesis of the article is that within the framework of Western culture the cinematic comedy again and again can be seen as an aesthetic form where passions for democracy take their way. Following Cavell, philosophy, first, is as a matter of the "human voice" which is, in reference to Kant's third Critique, a "universal voice". The aesthetic judgement insofar is a model of philosophical and, secondly, of democratic judgement. For in Kant, arguing about aesthetic matters means facilitating the communitarisation of confrontation. "Common sense" (sensus communis) is the political term Kant offe

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45

Szczeglacka-Pawłowska, Ewa. "Wyrafinowany koncept. O miejscu [Królewny Lali] Adama Mickiewicza w historii literatury." Roczniki Humanistyczne 67, no. 1 (2019): 95. http://dx.doi.org/10.18290/rh.2019.67.1-7.

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The article attempts to define the place of Adam Mickiewicz’s unfinished work from the last stage of the poet’s artistic life, titled [Królewna Lala] [Princess Lala], in the history of literature, and thus in the history of literary research, and to outline the possible interpretations of the work using the category of Romantic irony and the idea of concept. A fine artistic idea behind [Królewna Lala] consists in using complex contrasts, combining fairy tale with realism, seriousness with comedy, simplicity of language with poetic mastery, dialogue with literary tradition. It is a virtuoso per

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46

Mazierska, Ewa. "No longer a trivial entertainment: Popular cinema in Poland after 2000." Literatura i Kultura Popularna 24 (April 18, 2019): 129–42. http://dx.doi.org/10.19195/0867-7441.24.10.

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No longer a trivial entertainment: Popular cinemain Poland after 2000This article discusses two types of popular films produced in Poland after 2000, a subgenre of romantic comedy, which I label “sexual comedy”, represented by the films of Andrzej Saramonowicz and Tomasz Konecki, and “popular arthouse film”, represented by Dzień świra Day of the Wacko, 2002 by Marek Koterski. To understand the specificity of Polish popular cinema in this period, the author locates it in the postwar history of filmmaking in this country, arguing that making popular films was met in this country with great resis

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47

Mirrlees, Tanner. "Kate Lynch’s All-Woman Dream." Canadian Theatre Review 111 (June 2002): 50–59. http://dx.doi.org/10.3138/ctr.111.009.

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In November 2001, I had the pleasure of seeing director Kate Lynch’s highly energetic production of Theatre Passe Muraille’s A Midsummer Night’s Dream. Lynch turned the performance convention of the Elizabethan stage (where men typically “played” women) upside down by staging her production of Shakespeare’s romantic comedy with a highly talented all-woman group of actors including Catherine Fitch, Diane Flacks, Ruth Madoc-Jones, Karen Robinsoon, Waneta Storms, Camille Stubel and Kristen Thompson.

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48

Geraghty, Lincoln. "Love's Fantastic Voyage: Crossing Between Science Fiction and Romantic Comedy in Innerspace." Extrapolation 47, no. 1 (2006): 123–33. http://dx.doi.org/10.3828/extr.2006.47.1.12.

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49

Deleyto, Celestino. "Men in Leather: Kenneth Branagh's "Much Ado about Nothing" and Romantic Comedy." Cinema Journal 36, no. 3 (1997): 91. http://dx.doi.org/10.2307/1225677.

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50

Morrison, Aimée. "Newfangled Computers and Old-Fashioned Romantic Comedy: You’ve Got Mail’s Futuristic Nostalgia." Canadian Journal of Film Studies 19, no. 1 (2010): 41–58. http://dx.doi.org/10.3138/cjfs.19.1.41.

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