Relevant bibliographies by topics / Teen romantic comedy films

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Teen romantic comedy films'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Teen romantic comedy films"

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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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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe
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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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Johnson, Kimberly R., and Bjarne M. Holmes. "Contradictory Messages: A Content Analysis of Hollywood-Produced Romantic Comedy Feature Films." Communication Quarterly 57, no. 3 (2009): 352–73. http://dx.doi.org/10.1080/01463370903113632.

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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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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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Seo, Koksuk. "Sexuality and a Transition Period of Love View in 2000s Korean Romantic Comedy Films." Cine forum 36 (August 31, 2020): 79–107. http://dx.doi.org/10.19119/cf.2020.08.36.79.

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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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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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Smith, Paul Julian. "Screenings." Film Quarterly 72, no. 1 (2018): 64–68. http://dx.doi.org/10.1525/fq.2018.72.1.64.

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FQ Columnist Paul Julian Smith reports from Peru on a new wave of pop culture, from variety shows to teen telenovelas, popping up on television. He also discusses the popularity of the musical comedy feature films that function as Peru's equivalent f the summer blockbuster. He closes his report with a discussion of the films of filmmaker and professor Rossana Díaz Costa, whose art-house style is in stark contrast to the broad comedies and melodramas of Peruvian popular culture. Her debut feature Viaje a Tombuktú (2014) sets its 1980s teenage love story against a backdrop of political violence,
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Dissertations / Theses on the topic "Teen romantic comedy films"

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Murphy, Caryn E. "Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.

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This thesis examines the differences between teen romantic comedy films marketed to Generation X teenagers in the 1980s and Generation Y teenagers in the 1990s, focusing on the presentation of gender roles, consumptive behavior, and family. The 1980s films are discussed within the social context of the Reagan era and the conservatism of the New Right. The 1990s films are examined as continuing a conservative sensibility, but they additionally posit consumption as instrumental to achieving an idealized romance. Romantic comedy is traditionally a conservative genre, but these films illustrate fe
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Anderson, Lauren. "Investigating audience responses to popular music in contemporary romantic comedy films." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cc4ece5f-c1df-4198-be56-c7afb3067dcb.

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Despite the rapidly growing body of critical academic writing around sound and music on screen, and studies of the increasing role of popular music within contemporary films, there has to date been little empirical exploration of audience responses to popular music in film. This thesis investigates how audiences hear and relate to popular music in romantic comedy soundtracks, specifically those of Love Actually (2003, dir. Richard Curtis), What Women Want (2000, dir. Nancy Meyer), and 10 Things I Hate About You (1999, dir. Gil Junger). Building upon a detailed critique of existing theoretical
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Kerry, Lucyann Snyder. "Genre and globalization : working title films, the British romantic comedy and the global film market." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/4142.

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This thesis seeks to better understand the relationship of film genre to globalization through an examination of the use of the British romantic comedy and other related genres by the production company Working Title Films (WTF) from the 1900s through the 2000s. Because of the sudden and unexpected global success of British romantic comedies by Working Title Films such as Four Weddings and a Funeral and Notting Hill, the 1990s is a significant period for the study of the genre. In this examination the process of globalization is understood as one of complex connectivity postulated by John Toml
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Clark, Isabel Stirling. "The challenge of being yourself adaptation, adolescence, and disguise in teenage romantic comedy films of the late 1990s and early 2000s /." Diss., Connect to the thesis Connect to the thesis, 2009. http://hdl.handle.net/10066/3614.

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Maulden, Hannah Leah. "Heroes and Villains: Political Rhetoric in Post-9/11 Popular Media." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431964700.

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CHANG, CHIA-WEI, and 張家瑋. "A Study of Romantic Comedies and Teen Films in Taiwan from the Perspective of Hollywood Films." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/19845719645461905676.

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碩士<br>國立高雄師範大學<br>英語學系<br>104<br>Abstract In 2008, Taiwan romantic comedy, Cape No.7 (2008), took Taiwanese box office by storm and became the highest grossing film in Taiwanese box-office history. Cape No.7 became a cultural phenomenon in Taiwan due to a blog-marketing strategy, good word of mouth, an American distributor, and most important of all, the narratives and conventions of Hollywood genre films. After the success of Cape No.7, Taiwanese filmmakers continue developing the potential local market for commercial cinema. Among top 11 local box office hits in Taiwan, there are fo
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Pascoe, Gerald James. "A qualitative textual and comparative analysis of the representation of masculinity in the action and romantic comedy genres." Diss., 2013. http://hdl.handle.net/10500/9027.

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This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity p
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Books on the topic "Teen romantic comedy films"

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Romantic comedy. Routledge, 2010.

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The secret life of romantic comedy. Manchester University Press, 2009.

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Romantic vs. screwball comedy: Charting the difference. Scarecrow Press, 2002.

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McDonald, Tamar Jeffers. Romantic comedy: Boy meets girl meets genre. Wallflower, 2007.

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Romantic comedy in Hollywood: From Lubitsch to Sturges. Da Capo Press, 1998.

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James, Harvey. Romantic comedy in Hollywood from Lubitsch to Sturges. Da Capo Press, 1998.

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James, Harvey. Romantic comedy in Hollywood from Lubitsch to Sturges. Knopf, 1987.

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Kendall, Elizabeth. The runaway bride: Hollywood romantic comedy of the 1930s. Anchor Books, 1991.

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Elizabeth, Kendall. The runaway bride: Hollywood romantic comedy of the 1930's. Knopf, 1990.

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The Hollywood romantic comedy: Conventions, history, controversies. Wiley-Blackwell, 2011.

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Book chapters on the topic "Teen romantic comedy films"

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Sjö, Sofia. "Humor som bro eller hinder: Islam i två norska filmkomedier." In Ingen spøk. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.69.ch6.

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Since the turn of the millennium, characters identified as Muslims have become more common in Nordic film productions. While these characters are predominantly found in dramas or crime stories, they also appear in a number of comedies. This chapter explores how Islamic religious beliefs, practices and characters are presented in two Norwegian comedies. Specific focus is on how two different comedic genres – the romantic comedy and the teen comedy – shape how Islam is represented, as well as how Muslim characters and experiences of being a Muslim in a Scandinavian country today shape and challenge traditional narratives, structures and perspectives in comedy. Special attention is given to aspects of gender, ethnic humour and affect. The author argues that the films uphold certain stereotypes but also contest ideas relating to the «other» and contemporary Scandinavian identities.
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Tierney, Dolores. "‘From Hollywood and Back’: Alfonso Cuarón’s Adventures in Genre." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0004.

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Chapter 2 explores the cinematic transnationality of Alfonso Cuarón arguing that genre contestation, and the Hollywood vector in his career are key to understanding the ways in which his avowedly personal films – Sólo con tu pareja, Y tu mamá también and Children of Men – intervene in Mexican/Latin American/ counter mainstream politics. It begins by analysing how Cuarón’s first feature Sólo con tu pareja defines the sexy comedia/ comedia light/romantic comedy genre. It goes on to explore how Y tu mamá también film adopts and adapts two Hollywood genres – the road movie and the teen or youth movie – to Mexico’s political and social transition of 2000. Finally, it explores how Children of Men, subverts the narrative and textual conventions of the Hollywood disaster film and critiques the geopolitical ideologies which underpin the genre’s presentation of disaster and destruction. Throughout the chapter’s analysis of Sólo con tu pareja, Y tu mamá también and Children of Men (Gravity is explored in the Epilogue) it focuses on his contestatory use of genre as a key marker of auteurist practice. The chapter also complicates a non-commercial perspective on auteurism by looking at how, in the case of Cuarón, the auteur as a commercial category is most firmly underlined.
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LoBrutto, Vincent. "Crusades and Romantic Comedy." In Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0018.

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Ridley Scott was interested in creating a film about the right action of knights, their ability to do the correct thing in any situation they encountered. Kingdom of Heaven, set during the Crusades, depicts the massive battle fought for religion. The epic 145-minute movie was a tremendous undertaking, utilizing massive numbers of extras and a large cast and crew. Kingdom of Heaven is a realistic and at times graphically violent film. One of Scott’s most impressive war films, it is an unflinching look into the Crusades, one of history’s fiercest wars. A Good Year is a romantic comedy set predominately in France in which a man’s lifestyle is turned inside out when he is reunited with the love of his life, whom he first met when they were children.
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Grindon, Leger. "Preston Sturges and Screwball Comedy." In Refocus: the Films of Preston Sturges. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406550.003.0001.

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This chapter reviews key elements in the screwball cycle (1934-1942) of Hollywood romantic comedy, positioning The Lady Eve (1941) and The Palm Beach Story (1942) as late examples of screwball. The essay argues for a dark current of vengeance in The Lady Eve and emphasizes cartoon sexuality in The Palm Beach Story. Finally the essay notes the influence of Sturges on contemporary romantic comedy cinema.
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Ariano, Raffaele. "Rethinking Romantic Comedy through the Art Film: Michel Gondry’s Eternal Sunshine of the Spotless Mind." In ReFocus: The Films of Michel Gondry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.003.0008.

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In this chapter, Rafaele Ariano examines Eternal Sunshine of the Spotless Mind (2014) as a hybrid of the art film and the romantic comedy. Ariano conceptualizes the “art romantic comedy” as a sub-genre that targets audiences that would typically reject the romantic comedy based upon conventions of taste and cultural hierarchy. The chapter places Gondry in a cohort of contemporary auteurs, including Paul Thomas Anderson, Noah Baumbach, Sofia Coppola and Alexander Payne, whose romantic comedies are characterized by qualities drawn from art and indie cinema. These characteristics include the expressive use of film style and implementation of metafictional devices, complex “sensitive” protagonists, and endings that are ambiguous and thus only partially “happy.” Ariano applies this genre framework to an analysis of Eternal Sunshine of the Spotless Mind, but also places the film within wider trends in the genre of romantic comedy.
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Moss-Wellington, Wyatt. "The Emotional Politics of Limerence in Romantic Comedy Films." In Cognitive Film and Media Ethics. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552889.003.0007.

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“Limerence” describes the intensity of emotions often felt during the pair-forming stage of a romantic relationship, a period that is also the primary focus of many romantic comedy films. This chapter asks how filmmakers have used depictions of limerence to highlight spaces in which its potential for both disruption and loving care could be brought to political spheres. I look at a series of millennial romantic comedies that express emotional upheaval, vulnerability, and openness to change as qualities of relevance to both a romantic and a political selfhood. These “political romcoms” reveal a range of dynamic relations between notions of character competence, moral fiber, personality, and deservedness, and invite investigation of complex emotions that modify a more generalized positive affect associated with romantic comedy cinema: humiliation as a comic device and the existential fear of rejection.
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Seppälä, Jaakko. "Contesting Marriage: The Finnish Unromantic Comedy." In Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0012.

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The genre of the romantic comedy was domesticated in the studio era of Finnish cinema that lasted from the early 1930s to late 1950s by filmmakers who admired Hollywood films, an example of whom would be Valentin Vaala. This domestication was an easy process for the reason that romantic comedies are universal in tone, which means they can be set pretty much in any location, discuss context-specific problems related to relationships and be produced with the modest budgets of small nation cinemas. This has made the genre more than suited for Finnish cinema. Before analysing the Finnish films in detail, I am going to provide a quick background exploration of Finnish romantic comedies of the studio era in order to show the transformation.
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Costanzo, William V. "British Film Comedy." In When the World Laughs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0007.

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The English reputation for dry, reserved expressions of “humour” is the starting point for an exploration of the sub-genres that typify Britain’s comic legacy. This chapter reviews the history of British comedies from the early clown-based films that sprang from vaudeville through the Ealing Studios and Carry On cycles of the 1940s and 1950s, to the Monty Python parodies and multicultural satires of the 1960s and 1970s, the regional and romantic comedies of the 1980s and 1990s, and beyond. An important focus of this chapter is how a country that shares a common language with the United States comes to distinguish its film industry from Hollywood, building on its own unique history and cultural traditions.
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Deighan, Samm. "Kneeling on Glass—Elaine May’s A New Leaf (1971) as Screwball Black Comedy." In ReFocus: The Films of Elaine May. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440189.003.0005.

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Elaine May’s 1971 directorial debut, A New Leaf was a watershed moment within May’s career, but as a film important to the contemporary development of American comedy cinema. This chapter will examine A New Leaf as part of a greater comedic tradition, particularly in terms of pre-code and 1930s/1940s screwball comedy, later black comedies, and romantic comedies about unlikely couplings between unsympathetic protagonists, forging a connection between the theme of romance, finance, and mortality. This chapter argue that A New Leaf represents an important development in this subgenre, and examines A New Leaf in connection to the relatively unsentimental romantic comedies of the ‘60s and ‘70s concerned with unlikely couplings that concern an unlikely romance that develops as the result of a search for fortune.
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Propst, Andy. "Ten Years of Performing and Writing." In They Made Us Happy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190630935.003.0018.

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Betty Comden and Adolph Green moved into their 60s and early 70s and found that they had become right for character roles in films. During the late 1970s and the 1980s they appeared in movies such as Garbo Talks, Simon, and I Want to Go Home. Comden also appeared off-Broadway in Wendy Wasserstein’s Isn’t It Romantic? They’d not given up on writing for the stage, and in 1982 one of their most ambitious shows—A Doll’s Life—opened on Broadway. Unfortunately, the Harold Prince–directed show got a critical drubbing and played fewer than ten performances. They also provided the script for a stage version of Singin’ in the Rain, directed and choreographed by Twyla Tharp. It was also cooly received by critics, and after it shuttered the team reworked it, and that production enjoyed a healthy national tour.
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