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Journal articles on the topic 'Teen romantic comedy films'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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8

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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Sarkhosh, Keyvan, and Winfried Menninghaus. "The Feel-Good Film." Projections 15, no. 1 (2021): 55–77. http://dx.doi.org/10.3167/proj.2021.150104.

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In film criticism, “feel-good films” are widely dismissed as intellectually undemanding and sentimental entertainment. This study identifies key characteristics, emotional effects, and aesthetic qualities of feel-good films from the audience’s perspective. Although the feel-good film does not appear to be a genre in its own right, it is more than just a rather vague category. Romantic comedy films with a substantial share of drama are shown to be the most prototypical feel-good genre blend. Fairy-tale likeness and perceived lightness were indicated as key characteristics of these films. Yet fo

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Chang, Woo-Jin. "A Case Study on Pillow Talk(1959) and Down with Love(2003): Split Screen in Romantic Comedy Films." Journal of the Korea Contents Association 14, no. 3 (2014): 80–93. http://dx.doi.org/10.5392/jkca.2014.14.03.080.

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Hogan, Patrick Colm. "Narrative Universals, Nationalism, and Sacrificial Terror: From Nosferatu to Nazism." Film Studies 8, no. 1 (2006): 93–105. http://dx.doi.org/10.7227/fs.8.10.

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It has been widely asserted that nationhood is inseparable from narration. This vague claim may be clarified by understanding that nationalism is bound up with the universal prototypical narrative structures of heroic, romantic, and sacrificial tragi-comedy. This essay considers an historically important case of the emplotment of nationalism - the sacrificial organization of German nationalism between the two world wars. It examines one exemplary instance of this emplotment, F. W. Murnau‘s Nosferatu, a Symphony of Horror (1922). However unintentionally, Nosferatu represents the vampire in a wa

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Kovačević, Ivan. "Fudbal i film: Drug pretsednik – centarfor." Issues in Ethnology and Anthropology 10, no. 3 (2016): 743. http://dx.doi.org/10.21301/eap.v10i3.9.

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The paper is the first in the planned series of texts on football in films and TV programmes in Yugoslavia (Serbia and Croatia). The film Comrade President – Center-Forward (1960, directed by Žorž Skrigin), labelled as the genre of “film humoresque”, presents a ramifying and intertwined story about a small provincial town. The narrative is structured around a celebration of the agricultural cooperative and an important football match played by the local team. Through these two narrative lines the film speaks about the invention of traditions, modernization and industrialization, clothes, arts,

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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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Soh-Youn Kim. "A Study on ‘the Comic Mode’ in Korean Cinema Since the 1990s －Focusing on the Transitional Emergence of Romantic Comedy Genre Films－." Film Studies ll, no. 60 (2014): 29–55. http://dx.doi.org/10.17947/kfa..60.201406.002.

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17

Shaw, Daniel. "Stanley Cavell on the Magic of the Movies." Film-Philosophy 21, no. 1 (2017): 114–32. http://dx.doi.org/10.3366/film.2017.0034.

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In order to explain Cavell's account of what makes movies so magical, this article will offer a chronological survey of his major writings on film, beginning with the first edition of The World Viewed (1971), where he poses an intriguing theoretical hypothesis about what distinguishes the movies from the other major art forms. The survey will continue by considering the expanded edition of The World Viewed (1979), Pursuits of Happiness: The Hollywood Comedy of Remarriage (1984), and Contesting Tears: The Hollywood Melodrama of the Unknown Woman (1997), and will conclude with an analysis of Cav

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Charania, Moon. "Ethical Whiteness and the Death Drive." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (2020): 109–37. http://dx.doi.org/10.1215/02705346-8085135.

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This article looks at two controversial war films—Eye in the Sky (dir. Gavin Hood, UK/South Africa, 2015) and Whiskey Tango Foxtrot (dir. Glenn Ficarra and John Requa, US, 2016)—both of which feature white female protagonists as conflicted but central participants in the racialized domains of war and political machinations. While one film takes on a serious ethical polemic (the innocent lives of civilians caught in the visual crosshairs of drone cameras) and the latter is a romantic comedy following the adventures of a journalist in Afghanistan, both visually capture important ethical question

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19

Schaub, Mirjam. "Der Horror des Alltäglichen." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 54, no. 2 (2009): 97–112. http://dx.doi.org/10.28937/1000106144.

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Horror – das ist der Einbruch von etwas Unerträglichem. In vielen Filmen nimmt er Ausgang in gewöhnlichen, oft idyllisch gezeichneten Alltagszenen: Bei David Lynch etwa taucht in Blue Velvet ein abgeschnittenes Ohr auf einer frisch gemähten Wiese in einer adretten Vorstadtsiedlung auf. Im Folgenden möchte ich der Frage nachgehen, ob das Alltägliche – statt als Kontrastfolie gegenüber dem Einbruch des Entsetzlichen zu dienen – nicht selbst Brutstätte von Unerträglichkeit sein könnte. Was , wenn der als däuende Wiederholung empfundene Alltag selbst auf verschwiegene Weise die Leinwandmonster und

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20

Lapidus, Rina. "The “Erotic” Tractor in the Soviet Cinema." Quaestio Rossica 8, no. 2 (2020). http://dx.doi.org/10.15826/qr.2020.2.478.

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Between the 1930s and the 1960s, much emphasis was put in the Soviet Union on the technological development of the country. One of the latest wonders of technology was the tractor, which harvested crops efficiently and rapidly. This article is concerned with the Soviet cinematic representation of work with tractors as the most erotic characteristic of a man. A man attractive to women in Soviet cinema is not handsome but rather is someone proficient in operating a tractor. On the other hand, a man who does not know how to operate a tractor is represented as impotent and is ridiculed by female c

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Williams, Kathleen. "Never Coming to a Theatre near You: Recut Film Trailers." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.139.

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IntroductionRecut trailers typically mix footage from one or more films to create a preview for a feature that will never exist. Challenging the trailer’s assumed function as existing merely to gain an audience for a main attraction, the recut trailer suggests that the trailer can exist separately from a film. This paper will ask if recut trailers are evidence of fan enthusiasm and question precisely where this enthusiasm is directed. Do recut trailers demonstrate there are fans for the feature film that is recut, or does this enthusiasm extend beyond an appreciation and anticipation for a fea

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22

Maron, Marcin. "On the role of irony in the films by Wojciech Jerzy Has, especially in The Manuscript Found in Saragossa, with particular reference to Romantic irony." Annales UMCS, Artes 12, no. 1 (2014). http://dx.doi.org/10.2478/umcsart-2013-0019.

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AbstractThe study discusses the problem of irony in the films by Wojciech Jerzy Has. The first part defines the function of irony in the films made by this director prior to The Manuscript Found in Saragossa [Rękopis znaleziony w Saragossie] - (Noose [Pętla], 1957; Farewells [Pożegnania, 1958; Shared Room [Wspólny pokój], 1960; Goodbye to the Past [Rozstanie], 1961; Gold [Złoto], 1962; How to Be Loved [Jak być kochana], 1963). The second part of the study compares irony as the principle of artistic creation in The Manuscript Found in Saragossa and the concept of Romantic irony (Friedrich Schle

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Cadwallader, Jessica Robyn. "Like a Horse and Carriage: (Non)Normativity in Hollywood Romance." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.583.

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IntroductionTwo recent romantic comedies—Friends with Benefits and Friends with Kids—seek to re-situate the cultural logics of marriage by representing that supposed impossibility: the friendship between people of different sexes. These friendships are chosen as the site for particular kinds of intimacy—sex, in one case, and parenting in another—through a rejection or disenchantment with the limitations of heteronormative approaches to relationships. This initial, but of course not final, rejection of the investment in romance is obviously not entirely unheard of in the genre of romantic comed

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Glover, Bridgette. "Alternative Pathway to Television: Negotiating Female Representation in Broad City’s Transition from YouTube to Cable." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1208.

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IntroductionFor both consumers and creators, Web series have been viewed for some time as an appealing alternative to television series. As Alice explains, creating content for the Web was once seen as “a last resort” for projects that were unable to secure funding for television production (59). However, the Web has, in recent years, become a “legitimized” space, allowing Web series to be considered a media platform capable of presenting narratives of various genres (Alice 59). Moreover, due to the lack of restrictions and overheads placed on Web producers, it is argued that there is more cap

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Mallan, Kerry, and John Stephens. "Love’s Coming (Out)." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.1996.

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In The Threshold of the Visible World, Kaja Silverman advances a subtle, ethical, post-Lacanian account of what constitutes “the active gift of love” and how this might be expressed on the screen. She argues for an orientation of subject to love object which is not merely an alternative to romantic passion, but an account of how identification of the loving subject and love object “might function in a way that results in neither the triumph of self-sameness, nor craven submission to an exteriorised but essentialized ideal”. In a move particularly relevant to our focus in this paper, she goes o

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Siemienowicz, Rochelle. "Diary of a Film Reviewer." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2409.

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   All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).   As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia see

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Chin, Bertha. "Locating Anti-Fandom in Extratextual Mash-Ups." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.684.

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Fan cultural production, be it in the form of fan fiction, art or videos are often celebrated in fan studies as evidence of fan creativity, fans’ skills in adopting technology and their expert knowledge of the texts. As Jenkins argues, “the pleasure of the form centers on the fascination in watching familiar images wrenched free from their previous contexts and assigned alternative meanings” (227). However, can fan mash-up videos can also offer an alternative view, not of one’s fandom, but of anti-fandom? Fan pleasure is often seen as declaring love for a text through juxtaposing images to sou

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M.Butler, Andrew. "Work and Masculine Identity in Kevin Smith's New Jersey Trilogy." M/C Journal 4, no. 5 (2001). http://dx.doi.org/10.5204/mcj.1931.

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There's a moment in Chasing Amy (Kevin Smith, US, 1997) when the character Banky Edwards defends his masculinity. He and childhood friend Holden McNeil are artists who work on a comic named Bluntman and Chronic; Holden produces the pencil drawings which Banky inks over and colours in. When confronted with the suggestion that all he does is tracing, Banky first defends himself, and then resorts to physical and verbal violence: "I'LL TRACE A CHALK LINE AROUND YOUR DEAD FUCKING BODY, YOU FUCK ... YOUR MOTHER'S A TRACER!" (Smith 182, 184). Banky is defending the work that he does, the art, from ch

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Lavers, Katie, and Jon Burtt. "Briefs and Hot Brown Honey: Alternative Bodies in Contemporary Circus." M/C Journal 20, no. 1 (2017). http://dx.doi.org/10.5204/mcj.1206.

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Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim. However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural backgrounds who have leap-frogged over the normative whiteness of much contemporary Australian performance. Both companies have a radical political agenda. This

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Mathur, Suchitra. "From British “Pride” to Indian “Bride”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2631.

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   The release in 2004 of Gurinder Chadha’s Bride and Prejudice marked yet another contribution to celluloid’s Austen mania that began in the 1990s and is still going strong. Released almost simultaneously on three different continents (in the UK, US, and India), and in two different languages (English and Hindi), Bride and Prejudice, however, is definitely not another Anglo-American period costume drama. Described by one reviewer as “East meets West”, Chadha’s film “marries a characteristically English saga [Austen’s Pride and Prejudice] with classic Bollywood format “transf

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Warner, Kate. "Relationships with the Past: How Australian Television Dramas Talk about Indigenous History." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1302.

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In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique

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Nijhawan, Amita. "Mindy Calling: Size, Beauty, Race in The Mindy Project." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.938.

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When characters in the Fox Television sitcom The Mindy Project call Mindy Lahiri fat, Mindy sees it as a case of misidentification. She reminds the character that she is a “petite Asian woman,” that she has large, beautiful breasts, that she has nothing in common with fat people, and the terms “chubbster” and “BBW – Big Beautiful Woman” are offensive and do not apply to her. Mindy spends some of each episode on her love for food and more food, and her hatred of fitness regimes, while repeatedly falling for meticulously fit men. She dates, has a string of failed relationships, adventurous sexua

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Piatti-Farnell, Lorna. "What’s Hidden in Gravity Falls: Strange Creatures and the Gothic Intertext." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.859.

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Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpret

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