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Lecture

Film Jan. 14.docx

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Department
Film Studies
Course
FILM 1000
Professor
All Professors
Semester
Winter

Description
Film Jan. 14   th Casandra Dana Romantic Comedy (III) The New Romance The Classical Romantic Comedy   Basic narrative structure­ boy meets girl, boy loses girl, boy gets girl in the end  Difference between the man and woman are eventually overcome  Comedy is usually found in a love­hate conflict – or via secondary characters  Focus on the courtship and romance of the heterosexual couple (ideology of stable man dependent &  domesticized female)  30s, 40s, and 50s Nervous Romance  Effects of Feminism are reflected resulting in a threat to the ideals presented in Classic Romantic  Comedy  Male figure is more “emotional” unstable – destabilizing the traditional notions of masculinity   Security of the traditional romantic union is questioned  Narrative structure is fragmented and non­linear  Relationship is unsuccessful because both characters cannot find common ground without risking a  damaging loss of self The New Romance  Mid­1980s: new group of RC appear  Wishful embrace of idealized heterosexual union  Steve Neale calls them New Romances  Blind Date, Roxanne, Who’s that girl,, Moonstruck, and Overboard all released in 1987     Steve Neal identifies four main features: 1. Asserting values of old­fashioned heterosexual romance.           ­reclaiming conventions of classical Romantic Comedy  2. Nervousness relabeled as “eccentricity”.        ­Hallmarks of either or both member of the couple       ­Neurosis/Nervousness/Eccentricity cured marginalized, and sometimes adopted by the right  partner     Return to a linear narrative.     3. Suggests events in courtship actually leading somewhere.           ­Counters threat of female independence     4. Use of romantic music.           ­ Evocation and endorsement of   signs and values of “old­fashioned romance.” 
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