Modern rom com heroines are kind of shit
http://www.thevine.com.au/entertainment/articles/modern-rom_com-heroines-are-kind-of-shit.aspx
Thursday, 30 April 2009
Women and rom coms
female representation
Do women audiences like the ditzy way in which females are represented in modern rom coms?
(ie why do women audiences seem to like rather weak reps of femininity when one would expect them to like stronger women?)
For
Mean Girls
Lindsay lohan- plays a 'social retard' as she has never been to high school
character Karen- is 'stupid'
50 first dates
drew barrymore- dipsy because she has memory loss-always forgets.
Against
Brigit jones
Renee zellweger- has a job and appartement. Is independant just unlucky in lovE
Charlies angels
Cameron Diaz- very intelligent
female representation
Do women audiences like the ditzy way in which females are represented in modern rom coms?
(ie why do women audiences seem to like rather weak reps of femininity when one would expect them to like stronger women?)
For
Mean Girls
Lindsay lohan- plays a 'social retard' as she has never been to high school
character Karen- is 'stupid'
50 first dates
drew barrymore- dipsy because she has memory loss-always forgets.
Against
Brigit jones
Renee zellweger- has a job and appartement. Is independant just unlucky in lovE
Charlies angels
Cameron Diaz- very intelligent
Why are women heroines always so ditzy now???
http://www.smh.com.au/news/entertainment/film/goodbye-girls/2009/03/06/1235842638241.html
http://www.smh.com.au/news/entertainment/film/goodbye-girls/2009/03/06/1235842638241.html
Tuesday, 28 April 2009
50 first dates- brief Plot
Henry Roth (Adam Sandler), a womanising marine-life veterinarian living in Hawaii, meets Lucy Whitmore (Drew Barrymore), an art teacher, in a café one morning. They hit it off and agree to meet in the café the next morning. The following day, however, Lucy claims not to know Henry. The café owner pulls Henry aside and explains that Lucy suffers from anterograde amnesia (called 'Goldfield Syndrome' in the movie) as a result of a car accident she was in a year earlier. Her condition has left her with no memory of anything between the day of the accident At the beginning of each day, she loses all memory of the past day. She innocently believes every day to be October 13, 2002. Her father, Marlin (Blake Clarke), and brother, Doug (Sean Astin), attempt to re-enact the activities of October 13, her father's birthday, every day, to prevent her from suffering from learning about the accident.
Realizing that he is beginning to fall in love with Lucy, Henry sheds his philandering ways and begins devising new ways to ‘meet’ her again every day, hoping that one day she will retain her memories- and feelings- for him.
Henry Roth (Adam Sandler), a womanising marine-life veterinarian living in Hawaii, meets Lucy Whitmore (Drew Barrymore), an art teacher, in a café one morning. They hit it off and agree to meet in the café the next morning. The following day, however, Lucy claims not to know Henry. The café owner pulls Henry aside and explains that Lucy suffers from anterograde amnesia (called 'Goldfield Syndrome' in the movie) as a result of a car accident she was in a year earlier. Her condition has left her with no memory of anything between the day of the accident At the beginning of each day, she loses all memory of the past day. She innocently believes every day to be October 13, 2002. Her father, Marlin (Blake Clarke), and brother, Doug (Sean Astin), attempt to re-enact the activities of October 13, her father's birthday, every day, to prevent her from suffering from learning about the accident.
Realizing that he is beginning to fall in love with Lucy, Henry sheds his philandering ways and begins devising new ways to ‘meet’ her again every day, hoping that one day she will retain her memories- and feelings- for him.
Bridget Jones's Diary
Theatrical release poster
Directed by
Sharon Maguire
Produced by
Helen FieldingTim BevanJonathan CavendishEric Fellner
Written by
Helen FieldingAndrew DaviesRichard Curtis
Starring
Renée ZellwegerHugh GrantColin FirthGemma JonesJim Broadbent
Martin Walsh
Distributed by
Universal PicturesNorth AmericaMiramax FilmsFranceStudioCanal
Budget
$26 million
Gross revenue
$281,929,795
Followed by
The Edge of Reason
Bridget Jones's Diary is a British 2001 romantic comedy film, based on the novel of the same name written by Helen Fielding. The adaptation starred Renee Zellweger as Bridget, Hugh Grant as the caddish Daniel Cleaver and Colin Firth as Bridget's 'true love' Mark Darcy. A sequel, Bridget Jones: The Edge of Reason, was released in 2004.
Before the film came out a considerable amount of controversy surrounded the casting of the American Zellweger as what some saw as a quintessentially British heroine. However, her performance is widely considered to be of a high standard, including her English accent.
Helen Fielding has stated in many interviews that her novel was based upon both Jane Austen's work Pride and Prejudice and the popular 1995 BBC adaptation, Pride and Prejudice. This was also reflected in the decision to cast Colin Firth as Darcy, since he played the 'real' Mr Darcy in the BBC adaptation of Pride and Prejudice. This is not the film's only connection to that serial – the screenplay was co-written by Andrew Davies, who had written the adaptation of Austen's novel for the BBC.[1] Another co-writer was Richard Curtis, and there are elements of Four Weddings and a Funeral and even more so of Notting Hill.
The director of the film, Sharon Maguire, is one of Fielding's friends whom the character of "Shazzer" was reportedly based on. In the film "Shazzer" was played by Sally Phillips, who originally auditioned for the role of Bridget, but was not considered a big enough name for the part. Kate Winslet also auditioned for the part and was almost considered for it, but eventually was dismissed since she was too young (25 at the time the auditions took place) to play Bridget.
Renee Zellweger was nominated for the Academy Award for Best Actress for her role in the film.
Theatrical release poster
Directed by
Sharon Maguire
Produced by
Helen FieldingTim BevanJonathan CavendishEric Fellner
Written by
Helen FieldingAndrew DaviesRichard Curtis
Starring
Renée ZellwegerHugh GrantColin FirthGemma JonesJim Broadbent
Martin Walsh
Distributed by
Universal PicturesNorth AmericaMiramax FilmsFranceStudioCanal
Budget
$26 million
Gross revenue
$281,929,795
Followed by
The Edge of Reason
Bridget Jones's Diary is a British 2001 romantic comedy film, based on the novel of the same name written by Helen Fielding. The adaptation starred Renee Zellweger as Bridget, Hugh Grant as the caddish Daniel Cleaver and Colin Firth as Bridget's 'true love' Mark Darcy. A sequel, Bridget Jones: The Edge of Reason, was released in 2004.
Before the film came out a considerable amount of controversy surrounded the casting of the American Zellweger as what some saw as a quintessentially British heroine. However, her performance is widely considered to be of a high standard, including her English accent.
Helen Fielding has stated in many interviews that her novel was based upon both Jane Austen's work Pride and Prejudice and the popular 1995 BBC adaptation, Pride and Prejudice. This was also reflected in the decision to cast Colin Firth as Darcy, since he played the 'real' Mr Darcy in the BBC adaptation of Pride and Prejudice. This is not the film's only connection to that serial – the screenplay was co-written by Andrew Davies, who had written the adaptation of Austen's novel for the BBC.[1] Another co-writer was Richard Curtis, and there are elements of Four Weddings and a Funeral and even more so of Notting Hill.
The director of the film, Sharon Maguire, is one of Fielding's friends whom the character of "Shazzer" was reportedly based on. In the film "Shazzer" was played by Sally Phillips, who originally auditioned for the role of Bridget, but was not considered a big enough name for the part. Kate Winslet also auditioned for the part and was almost considered for it, but eventually was dismissed since she was too young (25 at the time the auditions took place) to play Bridget.
Renee Zellweger was nominated for the Academy Award for Best Actress for her role in the film.
Description of romcoms
The basic plot of a romantic comedy is that two protagonists, usually a man and a woman, meet, part ways due to an argument or other contrived obstacle, then ultimately reunite. Sometimes the two protagonists meet and become involved initially, then must confront challenges to their union. Sometimes the two protagonists are hesitant to become romantically involved because they believe that they do not like each other, because one of them already has a partner, or because of social pressures. However, the screenwriters leave clues that suggest that the characters are, in fact, attracted to each other and that they would be a good love match. The protagonists often separate or seek time apart to sort out their feelings or deal with the external obstacles to their being together.
While the two protagonists are separated, one or both of them usually realizes that they are ideal for each other, or that they are in love with each other. Then, after one of the two makes some spectacular effort to find the other person and declare their love, (this is sometimes called the grand gesture), or due to an astonishing coincidental encounter, the two meet again. Then, perhaps with some comic friction or awkwardness, they declare their love for each other and the film ends happily. The couple does not, however, have to marry, or live together "happily ever after." The ending of a romantic comedy is meant to affirm the primary importance of the love relationship in its protagonists' lives, even if they physically separate in the end (e.g. Shakespeare in Love, Roman Holiday)[1].
There are many variations on this basic plotline. Sometimes, instead of the two lead characters ending up in each other's arms, another love match will be made between one of the principal characters and a secondary character (e.g., My Best Friend's Wedding and My Super Ex-Girlfriend). Alternatively, the film may be a rumination on the impossibility of love, as in Woody Allen's film Annie Hall. The basic format of a romantic comedy film can be found in much earlier sources, such as Shakespeare plays like Much Ado About Nothing and A Midsummer Night's Dream.
Some comedy films, such as Knocked Up, combine themes of romantic comedies and stoner comedies, creating a subgenre that appeals to both men and women.
The basic plot of a romantic comedy is that two protagonists, usually a man and a woman, meet, part ways due to an argument or other contrived obstacle, then ultimately reunite. Sometimes the two protagonists meet and become involved initially, then must confront challenges to their union. Sometimes the two protagonists are hesitant to become romantically involved because they believe that they do not like each other, because one of them already has a partner, or because of social pressures. However, the screenwriters leave clues that suggest that the characters are, in fact, attracted to each other and that they would be a good love match. The protagonists often separate or seek time apart to sort out their feelings or deal with the external obstacles to their being together.
While the two protagonists are separated, one or both of them usually realizes that they are ideal for each other, or that they are in love with each other. Then, after one of the two makes some spectacular effort to find the other person and declare their love, (this is sometimes called the grand gesture), or due to an astonishing coincidental encounter, the two meet again. Then, perhaps with some comic friction or awkwardness, they declare their love for each other and the film ends happily. The couple does not, however, have to marry, or live together "happily ever after." The ending of a romantic comedy is meant to affirm the primary importance of the love relationship in its protagonists' lives, even if they physically separate in the end (e.g. Shakespeare in Love, Roman Holiday)[1].
There are many variations on this basic plotline. Sometimes, instead of the two lead characters ending up in each other's arms, another love match will be made between one of the principal characters and a secondary character (e.g., My Best Friend's Wedding and My Super Ex-Girlfriend). Alternatively, the film may be a rumination on the impossibility of love, as in Woody Allen's film Annie Hall. The basic format of a romantic comedy film can be found in much earlier sources, such as Shakespeare plays like Much Ado About Nothing and A Midsummer Night's Dream.
Some comedy films, such as Knocked Up, combine themes of romantic comedies and stoner comedies, creating a subgenre that appeals to both men and women.
Monday, 27 April 2009
The pleasures of romance
The pleasures of rom coms. What reps of femininity are available in romcoms and what pleasures/needs to they fulfil in their audiences. Key academic text to add - Reading the Romance, by Ann Radway.
Radway argues that romance (in her study it's Mills and Boon books) allows women to fantasise about a change in the nature of masculinity. Women's experience of men in reality is they are hard and uncaring - just like the romanitic hero at the start. SO the transformation of the hero into a kind, loving, understanding man is a fantasy that dominant masculinity in our society will change.
Look at two films and explore the reps of men and women and then do primary research on what real women fans of romcoms regard as the pleasures of these texts, and what sort of characters and narratives they like, and why.
See http://criticalresearchellis.blogspot.com
Sean
Radway argues that romance (in her study it's Mills and Boon books) allows women to fantasise about a change in the nature of masculinity. Women's experience of men in reality is they are hard and uncaring - just like the romanitic hero at the start. SO the transformation of the hero into a kind, loving, understanding man is a fantasy that dominant masculinity in our society will change.
Look at two films and explore the reps of men and women and then do primary research on what real women fans of romcoms regard as the pleasures of these texts, and what sort of characters and narratives they like, and why.
See http://criticalresearchellis.blogspot.com
Sean
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