Essay
Researching romantic comedies
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- Edge Hill University (EHU)
Researching romantic comedies
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Student number: 21505969 Assessment 2: Screen genres (Essay)To examine how the codes and conventions of neo-traditional romantic comedies have changed
in contemporary society exploring the conventions of romantic comedies including Notting Hill
(1999) and My Best Friend’s Wedding (1997)
The conventional love story has become very prominent in contemporary popular culture as the
romantic comedy genre follows a linear and formulaic path ‘boy gets girl, boy loses girl, boy gets girl
back’ resulting in the genre being overlooked by audiences (Shumway, as cited in McDonald, 2007,
p157). However, as McDonald (2007, p88) confirms that arguably the genre shows obliviousness to
modern day society implying that the neo-traditional romantic comedies have achieved longevity. The
atypical romantic comedy genre is simplistic in approach as it features the ‘meet cute’, the courtship,
the problem, the conflict, the resolution and the happily ever after ending (Grindon, 2011). However,
overtime society and culture has changed the discourse and increased the hybridity of the genre which
has enabled films of various genres to implement the love story component within different genres
(Altman as cited in McDonald, 2007, p8). Whilst Schatz (as cited in Grindon, 2011, p3) implies that
the romantic comedy genre has evolved as a convention by dramatizing familiar love stories that
embed conflict which are based on continuing cultural conflicts. Though, Altman (as cited in Grindon,
2011, p4) implies that the responsibility of the romantic comedy genre is to isolate the conflicts for
which the genre provides a symbolic solution.
Moreover, Schreiber, (2014, p6) states that first emerging pattern of the romantic comedy genre is the
montage of the courtship this occurs when the two protagonists have a ‘meet cute’ together by
interacting and becoming quickly fascinated by one another. During the development of the courtship
the characters share their qualities, talents and offer their own backstories that give them each a
‘special’ or ‘unique’ quality that the romantic genre desires to bond two lovers together in a
conventional love story (Deleyto, 2003, p163). There are often one or several scenes that captures the
conventional ‘falling in love’ moment for one or perhaps both characters. An example of this is the
film Pretty Woman (1990) when Edward’s character (Richard Gere) unusually takes the day of work to
sit and have a picnic in the park with his love interest Vivien (Julia Roberts) when the day ends Vivien
uncharacteristically kisses Edward on the mouth. Therefore, as Mernit (as cited in Grindon, 2011, p5)
the courtship concept is an old element that is used in the romantic comedy genre to provide the plot.
Therefore, Mernit (as cited in Grindon, 2011, p5) explains further that the courtship is the pivotal
moment were the values, attitudes and beliefs between the two characters are shared which plays a
large part in the human desire.
, Student number: 21505969 Assessment 2: Screen genres (Essay)
Additionally, following the courtship the genre often engages in the use of conflict between the two
protagonists which is due to the characters’ unwillingness to compromise to accommodate the
relationship (Grindon, 2011). This leads to a series of post break-up montage sequences that embed
melancholy music to portray the passage of time for each of the characters as they go through the
changing seasons or the gathering of family occasions to illustrate the loss and longing for each other
(Schreiber, 2014). This type of montage and narrative trajectory is present in pre-1980’s romance films
such as The Apartment (1980) (Schreiber, 2014, p9). Whilst, Grindon (2011) reinforces that the
conflict of characterisation is present when the two protagonists strive to find common ground because
of the extreme differences in their individual natures. For example, in Notting Hill (1999) the character
of William (Hugh Grant) is a hapless, good natured and self-deprecating character whilst his love
interest Anna (Julia Roberts) is a famous free spirited movie star suggesting William is ready for
tenderness and Anna can handle difficulty without wilting. As Grindon (2011) emphasises the two
protagonists must change their ways to develop common ground and overcome their fear of a reunion
together to resolve their differences. Arguably, Schreiber (2014, p9) states that love becomes the
transformative mediator during the resolution stage resulting in one or both characters becoming
reformed versions of themselves. The mainstay happy ending follows shortly after that promises long
term happiness and commitment between the lovers with this aspect of the genres narrative resonating
with audiences as love becomes a possibility in society (Grindon, 2011).
Therefore, as Deleyto (2003) reinforces the contemporary romantic comedy explores the ambiguity of
shifting gendering roles and the increasing prominence of homosexuality. Interestingly, Abbott and
Jermyn (2008, p144) reinforce the release of the romantic comedy My Best Friend’s Wedding (1997) is
unconventional in approach as the protagonist Julianne (Julia Roberts) loses the love of her life whilst
Julianne is supported by her gay best friend George (Rupert Everett) on her quest for love. As Grindon
(2011, p12) argues there are two types of characters in the genre the lovers and their helpers versus
obstacle and authority figures and the protagonists gay best friend is viewed as the adviser for the
female protagonist. Historically homosexuality has been previously placed outside marriage and
relationships forbidding homosexuals from having the desire to marry (Abbott and Jermyn, 2008).
Both characters have been rejected by marriage yet by the end of the film they are seen laughing and
dancing together to confirm to the audience the ending remains happy in an unconventional way
(Abbott and Jermyn, 2008, p145). This highlights the female protagonist is linked to her gay best
friend because the film positions the desire to love and ambiguously both characters face uncertainty
about love. The discourse given in the film is that the female protagonist can ask questions to her gay
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