Hollywood romantic comedy: States of Union, 1934–1965Manchester University Press, 2013 M07 19 - 208 páginas This book explores the changing representation of the couple, focusing on themes of marriage, equality and desire. Kathrina Glitre moves beyond the usual screwball territory to consider cycles of production from 1934-65. The central concern with the representation of the couple is distinctive and includes discussion of three star couples: Myrna Loy and William Powell, Katharine Hepburn and Spencer Tracy, and Doris Day and Rock Hudson. Glitre offers explanations of genre, as well as detailed analysis of screwball comedy, career woman comedy and sex comedy. Each cycle is placed into context to analyse cultural discourses around heterosexuality, gender, romance and love. This structure also enables a more sophisticated understanding of such conventions as masquerade, gender inversion and the happy ending. The book will appeal to university students and academics working on genre, gender, culture and representation, and anyone with a keen interest in Hollywood romantic comedy. |
Dentro del libro
Resultados 1-5 de 18
Página 1
... dominant ideology is reproduced . My intention is to recognise the ruptures and contradictions in this ideology , precisely to challenge the assumption that these are ' norms ' . Because the genre is centrally concerned with romantic ...
... dominant ideology is reproduced . My intention is to recognise the ruptures and contradictions in this ideology , precisely to challenge the assumption that these are ' norms ' . Because the genre is centrally concerned with romantic ...
Página 4
... dominant ideology of heterosexual monogamy , but constraint is not equivalent to affirmation , and Hollywood romantic comedy's ideological con- flicts are rarely resolved convincingly . The industrial context of the Produc- tion Code ...
... dominant ideology of heterosexual monogamy , but constraint is not equivalent to affirmation , and Hollywood romantic comedy's ideological con- flicts are rarely resolved convincingly . The industrial context of the Produc- tion Code ...
Página 9
... dominant ' is useful here . According to Roman Jakobson , the dominant is the focusing component of a work of art : it rules , determines , and transforms the remaining components . It is the dominant which guarantees the integrity of ...
... dominant ' is useful here . According to Roman Jakobson , the dominant is the focusing component of a work of art : it rules , determines , and transforms the remaining components . It is the dominant which guarantees the integrity of ...
Página 10
... dominant , organising ele- ment of the romantic comedy genre to be the comic formation of a ( hetero- sexual ) couple2 : dominant- but not definitive . The vast majority of romantic comedies fit this pattern , but there is always room ...
... dominant , organising ele- ment of the romantic comedy genre to be the comic formation of a ( hetero- sexual ) couple2 : dominant- but not definitive . The vast majority of romantic comedies fit this pattern , but there is always room ...
Página 12
... dominant is not immune to this process . The ' union ' used to mean marriage ; it now implies monogamy , but this too may change ( in fact , since the 1990s , the wedding has again become central to contemporary Hollywood romantic ...
... dominant is not immune to this process . The ' union ' used to mean marriage ; it now implies monogamy , but this too may change ( in fact , since the 1990s , the wedding has again become central to contemporary Hollywood romantic ...
Contenido
1 | |
7 | |
39 | |
Myrna Loy and William Powell | 65 |
Equality | 89 |
Katharine Hepburn and Spencer Tracy | 112 |
Desire | 135 |
There must be a boy Doris Day and Rock Hudson | 159 |
the extraordinary couple | 181 |
References | 188 |
Index | 196 |
Otras ediciones - Ver todas
Hollywood Romantic Comedy: States of the Union, 1934-1965 Kathrina Glitre Vista previa limitada - 2006 |
Términos y frases comunes
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