The Screwball comedy is a film genre that found its way onto the screens in the early 1930s and lasted till the early 1940s. They were a consequence of the newly adapted censorship law in 1934 that restricted addressing adult content on screen. They therefore incorporated more comedic and creative ways of symbolizing topics such as sex and homosexuality. Screwball comedies were mainly based on plots that had conflict between social classes as their many premise and always had a happy ending which was almost always marriage. This consistent maintenance of the status quo of marriage is a major aspect of feminism depicted in screwball comedies (Heather 26). While advocating for marriage, screwball comedies highlighted the shift in the foundations of marriage and greatly highlighted the growth of feminism in light of a shift in roles and expectations surrounding this institution.
Feminism is motivated by the need to establish equality between the genders since most feminists attribute women’s problems to inequality between the two genders. Therefore, by way of a collection of political movements and social theories, feminists seek to curb this inequality between men and women. It is important to note that the equality sought after by feminists is not just economic and political, but also social equality. According to Heather Gilmour, The institution of marriage during the pre-modern era or the Victorian era was based on inequality as the roles to be fulfilled by both genders for the success of the marriage were essentially different (Heather 26). As the roles kept changing over time due to different circumstances, so did the expectations of marriage and along with that, the rise of feminist movement. Screwball comedies such as It...
... middle of paper ...
...r to be pragmatic and cautious when drawing lessons from screwball comedies.
Works Cited
Gilmour, Heather. “Journal of Film and Video.” Different, except in a Different way: Marriage, Divorce, and Gender in the Hollywood Comedy of Remarriage. Chicago: University of Illinois Press, 1998. 26 – 39. Print.
It Happened One Night. Dir. Frank Capra. Perf. Claudette Colbert, Clark Gable. Columbia Pictures. 1999. DVD.
Shumway, David, R. “Cinema Journal.” Screwball Comedies: Constructing Romance, Mystifying Marriage. Texas: University of Texas Press, 1999. 7 – 23. Print.
Willet, Cynthia. “Cultural Critique.” Baudrillard, “After Hours”, and the Postmodern Suppression of Socio-Sexual Conflict. Minnesota: University Of Minnesota Press, 1996. 143 – 161. Print.
Woman of the Year. Dir. George Stevens. Perf. Spencer Tracy, Katharine Hepburn. MGM. 1997. DVD.
Velvet Goldmine. Dir. Todd Hayes. Perf. Jonathan Rhys Meyers, Ewan McGregor, Christian Bale, Toni Collette. Miramax, 1998.
Much Ado About Nothing. Directed by Kenneth Branagh. Samuel Goldwyn Company and Renaissance Films, 1993.
LA Confidential. Dir. Curtis Hanson. Perf. Kevin Spacey, Russel Crowe, Guy Pierce, Kim Bassinger, Danny DeVito. Regency, 1997.
Hamlet. Dir. Franco Zeffirelli. Perf. Mel Gibson and Glenn Close. Videocassette. Warner Home Video, 1990.
Todd, Janet. Women and Film. Vol. 4. New York, NY: Holmes and Meier Publishers, 1988.
Much Ado About Nothing. Directed by Kenneth Branagh. Samuel Goldwyn Company and Renaissance Films, 1993.
But in reality, a male narrator gives a certain sense of understanding to the male audience and society’s understand of the male and females roles and responsibilities in a marriage. Just as men were expected to cut the grass, take out the trash, pay the bills and maintain the household as a whole, women were expected to cook, clean, nurture the children, and be a loving and submissive wife to their husband. The only stipulation required for this exchange of power was to establish a mutual love. In the Victorian age love was all it took for a man to take or alter a woman’s livelihood and
American Beauty. Dir. Sam Mendes. Writ. Alan Ball. With Kevin Spacey and Annette Bening. Dreamworks SKG, 1999.
The Crucible. Dir. Nicholas Hytner. Perf. Daniel Day-Lewis, Winona Ryder and Paul Scofield. 20th Century Fox, 1996. DVD.
Williams, Linda. "Film Bodies: Genre, Gender and Excess." Braudy and Cohen (1991 / 2004): 727-41. Print.
Like a contemporary Dorothy, Romancing the Stone's Joan Wilder must travel to Columbia and survive incredible adventures to learn that she had always been a capable and valuable person. Romancing the Stone (Robert Zemeckis, 1984) is part of a series of 1980s action comedies that disrupted previous expectations for female heroines. These female protagonists manage to subvert the standard action narrative and filmic gaze, learning to rescue themselves and to resist others' limited vision of them. Not only did these action comedies present strong female characters, they also offered a new filmic experience for female audiences. The commercial success of comic action heroines paved the way for women to appear in serious action roles--without the personal sacrifices required of Sigourney Weaver’s Ripley. Figures like Joan Wilder serve as an important link between previous strong yet feminine screen personas and current female stars.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
Feminism is a perspective that views gender as one of the most important bases of the structure and organization of the social world. Feminists argue that in most known societies this structure has granted women lower status and value, more limited access to valuable resources, and less autonomy and opportunity to make choices over their lives than it has granted men. (Sapiro 441)
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
Pretty Woman. Dir. Garry Marshall. Perf. Richard Gere, Julia Roberts, and Ralph Bellamy. Buena Vista Pictures., 1990.