This dialogue from “Cactus Flower” is very likely to catch the attention of a 21stcentury woman instantly because of its chauvinist, discriminating tone against women. It is very intriguing to find this conversation in a film which was shot in the so-called liberal sixties, and which raised the question to me whether patriarchal values are only detectable in older romantic comedies such as “Cactus Flower” (1969) or whether these values became obsolete in newer romantic comedies such as “Something’s Gotta Give” (2003). In spite of the constant success of romantic comedies─ “There’s Something about Mary” (2001), for instance, passed the “gold record line” of $100 million with flying colours─ little attention has been paid to analyzing this film genre. The few critics who analyzed and interpreted film comedies tend to focus on masterpieces and on auteur films such as “The General” by Buster Keaton, but they are likely to neglect romantic comedies. Therefore, this paper focuses deliberately on romantic comedies which are neither in the canon of masterpieces nor directed by an auteur.
Interestingly, critics have not been able to agree on a final definition of romantic comedies, for which reason I chose to draw on Thomas Schatz’s definition: Romantic comedies are “fast-paced, witty comedies of manners exploiting the foibles of America’s leisure class” (Classical Hollywood Comedies 126). An additional characteristic of romantic comedies, is the fact that focus is put on the mating of the major characters, with the result that gender quarrels play a major role. Consequently, romantic comedies propose to the spectatorship how to find true love, and they communicate implicitly universal patterns of mating and morality.
Table of Contents
1 INTRODUCTION
2 FILM SEMIOTIC APPROACHES AND THEORY ON ROMANTIC COMEDIES
2.1 Semantics
2.1.1 Typical Plots of Romantic Comedies
2.1.2 Stereotypical Characters in Romantic Comedies
2.2 Mise-en-scene
3 ANALYSIS OF MATING IN ROMANTIC COMEDIES
3.1 Cactus Flower
3.1.1 Characters
3.1.2 Plots
3.1.3 Mise-en-scene
3.2 Something’s Gotta Give
3.2.1 Characters
3.2.2 Plots
3.2.3 Mise-en-scene
4 PATRIARCHAL PATTERNS OF MATING IN ROMANTIC COMEDIES
5 SUMMARY
Research Objectives and Themes
The paper explores whether patriarchal values and traditional gender roles in romantic comedies have become obsolete in modern film or if they remain fundamentally unchanged. By comparing the 1969 film "Cactus Flower" with the 2003 film "Something’s Gotta Give," the study investigates how mating patterns, character types, and narrative perspectives reinforce or challenge male-dominated structures in the genre.
- Analysis of film semiotic approaches including semantics and mise-en-scene.
- Examination of stereotypical character functions such as the "good wife" and the "lonely wolf."
- Comparison of mating plots like the "temptress foil" and "cold-hearted redemption" across decades.
- Evaluation of male versus female perspectives and the "male gaze" in narrative construction.
- Critique of gender-based power dynamics and the reinforcement of patriarchal values in modern cinema.
Excerpt from the Book
3.1 Cactus Flower
In general, many of the typical film semiotic elements of romantic comedies discussed in chapter two, can be found in this late 1960’s film comedy, but most important the climate is comic: In the pre-credit scene and the early exposition of the film, Toni tries to commit suicide. In a different genre, this scene would be depicted as sorrowful and severe, but as it takes place in a romantic comedy, Toni wears a pink, tasteless baby doll, opens up the gasoline of her stove and lies down with folded hands to die. As Igor smells the gas, he forcefully enters Toni’s flat and tries to rescue her. A dispute follows which consists of extremely comic remarks and which delivers numerous laughs. For this reason the mood of this film is established as comic, or, in Mast’s words, the climate is comic.
Summary of Chapters
1 INTRODUCTION: This chapter introduces the research focus on patriarchal values within romantic comedies, comparing older and newer examples of the genre.
2 FILM SEMIOTIC APPROACHES AND THEORY ON ROMANTIC COMEDIES: This section defines the theoretical framework based on Rick Altman’s semiotic approach, specifically focusing on semantics and syntax in film.
3 ANALYSIS OF MATING IN ROMANTIC COMEDIES: This chapter provides a detailed semiotic analysis of "Cactus Flower" and "Something’s Gotta Give," examining their characters, plots, and mise-en-scene.
4 PATRIARCHAL PATTERNS OF MATING IN ROMANTIC COMEDIES: The author evaluates whether patriarchal values have persisted over time, concluding that traditional gender roles remain deeply embedded in the genre.
5 SUMMARY: This final chapter synthesizes the research findings, confirming that despite some attempts at modernization, romantic comedies continue to reinforce patriarchal stereotypes.
Keywords
Romantic Comedies, Patriarchy, Film Semiotics, Mating Patterns, Gender Roles, Mise-en-scene, Cactus Flower, Something’s Gotta Give, Male Gaze, Stereotypical Characters, Narrative Structure, Hollywood, Gender Dynamics, Redemption Plot, Feminist Film Theory.
Frequently Asked Questions
What is the primary subject of this research paper?
The paper examines the persistence of patriarchal values and traditional mating patterns in romantic comedies, specifically comparing films from 1969 and 2003.
What are the central thematic fields?
The work focuses on film semiotics, gender representation, narrative structure, and the evolution of the romantic comedy genre.
What is the main objective or research question?
The study aims to determine whether patriarchal values have become outmoded in modern romantic comedies or if they continue to be reinforced despite societal changes.
Which scientific methods are employed?
The author utilizes a film semiotic approach, applying Rick Altman’s definitions of semantics and syntax to analyze character archetypes, plot developments, and cinematic techniques.
What is covered in the main body of the work?
The main body consists of a structural semiotic analysis of the films "Cactus Flower" and "Something’s Gotta Give," evaluating their characters, plots, and point-of-view techniques.
Which keywords characterize this study?
Key terms include romantic comedy, patriarchy, film semiotics, mating patterns, and gender roles.
How does the author analyze the "male gaze" in these films?
The author uses Laura Mulvey’s theory to evaluate how camera work, editing, and perspective reinforce a male-dominated point of view, even when films are directed by women.
What conclusion does the author draw regarding the two analyzed films?
The author concludes that despite some superficial modernizations, both films reinforce the "active male" and "passive female" archetype, suggesting that the core patriarchal structure of the genre has remained remarkably stable.
What role does the "conscience figure" play in these movies?
The conscience figure acts as a minor character who establishes the moral or ideological meaning of the film, often summarizing the themes for the audience.
- Quote paper
- Rebecca Rasche (Author), 2006, American Film Comedies, Munich, GRIN Verlag, https://www.grin.com/document/62235
