Paris has always been a popular setting for American romantic comedies: Vincente Minelli’s musical film An American in Paris, starring Gene Kelly, enchanted the American audience in 1951. In Billy Wilder’s Sabrina (1954), Audrey Hepburn’s character returns from France as a beautiful young woman, who obviously got enriched by Paris’s culture and lifestyle. The comedy Irma La Douce (1963), also directed by Billy Wilder, is entirely set in the bohemian Paris of the 1960s. More recently, Lawrence Kasdan’s French Kiss (1995) and Billy Chrystal’s Forget Paris (1995) provided the American audience with love stories set, or initiated, in France and thus supported the romantic image of the country. Chapter 2 of this term paper will focus on the genre romantic comedy, its main characteristics and origins. Furthermore, the success of romantic comedies will be investigated and linked to ever-changing cultural factors.
In romantic comedies, it seems nearly impossible for film-makers to completely avoid depicting stereotypes about the French and their country. In fact, comedies set in Paris or France intentionally exaggerate these stereotypes. Usually the American characters in these comedies are also depicted stereotypically. By underlining the intercultural differences between the two nationalities comic effect is created, which constitutes one of the main characteristics of a comedy. But what exactly are stereotypes and why do they emerge in the first place? And, more precisely, what are the origins of American stereotypes about France and the French? Why is Paris still considered to be the perfect place to fall in love? Chapter 3 will try to answer these questions in order to provide an insight into the concept of stereotyping.
Since the setting of Paris (and France respectively) and the genre romantic comedy seem to be a perfect match, chapter 4 of this term paper will be concerned with three American romantic comedies set in France: Lawrence Kasdan’s French Kiss and Billy Chrystal’s Forget Paris (both 1995), and a comedy from the current decade, namely Jeff Schaffer’s EuroTrip (2004). Here, a short summary of each film will be provided, as well as an analysis of the various intercultural stereotypes. Furthermore, there will be a closer look on the depiction of Paris and what is directly and indirectly associated with the city.
Table of Contents
1. Introduction
2. Romantic Comedies
2.1. Definition
2.2. Development
2.3. Romantic Comedies in Change of Time
3. Stereotypes
3.1. Definition
3.2. Development
3.3. Social Function
3.4. The Origin of Stereotypes about France
3.5. How the Americans see the French
4. Cinematic Examples
4.1. Lawrence Kasdan’s French Kiss
4.1.1. Summary
4.1.2. Stereotypes about the French
4.1.3. Stereotypes about the Americans
4.1.4. Depiction of Paris / France
4.2. Billy Chrystal’s Forget Paris
4.2.1. Summary
4.2.2. Stereotypes about the French
4.2.3. Stereotypes about the Americans
4.2.4. Depiction of Paris
4.3. Jeff Schaffer’s EuroTrip
4.3.1. Summary
4.3.2. Stereotypes about the Europeans
4.3.3. Stereotypes about the Americans
5. Conclusion
Objectives and Themes
This paper examines how American romantic comedies utilize and perpetuate intercultural stereotypes, particularly regarding France and the French people. It investigates the genre's tendency to rely on cultural clichés as a primary source of humor and romantic conflict, while questioning whether these portrayals reflect evolving societal perceptions or stagnant, deeply ingrained prejudices.
- The evolution and core structural elements of the romantic comedy genre.
- Psychological and social foundations of stereotyping.
- Analysis of American cinematic depictions of the French and Europe.
- Comparison of cultural representations across three distinct films: French Kiss, Forget Paris, and EuroTrip.
- The role of the city of Paris as a symbolic, idealized setting for romantic initiation.
Excerpt from the Book
4.1.2. Stereotypes about the French
While still in Canada, Charlie is trying to convince Kate to accompany him to Paris. On this occasion the two of them are exchanging prejudices about France and the French people. Kate states that the French hate Americans, smoke all the time and are crazy about dairy products. Charlie, still trying to argue Kate into going with him, reminds her of the historic places that she as a history teacher should be very much interested in seeing, mentions the famous Eiffel Tower and promises to take romantic walks with her along the Seine. At this point it is obvious that Kate does not hate the French or France in general but rather uses the stereotypes she mentions out of a defense: She would probably love to go to Paris, but her fear of flying as well as the Canadian citizenship she is waiting to obtain is keeping her back.
Luc seems to confirm all the unfavourable characteristics of a typical Frenchman: aside from his heavy French accent, Luc uses swearwords publicly, drinks, smokes, wears an old leather jacket and does not look very clean either. On the plane, he engages Kate in a debate about sex, which she obviously is not very comfortable with. He himself makes no secret of being fond of sexual affairs and appears very uninhibited and relaxed. Luc steals drinks from the cabin crew and finally uses Kate to smuggle a stolen necklace into the country. At first sight, he thus appears to be a typical French small-time criminal but remains sympathetic nevertheless.
Summary of Chapters
1. Introduction: This chapter outlines the paper's focus on the representation of intercultural stereotypes in American romantic comedies, specifically using three films as case studies to explore the romantic image of France.
2. Romantic Comedies: This section defines the sub-genre of romantic comedy, its structural reliance on obstacles to true love, and its development from early cinema through the influence of changing cultural factors.
3. Stereotypes: This chapter examines the psychological definitions, development, and social functions of stereotyping, while analyzing the historical origins of specific American stereotypes about France.
4. Cinematic Examples: This analytical section provides detailed summaries and stereotype analyses of the films French Kiss, Forget Paris, and EuroTrip to illustrate the diverse portrayals of national character.
5. Conclusion: The final chapter synthesizes the findings, suggesting that despite changing times, the core patterns of American romanticized views of France remain largely consistent in film, often serving as a veil for social critique.
Keywords
Romantic Comedy, Stereotypes, Intercultural Communication, France, Paris, American Cinema, French Kiss, Forget Paris, EuroTrip, Film Analysis, Social Psychology, Culture Clash, National Identity, Expatriate Experience, Media Representation
Frequently Asked Questions
What is the fundamental subject of this research paper?
The paper explores how American romantic comedies use intercultural stereotypes—specifically regarding the French—as narrative devices and sources of humor.
What are the primary themes explored?
Key themes include the genre conventions of romantic comedy, the psychological nature of stereotyping, the historical roots of American perceptions of France, and the social functions of these stereotypes in film.
What is the main research question or goal?
The goal is to determine how films use the "perfect match" of the romantic comedy genre and the setting of Paris to sustain or exaggerate intercultural stereotypes, and to assess whether these depictions function as social criticism.
Which scientific methods are employed?
The author uses a qualitative film analysis approach, integrating social psychological theories regarding stereotypes and prejudice to evaluate the narrative and character construction in the selected films.
What topics are covered in the main body?
The main body consists of a theoretical framework defining the genre and stereotyping, followed by a detailed cinematic analysis of French Kiss, Forget Paris, and EuroTrip.
Which keywords define the paper's scope?
The scope is best characterized by terms like Romantic Comedy, Stereotypes, Intercultural Communication, National Identity, and Media Representation.
How is the city of Paris depicted in the analyzed films?
Paris is portrayed as an essential, idealized setting for romantic initiation, often serving as an "antidote" to American cultural constraints, despite some films depicting it as physically "dirty" or "rotten."
What criticism of American society is implied by these comedies?
The author notes that by depicting American characters as rowdy, shallow, or overly bureaucratic, some of these films—most notably EuroTrip—unintentionally or intentionally critique specific grievances within contemporary American society.
- Citation du texte
- Anonym (Auteur), 2006, France on Screen: Intercultural Stereotypes in American Romantic Comedies (Forget Paris, French Kiss & EuroTrip), Munich, GRIN Verlag, https://www.grin.com/document/71265
