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.
At a glance
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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
Research Objectives and Topics
This term paper examines how American romantic comedies and teen comedies depict intercultural stereotypes concerning France and Europe, analyzing the persistence of historical clichés and their underlying social functions.
- Definition and historical development of romantic comedies
- Psychological and social functions of stereotypes
- Origins of American stereotypes regarding France and Paris
- Detailed film analysis of French Kiss, Forget Paris, and EuroTrip
- Contrasting representation of American versus European characteristics
Excerpt from the Book
1. Introduction
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.
Chapter Summary
1. Introduction: Introduces the setting of Paris in American cinema and outlines the core objectives of the term paper regarding stereotypes and film analysis.
2. Romantic Comedies: Examines the structural definition, historical evolution, and cultural shifts in popularity of the romantic comedy genre.
3. Stereotypes: Defines psychological concepts of stereotyping and explores the social functions and historical origins of American stereotypes about France.
4. Cinematic Examples: Provides an in-depth analysis of three selected films—French Kiss, Forget Paris, and EuroTrip—focusing on specific national stereotypes and city depictions.
5. Conclusion: Summarizes key findings, highlighting that the American cinematic image of Paris has remained remarkably consistent while reflecting deeper social agendas.
Keywords
Intercultural stereotypes, romantic comedies, Paris, France, American cinema, cultural clichés, film analysis, French Kiss, Forget Paris, EuroTrip, national identity, social functions
Frequently Asked Questions
What is the primary focus of this academic work?
The work investigates the representation of intercultural stereotypes about France and Europe in American romantic comedies and teen films.
What are the central thematic areas covered in the paper?
The core themes include the definition and evolution of romantic comedies, the psychological mechanics of stereotyping, historical American perceptions of France, and detailed film analyses.
What is the main research question or objective?
The paper aims to uncover how recurring clichés about France and Europeans are constructed in American cinema and what social or cultural functions these stereotypes fulfill.
Which scientific methods and theoretical frameworks are applied?
The author applies qualitative film analysis combined with theoretical literature on film genres, cultural history, and social psychology regarding prejudice and stereotyping.
What topics are addressed in the main body of the text?
The main body covers genre characteristics, psychological definitions of stereotypes, historical roots of American expatriation to Paris, and detailed case studies of three specific films.
Which keywords characterize the publication?
Intercultural stereotypes, romantic comedies, Paris, national identity, film analysis, cultural clichés, and social critique.
How is the genre of romantic comedy defined within the text?
A romantic comedy typically follows a formula where two compatible individuals meet, face obstacles, and achieve a mandatory happy ending featuring strong narrative closure.
How does EuroTrip differ from traditional romantic comedies?
EuroTrip is classified as a gross-out or teen comedy that relies on vulgar humor and exaggerated European stereotypes, though it retains a romantic framing device.
What role does Paris play in the analyzed films?
Paris functions consistently as a romantic catalyst, a place of personal initiation and transformation, and a counter-image to American cultural norms.
What conclusion does the author draw regarding the evolution of stereotypes?
The author concludes that the American cinematic image of Paris and France has remained largely unchanged over eight decades while serving as a vehicle for social criticism.
- Quote paper
- Anonym (Author), 2006, France on Screen: Intercultural Stereotypes in American Romantic Comedies (Forget Paris, French Kiss & EuroTrip), Munich, GRIN Verlag, https://www.grin.com/document/71265
