Conforming Passions?: Contemporary Romantic Comedy

Genre and Contemporary Hollywood

Volumn , Issue , 2019, Pages 130-147

  Krutnik, Frank ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85201865466     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (23)

1. Rick Altman, ‘A Semantic/Syntactic Approach to Film Genre’, in Barry K. Grant (ed.), Film Genre Reader (Austin: University of Texas Press, 1986), p. 27
2. Tom Ryall, ‘Genre and Hollywood’, in John Hill and Pamela Church Gibson (eds), The Oxford Guide to Film Studies (Oxford: Oxford University Press, 1998), pp. 334–5.
3. Steve Neale, ‘The Big Romance or Something Wild?: Romantic Comedy Today’, Screen, vol. 33, no. 3 (Autumn 1992), pp. 284–99.
4. Sumiko Higashi, Cecil B. DeMille and American Culture: The Silent Era (Berkeley: University of California Press, 1994), p. 144.
5. Jason A, ‘The Literary Report – 1998 Year in Review’, In Hollywood Website, http://www.inhollywood.com/ih/trends/literary/literary 1998review.htm.
6. Brian Henderson, ‘Romantic Comedy Today: Semi-Tough or Impossible?’, Film Quarterly, vol. 31, no. 4 (Summer 1978), p. 12.
7. Billy Mernit, Writing the Romantic Comedy: The Art and Craft of Writing Screenplays that Sell (New York: HarperResource, 2000), p. 12.
8. Kristin Thompson, Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Cambridge, MA/London: Harvard, 1999), pp. 22–44.
9. P.O.V. Hollywood, ‘Writing Romantic Comedy: Interview with Billy Mernit – Part One’ (1998), http://hollywoodnet.com/pov/pov11.html.
10. Peter Krämer, ‘A Powerful Cinema-going Force?. Hollywood and Female Audiences since the 1960s’, in Melvyn Stokes and Richard Maltby (eds), Identifying Hollywood’s Audiences: Cultural Identity and the Movies (London: BFI, 1999), pp. 99–102.
11. P.O.V. Hollywood, ‘Writing Romantic Comedy: Interview with Billy Mernit – Part One’.
12. Baz Dreisinger, ‘The Queen in Shining Armor: Safe Eroticism and the Gay Friend’, Journal of Popular Film and Television, vol. 28, no. 1 (Spring 2000), p. 6.
13. Robert C. Allen, ‘Home Alone Together: Hollywood and the “Family Film” ’, in Melvyn Stokes and Richard Maltby (eds), Identifying Hollywood’s Audiences: Cultural Identity and the Movies (London: BFI, 1999), p. 117
14. Steve Seidman, Embattled Eros: Sexual Politics and Ethics in Contemporary America (New York: Routledge 1992), pp. 58 ff
15. John D. D’Emilio and Estelle B. Freedman, Intimate Matters: A History of Sexuality in America, 2nd edn (Chicago: University of Chicago Press, 1997), pp. 326–77.
16. Frank Krutnik, ‘The Faint Aroma of Performing Seals: The “Nervous” Romance and the Comedy of the Sexes’, The Velvet Light Trap, no. 26 (Autumn 1990).
17. Frank Krutnik, ‘Love Lies: Romantic Fabrication in Contemporary Romantic Comedy’, in Peter William Evans and Celestino Deleyto (eds), Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s (Edinburgh: Edinburgh University Press, 1998), pp. 28–9.
18. Umberto Eco, ‘Postmodernism, Irony, the Enjoyable’, in Peter Brooker (ed.) [1992], Modernism/Postmodernism (London: Longman, 1992) [originally 1985], p. 227.
19. Frank Krutnik, ‘Too Many Boarders in the House of Love: Remaking Romance in The More the Merrier and Walk, Don’t Run’ (forthcoming 2002).
20. Ian Garwood, ‘Must You Remember This? Orchestrating the ‘Standard’ Pop Song in Sleepless in Seattle’, Screen, vol. 41, no. 3 (Autumn 2000), pp. 282–98
21. Sheila Johnston, ‘Housesitter’ (review), The Independent, 11 September 1992, p. 18.
22. Celestino Deleyto, ‘Narrative Closure and the Comic Spirit: The Inconclusive Ending of Bringing up Baby’, in Celestino Deleyto (ed.), Flashback: Re-Reading the Classical Hollywood Cinema (Zaragoza: Servicio de Publicaciones, 1992), pp. 161–84.
23. Michael Slagrow, ‘Housesitter’ (review), The New Yorker, 26 June 1992, p. 73.