I den här uppsatsen undersöks dagens romantiska Hollywoodkomedier och deras koppling till 1930- 40-talets screwballkomedier. The Proposal (2009), The Ugly Truth (2009), Leap Year (2010), samt What Happens in Vegas (2008) analyseras i syfte att urskilja likheter och skillnader dem emellan och för att urskilja en ny cykel av filmer. Det här är en genrestudie med fokus på konventioner och teman som tas upp genom tidigare forskning samt genom analys av de valda filmerna, och genom att diskutera filmernas koppling till samhället sätts genren i ett bredare perspektiv.

<p>The author discusses three Soviet comedies from the</p><p>1970s: Moskva slezam ne verit (Moscow Does Not Believe</p><p>in Tears, Vladimir Menshov, 1979), Osenniy marafon</p><p>(Autumn Marathon, Georgi Daneliya, 1979), and Ironiya</p><p>Sudby, ili S lyogkim parom (Irony of Fate, Eldar</p><p>Ryazanov, 1975), and how they relate to both</p><p>conventions of romance and conventions of the</p><p>mainstream traditions of the romantic comedy genre.</p><p>The text explores the evolution of the genre and</p><p>accompanying theoretic writings, and relates them to</p><p>the Soviet films, focusing largely on the conventions</p><p>that can be grouped under an idea of the romantic</p><p>chronotope. The discussion includes the conventions of</p><p>chance and fate, of the wrong partner, the happy</p><p>ending, the temporary and carnevalesque nature of</p><p>romance, multiple levels of discourse, and some</p><p>aspects of gender, class and power. In addition, some</p><p>attention is paid to the ways in which the films</p><p>connect to specific genre cycles, such as screwball</p><p>comedy and comedy of remarriage, and to the</p><p>implications that a communist system may have on the</p><p>possibilities of love and romance. The author argues</p><p>that Soviet and Hollywood films share many conventions</p><p>of romance, but for differing reasons.</p>

The author discusses three Soviet comedies from the 1970s: Moskva slezam ne verit (Moscow Does Not Believe in Tears, Vladimir Menshov, 1979), Osenniy marafon (Autumn Marathon, Georgi Daneliya, 1979), and Ironiya Sudby, ili S lyogkim parom (Irony of Fate, Eldar Ryazanov, 1975), and how they relate to both conventions of romance and conventions of the mainstream traditions of the romantic comedy genre. The text explores the evolution of the genre and accompanying theoretic writings, and relates them to the Soviet films, focusing largely on the conventions that can be grouped under an idea of the romantic chronotope. The discussion includes the conventions of chance and fate, of the wrong partner, the happy ending, the temporary and carnevalesque nature of romance, multiple levels of discourse, and some aspects of gender, class and power. In addition, some attention is paid to the ways in which the films connect to specific genre cycles, such as screwball comedy and comedy of remarriage, and to the implications that a communist system may have on the possibilities of love and romance. The author argues that Soviet and Hollywood films share many conventions of romance, but for differing reasons.

Thesis (M.A.)--Ohio University, November, 2008. / Title from PDF t.p. Includes bibliographical references.

An outcast Bigfoot and amateur “expert” in the study of humans, a Ted Kaczynski conspiracy theorist, and a bored Gen Z-er are all unwittingly drawn into a ring of political, corporate, and international conspiracies in a small Rocky Mountain town. The trio bumbles through the absurdities of a classic western conspiracy.

History welcomed the screwball comedy genre in 1934, a time where cinema was in urgent need of providing escapism to audiences victim of the Great Depression. Screwball films, therefore, chose to underline the distinction between social classes and to emphasise on the imperfections of the upper class. The following thesis aims to determine how Depression screwballs (screwball comedies released from 1934 to 1938) used their narrative power to establish this distinction between opposed social classes and how this reflects the undeniable importance of an overlooked genre. It is with a socio-historical approach, personal analyses and observations, that the following research has been conducted. In conclusion, it has been recognised that the genre drew its importance, not only in the way it represents social classes but also how it depicts their mutual interactions, therefore forming a significant whole.

No description available.

This thesis targets the British sound film especially comedies from 1930{\crq}s till mid 1970{\crq}s because after this period there is greater TV production which took over feature film production. There is described the production of the main studios such as Gainsborough Pictures and Gaumont-British, Ealing Studios and Rank Organisation. I aim then to classify some film styles such as farce, slapstick, burlesque, screwball and romantic comedy, satire and parody. The last target is to find some famous Czech film makers or actors, who worked or are still involed within the British film production. There are name such as Herbert Lom and Anny Ondráková.