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Famous co-stars such as Katharine Hepburn and Cary Grant to Tom Hanks and Meg Ryan, have made screwball and romantic comedies a big seller at the box office. These seemingly timeless genres are as popular today as ever!
This book takes a closer look at the precise meanings of the terms screwball and romantic. Film fans and scholars alike tend to lump film with laughter and love under a screwball/romantic umbrella and use the terms screwball and romantic interchangeably. In reality, there is a distinction; the screwball variety places its emphasis on "funny," while the more traditional romantic comedy accents "love."
Covering over 60 titles each of romantic and screwball comedy dating from the 1930s to the present, this research tool not only demonstrates how screwball and romantic comedy are two distinct genres, but also highlights pivotal social and artistic changes which impacted both genres. Includes 24 black and white movie stills, countless quotations from selected films, an annotated bibliography, and a two-part filmography.
Not only an informative resource for film students and scholars, but also an interesting read for film buffs.
- Sales Rank: #1795693 in Books
- Brand: Brand: Scarecrow Press
- Published on: 2002-10-16
- Original language: English
- Number of items: 1
- Dimensions: 8.99" h x .80" w x 5.84" l, .98 pounds
- Binding: Hardcover
- 224 pages
- Used Book in Good Condition
Review
Introducing the 1930s Depression origins of the sister genres of comic courtship-madcap screwball and the reality-based romantic comedy-Gehring shows how the two grew up into unique and contrasting types....Undergraduate and general collections. (Choice)
Exceptional! (Today's Books)
About the Author
Wes D. Gehring is Professor of Film at Ball State University, Muncie, Indiana, and an Associate Media Editor of USA Today Magazine. He is the author of 16 critically acclaimed books including individual volumes on the comedy genres of populism, comedy, personality comedian, dark comedy, and screwball comedy. His other books include biographies of Charlie Chaplin, Laurel & Hardy, W.C. Fields, and the Marx Brothers.
Most helpful customer reviews
1 of 1 people found the following review helpful.
"Choice" Recognition
By Garrett
“Wes Gehring (Ball State University) is back with yet another of his discourses on the nature and genres of film comedy. Ever since his research on the comic antiheroes of American films, his remarkable studies have ranged from his bio-bibliography Marx Brothers (CH, Mar’88) to American dark Comedy (CH, Dec ’96). However, his classic Screwball Comedy: Defining a film Genre (1983) remains the highpoints of his writings....[In this book on] the 1930s Depression origins of the sister genres of comic courtship---the madcap screwball comedy and the reality-based romantic comedy---Gehring shows how the two grew up into unique and contrasting types. For example, he points to plot pacing and differing emphasis on being funny versus accenting love as distinguishing codes. He presents a specialized portrait on double duty stars Cary Grant and Katherine Hepburn, who paired in both genres. His most notable contributions is a survey of modern-era variations and twists on both screwball and romantic comedies, e.g., The Runaway Bride and Sleepless in Seattle, respectively….Choice, March 2003 vol. 40, p1190
2 of 4 people found the following review helpful.
Like Reading College Term Papers
By hoffyflash
Three major problems with this book. First, the author tries in vain to determine the traits that make a "screwball" comedy film and a "romantic" comedy film. The problem, as you can see through his examples, is that there are too many exceptions to the rule. In addition, he lists a film as one or the other because it has, say, one of the traits. Yet, it could also have traits in the other category. Let's be honest and keep it simple: all screwball comedy films are romantic comedies (because they obviously have a romantic element to them), but not all romantic comedies are screwball comedies. Trying to say these films easily fall into one category or the other is nonsensical.
Second, each of the five chapters is written in the style of a college term paper, with footnotes galore! Not an interesting read.
And third, as the other reviewer noted, the author repeats himself over and over, often within the same chapter. (How many times does he need to tell us that Irene Dunne is the consummate but underrated screwball comedienne? Or that Frank Capra's films cannot be classified as either -- huh?)
I will also add that in the bibliography section, the author criticizes many other (and much better) books on the subject because the films they cover do not differentiate between "romantic" and "screwball". My guess is that they knew better than to try.
Stick with James Harvey's Romantic Comedy. In my opinion, the best book on the subject.
0 of 0 people found the following review helpful.
Five Stars
By Rita Walsh
Good buy
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