國立虎尾科技大學 |

Princes, Princesses, and Socialites : = Feminism and Class Transgression in Hollywood Romantic Comedies.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Princes, Princesses, and Socialites :/
其他題名:	Feminism and Class Transgression in Hollywood Romantic Comedies.
作者:	Clayburn, Justina Marie.
面頁冊數:	1 online resource (216 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
Contained By:	Dissertations Abstracts International85-03A.
標題:	Film studies. -
電子資源:	click for full text (PQDT)
ISBN:	9798380330572

Princes, Princesses, and Socialites : = Feminism and Class Transgression in Hollywood Romantic Comedies.
Clayburn, Justina Marie.

Princes, Princesses, and Socialites :Feminism and Class Transgression in Hollywood Romantic Comedies. - 1 online resource (216 pages)

Source: Dissertations Abstracts International, Volume: 85-03, Section: A.

Thesis (Ph.D.)--Northern Illinois University, 2023.

Includes bibliographical references

This dissertation explored how characters in romantic comedies negotiate and transgress class boundaries as the films conform to and challenge genre and social expectations, focusing primarily through a feminist lens. Specifically, it addresses the different ways the films negotiate ideas about American identity and economic systems, simultaneously trying to acknowledge problematic elements while upholding social and nationalistic ideals. Feminism has a complicated relationship with Hollywood romantic comedies. While the genre often focuses on issues of interest to women and forefronts female characters and their professional and personal experiences, the denouement generally reinforces heteronormative monogamous relationships above others and the traditional values of the patriarchy. The sorts of class transgressions found in these films are particularly American as they reflect the belief that one's birth need not limit their possibilities or potential and that upward mobility is not only possible but fundamental to the beliefs of the nation. This exploration focuses on Hollywood films from the early 1930s-which scholars generally identify as the beginning of the modern romantic comedy genre-through the early 2000s. It is organized in periods between the waves of feminism, as they represent perspectives not directly influenced by the gender politics inevitably connected with the waves, although they can never be fully divorced from the influence of preceding movements. These eras exist within and, sometimes, transcend historical moments of resettling class lines: the interwar, postwar, and postmillennial eras. Specifically, this dissertation explores the Great Depression and Thirty Day Princess (1934); postwar containment culture and Roman Holiday (1953), The Swan (1956), and The Prince and the Showgirl (1957); turn-of-the-millennium postfeminism and Kate and Leopold (2001); and intersectional feminism and Something New (2006). The conclusion addresses recent changes in the romantic comedy genre relative to the #metoo and #timesup movements and the 2016 presidential election and how other factors, such as the popularity of streaming services, further complicate those changes.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380330572Subjects--Topical Terms:

1179264
Film studies.
Subjects--Index Terms:

CapitalismIndex Terms--Genre/Form:

554714
Electronic books.

Princes, Princesses, and Socialites : = Feminism and Class Transgression in Hollywood Romantic Comedies.
LDR:03594ntm a2200397K 4500 001 1141597
005 20240318062649.5
006 m o d
007 cr mn ---uuuuu
008 250605s2023 xx obm 000 0 eng d
020 $a 9798380330572
035 $a (MiAaPQ)AAI30567635
035 $a AAI30567635
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Clayburn, Justina Marie. $3 1465485
245 1 0 $a Princes, Princesses, and Socialites : $b Feminism and Class Transgression in Hollywood Romantic Comedies.
264 0 $c 2023
300 $a 1 online resource (216 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
500 $a Advisor: Balcerzak, Scott.
502 $a Thesis (Ph.D.)--Northern Illinois University, 2023.
504 $a Includes bibliographical references
520 $a This dissertation explored how characters in romantic comedies negotiate and transgress class boundaries as the films conform to and challenge genre and social expectations, focusing primarily through a feminist lens. Specifically, it addresses the different ways the films negotiate ideas about American identity and economic systems, simultaneously trying to acknowledge problematic elements while upholding social and nationalistic ideals. Feminism has a complicated relationship with Hollywood romantic comedies. While the genre often focuses on issues of interest to women and forefronts female characters and their professional and personal experiences, the denouement generally reinforces heteronormative monogamous relationships above others and the traditional values of the patriarchy. The sorts of class transgressions found in these films are particularly American as they reflect the belief that one's birth need not limit their possibilities or potential and that upward mobility is not only possible but fundamental to the beliefs of the nation. This exploration focuses on Hollywood films from the early 1930s-which scholars generally identify as the beginning of the modern romantic comedy genre-through the early 2000s. It is organized in periods between the waves of feminism, as they represent perspectives not directly influenced by the gender politics inevitably connected with the waves, although they can never be fully divorced from the influence of preceding movements. These eras exist within and, sometimes, transcend historical moments of resettling class lines: the interwar, postwar, and postmillennial eras. Specifically, this dissertation explores the Great Depression and Thirty Day Princess (1934); postwar containment culture and Roman Holiday (1953), The Swan (1956), and The Prince and the Showgirl (1957); turn-of-the-millennium postfeminism and Kate and Leopold (2001); and intersectional feminism and Something New (2006). The conclusion addresses recent changes in the romantic comedy genre relative to the #metoo and #timesup movements and the 2016 presidential election and how other factors, such as the popularity of streaming services, further complicate those changes.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Film studies. $3 1179264
650 4 $a English literature. $3 555406
650 4 $a Gender studies. $3 1179195
650 4 $a British & Irish literature. $3 1148425
653 $a Capitalism
653 $a Feminism
653 $a Films
653 $a Romantic comedy
653 $a Ruritania
655 7 $a Electronic books. $2 local $3 554714
690 $a 0900
690 $a 0593
690 $a 0733
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Northern Illinois University. $b English. $3 1183875
773 0 $t Dissertations Abstracts International $g 85-03A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30567635 $z click for full text (PQDT)