東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Princes, Princesses, and Socialites:...

Clayburn, Justina Marie.

Linked to FindBook

Google Book

Amazon

博客來

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

Record Type:	Electronic resources : Monograph/item
Title/Author:	Princes, Princesses, and Socialites: Feminism and Class Transgression in Hollywood Romantic Comedies./
Author:	Clayburn, Justina Marie.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	216 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
Contained By:	Dissertations Abstracts International85-03A.
Subject:	Film studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30567635
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. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 216 p.

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

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

This item must not be sold to any third party vendors.

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.{A0}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{A0}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.

ISBN: 9798380330572Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Capitalism

Princes, Princesses, and Socialites: Feminism and Class Transgression in Hollywood Romantic Comedies.
LDR:03443nmm a2200397 4500 001 2393501
005 20240318062649.5
006 m o d
007 cr#unu||||||||
008 251215s2023 ||||||||||||||||| ||eng d
020 $a 9798380330572
035 $a (MiAaPQ)AAI30567635
035 $a AAI30567635
040 $a MiAaPQ $c MiAaPQ
100 1 $a Clayburn, Justina Marie. $3 3762965
245 1 0 $a Princes, Princesses, and Socialites: Feminism and Class Transgression in Hollywood Romantic Comedies.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2023
300 $a 216 p.
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.
506 $a This item must not be sold to any third party vendors.
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.{A0}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{A0}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.
590 $a School code: 0162.
650 4 $a Film studies. $3 2122736
650 4 $a English literature. $3 516356
650 4 $a Gender studies. $3 2122708
650 4 $a British & Irish literature. $3 3284317
653 $a Capitalism
653 $a Feminism
653 $a Films
653 $a Romantic comedy
653 $a Ruritania
690 $a 0900
690 $a 0593
690 $a 0733
710 2 $a Northern Illinois University. $b English. $3 1682206
773 0 $t Dissertations Abstracts International $g 85-03A.
790 $a 0162
791 $a Ph.D.
792 $a 2023
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30567635