Essay on Romance Movies and Real Life Relationships

In watching the interview with Mahershala-Ali I found the first question he was asked very intriguing. I can not remember the full question itself, but I do remember it talked about this second movie playing in one’s mind. Mahershala responded with how movies portray this “fake reality.” This means that people begin to think what they see in movies is what reality is actually like, when actually it is often not. I agree with this, especially from doing work in Ms. Pacatte’s class on how media and entertainment affect our ideas and perceptions of reality. Particularly for girls, romance movies portray a false sense of how love can be and often make females think there is something wrong with them or their relationship if it is not like how movies

In the article, “Types of Women in Romantic Comedies Who Are Not Real”, actor and writer, Mindy Kaling, classifies the women’s roles from classic romantic comedies, while a critical analysis piece over the genre as well. Starting the article, She discusses her inspiration for the piece itself, furthermore expressing her love for romance, as well. Throughout the article, she separates the different types of women in these roles, whether it’s the obnoxious glamour girl, or the girl with an amazing personality, in latent terms, the difference between “The Klutz” and “The Ethereal Weirdo.” By the end of each example, she differentiates how cliche the storyline of the female character

“Men and women can't be friends, because sex always gets in the way”, is the main theme of the movie “When Harry met Sally”. The script is a good example of the interpersonal communication ten stage model by Mark Knapp. This developmental model entails the stages of a relationship from it’s infancy to an ending. In the movie we can clearly identify all ten stages of this model.

In the movie Casablanca, directed by Michael Curtiz, two different kinds of love are exposed. The love relationship between Ilsa Lund and Rick is a more passionate relationship while the one between Ilsa and Victor Laszlo is more intimate. Love is composed of different feelings and because of that it can be expressed, as seen in Casablanca, in different ways. “The Intimate Relationship Mind”, a text by Garth J. O. Fletcher and Megan Stenswick, helps support that claim providing a scientific background on how love is shaped by those different feelings. It says that “love is composed of three distinct and basic components that each represent evolved adaptations; namely, intimacy, commitment,

Dating back to the early 1900’s and all the way through to the present, romantic relationships have been viewed differently. From strict unwritten dating regulations to not having regulations at all, recent generations have become more liberated in making their own decisions. The progressing times have made us become a more accepting society and have caused a decrease in the strong practice of religion and class. Even though differences such as religion and class in relationships were more than an issue they were not always a complete deterrence.

Romantic Comedy is the movie genre of happy endings. Two people meet, fall in love unexpectedly, ran into a problem, and then everything somehow works out in the end. Romantic comedies have a light tone and incomplete without a humorous touch. It is a recipe that never gets old. Romantic comedies captures many girls and women from around the world. It gives them hope that they will soon find prince charming too. The only downfall of romantic comedies are they are not realistic. No real love life is that wonderful. One of my favorite movies that represents this genre is Sleepless in Seattle.

Serendipity, How to Lose a Guy in 10 Days, Pretty Woman, Overboard, and Bridesmaids. What do all these movies have in common? For one, they are all obviously romantic comedies. But, what makes them romantic comedies? Probably the most obvious trait they share is that each of these movies creates a lighthearted, whimsical, and amused feeling for their viewers.. There are no times during the movies that the audience feels uneasy or confused. The filmmakers for these movies also creates characters that the viewers like and root for. For these reasons, Punch Drunk Love is not a romantic comedy. When compared to the previous examples it’s clear that Punch Drunk Love does not provide any of the traditional romantic comedy feelings. In fact, it makes the viewers feel anxious and very confused. Additionally, the main characters are much different: they are awkward, to say the least, and the audience does not relate to or like them. Clarity, light heartedness, and a positive relationship with the characters are important assets to be considered a romantic comedy.

Stephan Babich 's blog post entitled, "The Fall of the Female Protagonist in Kids Movies", and Richard Lawson and Jen Doll 's article, "The Lies Hollywood Told Us: Love and Romance Edition”, are rhetorical arguments that attempt to support a notion about an explicit aspect of motion-picture theatre. In Babich 's post, he writes about how women are hardly ever the protagonist in kid 's movies. The goal of his argument is to persuade avid animation movie watchers that future films should have a female playing the leading role. The main idea of Lawrence and Doll 's article is to convince men and women who frequently watch romance movies that they should not expect the romantic situations and endings that Hollywood

The first paragraph to the last, the authors give a feeling of negativity towards relationships in general, making the article as a whole seem biased. the quote “love is hard. Romantic movies make it harder,” (220) argues that romantic movies make relationships hard because of the unrealistic standards Hollywood has put into movies. Love is hard and movies make it harder to be and stay in love because we have the wrong idea of what relationships are. Richard and Jen tell us that relationships are hard and they will not end up like the movies. They will be hard and take effort. According to a

Throughout history, the media has shown many different sides of love. Weather it be peaceful, violent, dangerous, beautiful, almost all forms of the media have shown love in some way. In the novel The Great Gatsby, love is shown between many different characters in different ways. The reader experiences love at its best and worst. We see relationships flourish, rekindle and end between the different characters. The most controversial relationship is the relationship between Daisy and Tom. Through infidelity, and mistrust, tragedy occurs. Other characters become associated with their marital problems, showing different kinds of love and relationships. In the play Hamlet, the reader also experiences many different kinds of love, ranging from

Stare at any little girl, and watch her starry eyes lost in wonder as Cinderella kisses her prince, Rapunzel is saved by her hero and Aurora is awakened from her spell with a kiss of ‘true love’. And, of course, it all ends Happily Ever after…Even their hair still looks glamorous when the clock strikes 12. That is, until the heartbreaking realities of the real world kicks in and destroys that little girls dream. Then what? THE END. Subconsciously, without us knowing, the media and entertainment platforms have hardwired us to believe the highway to successful living, fulfilled lives and abundant acceptance is via relationships. We’ve been fed absolute rubbish. We’re sick of it. We don’t need boyfriends to thrive.

Most romantic comedy movies fulfil the viewers’ expectations of the perfect love story whilst incorporating comedic elements. Typically there is always a pretty girl who falls deeply in love with a male character, often less popular and less attractive, who makes multiple comedic attempts in winning her heart until eventually they both fall madly in love and live happily ever after, in this case a genre movie is expressed as “those commercial feature films which through repetition and variation, tell familiar stories with familiar characters in

Watch the classical film Grease and one can understand how relationships function in Western Society. The film tells a story of a boy (Danny) and a girl (Sandy) who falls in love. Through a series of misunderstandings they break up, but still somehow care for each other. Through ballads such as Summer Night’s that are still popular today, the film shows how differently males and females view relationships. Films like Grease are like a mirror, reflecting societal values and how it socializes its members. It makes it clear that in relationships, males are socialized to view relationships as mostly a physical, sexual endeavor, while females view it as a perpetual bond –a deeper connection between the two individuals within a relationship.

Since the 1940’s, movies have predominately portrayed women as sex symbols. Beginning in the 1940’s and continuing though the 1980’s, women did not have major roles in movies. When they did have a leading role the women was either pretreated as unintelligent and beautiful, or as conniving and beautiful: But she was always beautiful. Before the 1990’s, men alone, wrote and directed all the movies, and the movies were written for men. In comparison, movies of the 90’s are not only written and directed by women, but leading roles are also held by older and unattractive women. In this paper I will show the variations and growth of women’s roles in movies from the 1940’s though the 1990’s.

In the article Does Television Viewing Cultivate Unrealistic Expectations About Marriage? By Chris Segrin and Robin Nabi, the authors connect the high divorce rate to the unrealistic expectation of marriage. According to Segrin and Nabi (2002), the romanticized expectation is the dominant reason for divorce (p. 247). The cultivation theory states that the origin of this idealistic belief may come from the mass media, which exposes unrealistic visions to audiences. However, the study finds out that the specific genre television program gives people unrealistic expectation of marriage, instead of the overall television viewing. This finding could be extended to how specific genres of movies, music videos and online videos influence audiences’ expectations of marriage. Afterwards, this study could be applied in the television producing industry. Consequently, the researchers came up two research questions to figure out the connections of television viewing, idealistic expectation and intentions of marriage. The research questions are RQ1: Is greater television viewing associated with more idealistic expectations about marriage? RQ2: Is there an association between holding idealistic expectations about marriage and more immediate and idealistic marital intentions.