Introduction
Contemporary genre theorists view the evolution and growth of the film as an active process. The process involves the alterations associated with technological innovations. It is a development that is influenced by new trends, as well as by changes in socioeconomic circumstances in society. The romantic comedy, as one of the film genres, has undergone various modifications over the years. The modifications reflect the changes in the industry and the socio-historical context within which the plays are set. For instance, the sex comedies produced in the 1960s reflected family values. On their part, those produced in the 1970s depicted sexual freedom (Radner & Stringer 2011). The main theme of the comedy genre revolves around humorous situations. It often depicts a relationship between a woman and a man. It is characterized by an expected happy ending. In the last few decades, the romantic comedy has carried out subtle attacks against the societal order. As film genres, romantic and bromantic comedies are closely related. The similarities between the two are more than the differences.
In this paper, the author will compare and contrast romantic and bromantic comedies. To this end, the author will highlight the gender politics in the two genres of comedy. The aim is to highlight the differences and similarities between the two. To achieve this objective, the author will focus on two comedies, which are Superbad (New York, Greg Mottola, 2007) and Enchanted (New York, Kevin Lima, 2007).
Romantic and Bromantic Comedy: A Comparative Analysis
Bromance in Romantic Comedy
Since the 1980s, the romantic comedy has been remodeled and targeted at a niche audience. The audience may be defined by ethnicity, age, and sexual orientation (Radner & Stringer, 2011). The comedy may have African-American or Hispanic protagonists. However, starting from the 1990s, heterosexual couples started to lose their glamour. The focus shifted to gay audiences as the film producers explored same-sex relationships. Such films as Enchanted (2007) and Superbad (2007) have been used to confirm the increased acceptance for homosexuality, which entails relationships between men, as well as between women. The presence of these films is a representation of the mutability of the comedy film genre.
There are two types of romantic comedies. The first-class features a group of men who are friends. Their talk is dirty and reflects people who are obsessed with the idea of sex. The dynamics of the group revolve around bad jokes. Women and girls are also regarded as sexual objects (DeAngelis, 2014). The second type of bromantic comedy entails an unmitigated kind of courtship between a pair of male characters. The reserved and sensitive one is likely to be attached to one woman. The other person is an aggressive character. He is also a womanizer. As the film progresses, the main characters are seen to be dependent on each other. The dependency arises from a number of misfortunes. DeAngelis (2014) observes that by the end of the film, the partners will have saved each other. The development culminates in a declaration of love and mutual affection for each other. A good example is the comedy film Superbad. The film can be viewed as a primitive myth. It revolves around the evolution of homoeroticism to hetero-eroticism through one’s life.
The Theory of Mediated Masculinity
The era of mediated masculinity involves the representation of male bonding and friendship in popular texts. The two factors are central to the tone and representation of masculine hegemony. Homo-sociality, as a result, presents an ironic position regarding male friendship and closeness. Hegemony may emanate from the mainstream cultural fabric. It may also be reflected in it (Deleyto 2011). The fortification and promotion of gender roles are evident in popular movies. Masculinity is especially a dominant theme. It is a medium through which American masculinity is often reproduced (DeAngelis 2014). The history of American masculinity is characterized by a form of an identity crisis. The crisis is brought about by the rise in feminism ideals. The situation resulted from the challenges facing heterosexual assumptions and the disruption of the patriarchal hegemony and structures within the American culture. Consequently, the fictional media has attempted to reconstruct the masculine identity that could reinforce and reinstate male power (DeAngelis 2014). It can also be said that such efforts may be aimed at establishing new types of manhood as operational models of masculinity. The bromance comedy reflects this form of reality.
The bromance comedy is a recent genre. It started in the early 21st century. Its critics observe that films have tried to negotiate between new gender roles and subsequent power structures in various ways. Each new representation of masculinity carries nuanced differentiation. The differentiations take place as the masculinity values change over time. DeAngelis (2014) holds that mass films are targeted at a wide base of audience. As such, it becomes hard to bring on board disruptive themes that may offset the status quo. As such, the comedy format is used as a buffer to allow for the breached boundaries. It is also used in muting the controversy that may arise through humorous anecdotes.
Comparing and Contrasting Superbad and Enchanted
Bromantic Comedy: Superbad
The film Superbad is highly representative of the bromance genre. The major focus of the bromance comedy films is the maintenance of a relationship between male characters. The comedy Superbad revolves around two high school students and their friendship. They are Seth (Jonah Hill) and his friend Evan (Michael Cera). They are trying to celebrate their last night in college (Superbad 2007). It is their last chance to demonstrate their masculinity to their female interests, Jules and Becca. Evan portrays an introverted character. He has to cope with the aggressive nature of his friend. Seth is the exact opposite of Evan. He is vulgar when it comes to his interaction with women (Superbad 2007). The audience is treated to typical boys’ behavior. The behavior is largely driven by sexual obsession, which is normal at this stage in life. However, the film also brings out the softer side of the story. To this end, the focus of the producer is on the foundation of true friendship and loyalty between the two characters. The friendship and loyalty move the bromance forward (Deleyto 2011).
The representation of masculinity that is depicted in Superbad can be readily analyzed through the characterization of the three prominent characters in the film. The three are Seth, Evan, and Fogell (Christopher Mintz-Plasse). Occasionally, the three characters are depicted as a cohesive group. However, each of them should be seen as operating autonomously and with different motivations. Each character delivers a different form of masculinity to the dynamics of the group. The three negotiate, through action and dialogue, their masculinity with each other. The boundaries between them are established from the beginning of the comedy. To a large extent, the demarcations are consistent throughout the film. Seth is the epitome of sexuality.
He is introduced at the start of the film discussing pornography. He is more expressive than the other two and often uses body language as a mode of communicating his sexual intentions to his friends. A case in point is in the scene where he is paired with Jules, a pretty white female companion. Here, Seth first looks at Evan to ascertain whether or not his friend is watching as he makes sexually explicit gestures behind the pretty girl. His verbal and nonverbal motivation and communication are driven by his sexuality. They act as an expression of his type of masculinity. The editing adopted by the producer on this scene highlights this message clearly. For example, the sound is used to effectively highlight the vulgarity of Seth’s gestures. Evan is the opposite of Seth. He is an ordinary and reserved character who wears brown corduroy pants and green shirts. His dressing is reminiscent of the 1970s. He is unexpressive, which gives the audience enough space to project their emotions towards his character.
The relationship between Seth and Evan is the central theme of the film. The relationship demonstrates the hidden emotions and insecurities that are associated with male-male friendship. The insecurities serve to emphasize the need for the creation of a heterosexual identity (McDonald 2007). As such, it can be observed that their physical contact is a representation of the changing emotions that exist in the relationship.
The storyline in Superbad is simple. Two clumsy high school students, Seth and Evan, want to have sex. To accomplish their mission, they design a plan to acquire alcohol and take to a party hosted by some of the girls they fancy. The goal is twofold. To start with, they want to bring alcohol to the party and establish that they are worth sexually. On the other hand, they are hoping that getting the girls inebriated will improve their sexual appeal. The act of having sex and losing their virginity is like a kind of rites of passage. Ultimately, this action is taken as the establishment of their masculinity (DeAngelis 2014). All these heterosexual activities and discourse should be seen as a camouflage for an undercurrent of latent homosexual feelings towards each other.
There is a basic plot that runs through all romantic comedies. To this end, two individuals meet, part ways because of some disagreement or an obstacle, and then reunite after surmounting the obstacles. However, it is possible to have variations in the plot. For instance, the film Superbad starts as an animation of a fairyland existence. Here, the protagonist lives and talks with animals. When she lands in New York, she transforms into a normal human being. Most fairytale comedies are targeted at children. In spite of this, Superbad has a fairly adult theme and features grown-up characters.
Romantic Comedy: Enchanted
Romantic comedies are films with humorous and light-hearted plotlines. The storyline is anchored on romantic ideals. Romantic comedy belongs to the genre of romance and comedy films (McDonald 2007). The film Enchanted is a 2007 part-live-action and part-animation. With regards to mise-en-scene and cinematography, the movie opens with animated scenes that are edited to show a kingdom. The producer depicts Giselle (Amy Adams) as the princess. She shares the characteristics of Snow White and Cinderella. She talks with animals and longs for a prince. The movie has sylvan settings. It is also characterized by heavenly voices. Quavering bluebirds and sad songs are also major features (Deleyto 2011). The comedy follows the journey of the main character through space and time to break a curse by her jealous crone. The film moves from animation to what is deemed as live action. Although it cannot be classified as animation, the use of special effects and computer-generated graphical imagery seems to uphold the traditions of animation movies.
Most of the action takes part in magical New York. The depiction of Giselle’s fairytale ideas about true love are put to the test as she awaits for Prince Edward (James Marsden) to come to her rescue. In the process she develops what could be called romantic feelings for Robert (Patrick Dempsey). Robert is a divorce attorney. He is separated from his wife and has developed a relationship with Nancy (Idina Menzel) along rational lines. The relationship between the romantic Giselle and the cynical Robert positions them as the idealized romantic comedy couple (Enchanted 2007). The couple is opposed in every way, but destined to be together somehow.
The movie Enchanted, just like Superbad, dwells on gender complexities. While Superbad delves on the complexity of masculinity, Enchanted explores femininity. Giselle gets to realize that it is possible to make a life outside her imagined fairytale romance. However, she continues to play the expected feminine roles. It is Edward who represents the stereotypical masculinity.
The Disney princess evolves endlessly to represent the archetypes of femininity. The myth that is promoted is that of post-feminism. Here, the image of the princess is found to be viable in today’s world (Radner & Stringer 2011). Radner and Stringer (2011) posit that the princess showcases feminist independence. However, the same ideals are reduced to post-feminist marriage principles (Deleyto 2011). The same level of marriage ideals can be compared to the masculinity principles presented in Superbad. The reduction of the independence ideals is evidenced by Giselle’s desperate obsession to find a prince throughout the movie. She is ostensibly waiting for the prince so that she can get married. As such, it can be assumed that marriage is the only vehicle to her happiness. The viewer sees the same idealism in Giselle at the end of the movie. She still regards love and marriage as important aspects of her life, even as she chooses not to marry her prince. She opts for the cynical Robert instead.
Conclusion
The two comedies, Superbad and Enchanted, depict gender roles through their objectification of sexuality in the romance comedy genre. In Superbad, the boys are close, although they do not display the sexual attraction towards each other. However, they are portrayed as being preoccupied with sex and women. The theory of masculinity does creep into the discourse. In Enchanted, the producer weaves a fairytale with a romantic theme. It is a film that seeks to entrench the female role in spite of showing an element of independence and empowerment among women. It portrays women’s obsession with love and marriage. In contrast, Superbad depicts characters who are obsessed with sex.
Bibliography
DeAngelis, Michael. Reading the Bromance: Homosocial Relationships in Film and Television. Detroit: Wayne State University Press, 2014.
Deleyto, Celestino. The Secret Life of Romantic Comedy. New York: Manchester University Press, 2011.
Enchanted. Directed by Kevin Lima. London: Walt Disney Pictures, 2007. DVD.
McDonald, Tamar. Romantic Comedy: Boy Meets Girl Meets Genre. London: Wallflower Press, 2007.
Radner, Hilary, and Rebecca Stringer. Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema. Abingdon: Routledge, 2011.
Superbad. Directed by Greg Mottola. New York: The Apatow Company, 2007. DVD.