6949 comparative analysis b321
TRANSCRIPT
1
Unit B321: Foundation Portfolio – Comparative Analysis Topic two – Film Genre’s – “Romantic-‐Comedy” Genre
Compare the representation of gender in the romantic comedy genre with reference to ‘Knocked Up’ and ‘Forgetting Sarah Marshall’.
This comparative analysis will focus on how the two romantic comedy texts ‘Knocked Up’ (2007 – Dir. Judd Apatow) and ‘Forgetting Sarah Marshall’ (2008 – Dir. Nicholas Stoller) connote similar and different views on gender representations. ‘Knocked Up’s’ male protagonist Ben (Seth Rogen) lives a ‘carefree, hedonistic’ (Mortimer-‐2010) lifestyle, representing the ‘New Man’ (Corrigan-‐2012) that is now common-‐place (much to the frustration of the female gender) in society. His ‘well meaning, but immature’ (Gauntlett-‐2008) personality is where the ‘laughter [is] generated’ (Mortimer-‐2010), however, is challenged when the female protagonist Alison (Katherine Heigl) breaks the news of pregnancy to him after their disastrous one night stand, therefore ‘signifying’ (De Saussure) the end of selfish existence as he begins a long, amusing battle to overcome his underdog, unappealing personal demons. ‘Forgetting Sarah Marshall’s Male protagonist is presented in the form of ‘Peter’ (Jason Segel). This metrosexual, “successful musician” character experiences a dramatic break up with the love of his life, Sarah (Kristen Bell). His ‘unrequited love’ (Mortimer-‐2010), which is a common theme in the rom-‐com genre and amongst many men in society, falls short and leads to a series of unfortunate events, which is one of many similarities between Ben and Peter. This essay will deconstruct three scenes from ‘Knocked Up’ and three scenes from ‘Forgetting Sarah Marshall’ to establish these similarities and differences in the gender roles, as well as consider what impact this will have on an active rom-‐com consuming audience. The two male protagonists, Ben and Peter, denote similarities in the representation of the male gender. Both characters are ‘emasculated’ in the films, for example in ‘Knocked Up’ the diegetic verbal code of “Do you have a real job?” connotes Alison’s confusion towards Ben’s financial capabilities, and backing towards their newfound relationship, and upcoming family. In ‘Forgetting Sarah Marshall’ the non-‐verbal code of ‘tears’ connotes the sudden and humorous loss of masculinity through ‘suffering and tears’ (Jeffers-‐McDonald-‐2007), which is a anti-‐stereotype of what is usually expected in this genre when analyzing the male gender. These two examples denote
Center Name: St. Paul’s Catholic College Center Number: 64770 Candidate Name: James McClements Candidate Number: 6949
2
how the ‘laughter generated’ in romantic comedy texts is usually at the expense of the male genders status and position in society and a relationship respectively. The male gender can be described as ‘well meaning, but immature’, which is represented in Chapter 5 of ‘Knocked Up’ through the verbal code of diegetic dialogue “You look very pretty”, which signifies Ben as this ‘Loveable loser’, yet this is the only obvious positive quality he seems to denote to the audience. The non-‐verbal code of Ben smirking connotes his well-‐meaning attitude towards Alison, and his charming, yet immature qualities. The verbal code of: “How’s work, how’s ‘E!’, how’s Vince Vaughn?” are immature questions that are far from what is usually said at a formal dinner. Alison’s non-‐verbal, un-‐impressed facial expressions connote that Alison is not fond of this male’s immaturity, resulting in his emasculation later on in the scene when she says, “Do you have a real job?”, with verbal code real intensifying her and – and simultaneously – the female audiences disliking of this man. Similarly in ‘Forgetting Sarah Marshall’, Peter exhibits his ‘immaturity’ when his naïve attitude towards Sarah sparks an argument. This is represented in the diegetic dialogue of: “I’m sitting down because I want to”, and this immaturity is supported with the technical code of a low angled-‐ medium close up. (See image right). He is now seen as small and invalid, and much like a child, where it is can be determined that his immaturity lowers his significance and masculinity. His ignorance is where the ‘Laughter [is] generated’ in this heated and honest argument, and is also where the ‘female’ (Hartley) audience can side with Sarah’s Misandry. The representation of the male gender in the film ‘Forgetting Sarah Marshall’ supports the ‘New Man’ (Corrigan-‐2012) stereotype that now exists in society. This is represented in the introduction of the film. The protagonist Peter is seen on his sofa, eating cereal, watching TV, and not doing any work. This stereotypical ‘lazy man’ view of Peter exposes the flaw in this relationship, when he is seen lying to Sarah on the phone. The questions that Sarah asks imply that this happens every day, and she is aware of his unambitious qualities. He is a drain on Sarah, and the relationship. Likewise in ‘Knocked Up’, Ben presents his lack of ambition in Chapter 3 of the text. When in the café, Ben reveals his unemployment and side-‐project with much disgust from the female gender (Adult website that is later proven already exists much to the hilarity of the viewers!). He also is a cannabis smoker, which supports his ‘hedonistic’ and rebellious lifestyle. The non-‐verbal codes of his, careless, content, facial expressions, backup this behavior in the film, when him and his friends are smoking together in Chapter 1. This is supported with the technical code of a close up. (See image right) In binary opposition (Strauss) ‘Forgetting Sarah Marshall’, ‘Peter’ is represented as a metrosexual character. In Chapter 1, the non-‐verbal code of Peter enjoying looking at himself in the mirror,
presents his fondness of himself to the audience, despite not really being that physically impressive as it is immediately clear he is – like many men in the genre – ‘far from the typical rom-‐com hero’ (Mortimer – 2010). His joyful facial expression exhibits his positivity towards his appearance. (See image left) However, in ‘Knocked Up’, Ben is not seen caring for
himself, or being proud of his body, which is seen through Ben going out with casual clothes, and not doing anything to his appearance for the day ahead in contrast to the glamorous Alison – (See image right)
3
To denote a further difference between the male characters, in the scenes deconstructed from ‘Forgetting Sarah Marshall’, machismo is present between Peter, and his stepbrother. This connotes an anti-‐stereotypical view that the male gender is represented as both needy, but also helpful. ‘Bryan’ (Bill Hader), uses a sort of ‘tough-‐love’ relationship to make Peter feel better. Saying things like: “You gotta get your sh*t together man”, as Peter is obviously not getting over the relationship which is established through the technical code of a close-‐up of his devastated facial expression. Later on, Bryan deletes all the pictures of Sarah and Peter. The verbal code of non-‐diegetic music at the start of the scene; ‘Heaven knows I’m miserable now’ (The Smiths) implies through the lyrics– “In my life, why do I give valuable time to people who don’t care if I live or die” That there is a connection between the song lyrics and Peters thoughts and emotions. Peter is extremely miserable at the start, and once his stepbrother comes into the house, he turns the music off, connoting Peter’s road to recovery and ‘re-‐marriage’ (Cavell – 1981) with himself. Acting as a misogynistic figure of authority, Bryan suggests that Peter should “go on a vacation” to get over Sarah after he is clearly not fond of what Sarah has done to Peter. This connotes that Bryan is acting like a ‘Prince’ (Propp) towards the ‘Princess’ (Propp) Peter. This ‘emotional role reversal’ (Morency -‐ 2010) between Sarah and Peter, creating this ‘Binary Opposite’ (Strauss) to what is normally expected of the male gender, is also common throughout the text and many other rom-‐coms. On the other hand, in ‘Knocked Up’, no machismo, or ‘bro-‐mance’ (Mortimer-‐2010) is present for Ben. In contrast to ‘Forgetting Sarah Marshall, he is not a ‘Princess’ (Propp), and does not need saving like Peter does. This means that the male representation can also be possibly un-‐loving and not helpful, especially to woman, suggesting the Misogynistic relationship between both men in both texts. For example, Ben displays misogyny in Chapter 5, with his non-‐verbal facial expressions and body languages. The look of anger he gives to Alison, conveys hatred, and antagonism. (See image right)
In both media texts, the female gender represents similarities and differences, which is displayed to the audience. For example, in ‘Knocked Up’, Alison is represented as ‘superior in terms of looks, prospects, and everything else’ (Gauntlett-‐2008), for example in Chapter 5, the diegetic dialogue of Ben saying: “You look very pretty” connotes that Alison (as the female gender) is indeed ‘superior in terms of looks’ which then makes the male gender seem insignificant, and in Ben’s case a loser or inferior in comparison. Similarly, in ‘Forgetting Sarah Marshall’, Sarah is also represented as ‘superior in terms of looks, prospects, and everything else’. In Chapter 1, Sarah is described on the TV as a “Sexy crime fighter”, whereas in binary opposition Peter is described as “no household name”. This connotes Peter’s insignificance compared to Sarah, and how the female gender is represented as far more ‘superior’, which serves as an early ‘enigma clue’ (Barthes) to the suffering the female gender is going to go through in dealing with the many failures of the male gender, which ends up injecting the audience
with the same level of resentment as the female protagonists convey towards the opposite sex in both films. With this representation, a ‘female’ (Hartley) audience can actively interact with and join in with the female genders misandry towards the opposite sex. For example, in ‘Knocked Up’, the female protagonist has to ‘suffer’ (Jeffers-‐McDonald -‐ 2007) with the male gender in chapter 3. The non-‐verbal code of Alison waking up Ben with disgust from with her foot connotes – (See image left), a kind of animal-‐like treatment.
This gives Alison a ‘challenge of dealing with men like this’ (Gauntlett -‐ 2008) which ‘caregivers’ (Maslow) could sympathize with. In ‘Forgetting Sarah Marshall’ misandry is also present within the text from Sarah’s point of view. For example, In chapter 14, Sarah couldn’t “drown with [him] any more”. The technical code of a medium close up shot, (See image right) while the diegetic dialogue “I tried!” is spoken connotes Sarah’s
4
significance at that point in the scene, which many viewers who have suffered with the same ineptitude can ‘Personal Identify’ (Katz) with and will view Sarah as correct and the male, wrong.
In ‘Knocked Up’, Alison is seen as a ‘Princess’ (Propp). This is evident in Chapter 5, where the non-‐verbal facial expression and tears connotes that she needs saving. (See Image left). However her ‘Prince’, Ben, the one who created the ‘Disequilibrium’ (Todorov), is revealed to be incapable with saving her, and becomes a ‘Fake Prince’ (Propp) as he is too speechless to offer any support. However, In ‘Forgetting Sarah Marshall’, Sarah is represented as a ‘Villain’ (Propp) to a ‘Male’ (Hartley) audience because in chapter 1, she embarrassingly dumped Peter. This presents an anti-‐stereotype, as the female gender is stereotypically represented as ‘Princesses’ (Propp) in the rom-‐com genre. However, to a ‘Female’ (Hartley) audience, she could be seen as a ‘Prince’ as she is seen doing all the
work, with her life, and in the relationship. This is contradicted in ‘Forgetting Sarah Marshall’ with the non-‐verbal appearance of Sarah given in a bikini She encourages a ‘Male gaze’ (Mulvey) view for the character, as she is seen to promote the film for ‘Male’ (Hartley) audiences. In Chapter 14 Peter’s diegetic dialogue of “If it was Sean John sweatpants [Sarah would have allowed it]”. This connotes Sarah’s materialism, supporting the ‘men act, women appear’ (Berger) stereotype of women only caring about their own and their partners appearance in public. She appears in the film not working, but just destroying. On the other hand, in ‘Knocked Up’ Alison goes against John Berger’s theory, as she is seen with a job, working, and getting paid unlike the unemployed Ben. This is an anti-‐stereotype as the male in a relationship is stereotypically employed, and receiving money to support him and his family.
In conclusion, after deconstructing scenes from the two romantic comedy texts, it can be established that; the representation of gender roles in the two texts are predominantly anti-‐stereotypical, of which the male gender appears to be living the new, carefree, mainstream life, and the female gender, living an anti-‐stereotypical, working life. The ‘unrequited love’ in both films, twists the representation of the genders to the audience, changing their ‘Character roles’ (Propp), and strengthening their Misandry, or Misogyny towards one another, which many viewers may feel the same way as well. This assures that the genre provides ‘mass entertainment’ (Mortimer-‐2010), with crossing views from the audience. ‘Male gaze’ (Mulvey), and ‘Female Gaze’ (Saco), also help promote the film to all genders and provide them with the motivation to watch.