Notes

Introduction: Depicting Love in Cinema

1 . Mike Featherstone. ‘Love and Eroticism: An Introduction’ Theory, Culture and Society 15, no. 1 (1998): 2. 2 . David Bordwell, Janet Staiger and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985: 16. 3 . Kenneth MacKinnon. ‘Male Spectatorship and the Hollywood Love Story’ Journal of Gender Studies 12, no. 2 (2003): 125; James J. Dowd and Nicole R. Pallotta. ‘The End of Romance: Demystification of Love in the Post- Modern Age’ Sociological Perspectives 43, no. 4 (2000): 554. 4 . Stanley Cavell. Pursuits of Happiness: The Hollywood Comedy of Remarriage . Cambridge: Harvard University Press, 1981; Mark D. Rubinfeld. Bound to Bond: Gender, Genre and the Hollywood Romantic Comedy . Westport, Connecticut: Praeger, 2001; Tamar Jeffers McDonald. Romantic Comedy: Boy Meets Girl Meets Genre . London: Wallflower, 2007. 5 . See for example, McDonald. Romantic Comedy , the full title of whose monograph on the romantic comedy draws attention to the widely known structure of the genre. See also Stacey Abbott and Deborah Jermyn. ‘Introduction: A Lot Like Love’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 1–8. London: I. B. Tauris, 2009; Kristine Brunovska Karnick. ‘Commitment and Reaffirmation in Hollywood Romantic Comedy’ in Classical Hollywood Comedy , edited by Kristine Brunovska Karnick and Henry Jenkins, 123–146. New York: Routledge, 1995. It ought to be noted that this formula is a simplistic overview of the genre and elements, such as the genders, are interchangeable. The purpose here, however, is to illustrate the familiarity audiences have with the genre via this formula, which gives a basic illus- tration to the importance of companionate love. 6 . David Shumway. Modern Love: Romance, Intimacy, and the Marriage Crisis. New York: New York University Press, 2003. 7 . Jean-Loup Bourget. ‘Romantic Dramas of the Forties: An Analysis’ Film Comment 10, no. 1 (January/February 1974): 46–51; Laurent Jullier. Hollywood et la difficulté d’aimer. Paris: Editions Stock, 2004; Catherine L. Preston. ‘Hanging on a Star: The Resurrection of the Romance Film in the 1990s’ in Film Genre 2000: New Critical Essays , edited by Wheeler Winston Dixon, 227–243. Albany: State University of New York Press, 2000. 8 . Stevi Jackson. ‘Sexuality, Heterosexuality, and Gender Hierarchy: Getting our Priorities Straight’ in Thinking Straight: The Power, the Promise, and the Paradox of Heterosexuality , edited by Chrys Ingraham, 15. New York: Routledge, 2005.

108 Notes 109

9 . Chrys Ingraham. ‘Introduction: Thinking Straight’ in Thinking Straight: The Power, the Promise, and the Paradox of Heterosexuality , edited by Chrys Ingraham, 2. New York: Routledge, 2005. 10 . Donald Sassoon. The Culture of the Europeans: From 1800 to the Present. London: Harper Press, 2006: 97. 11 . Anthony Giddens. The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Societies. Stanford: Stanford University Press, 1992: 43. 12 . Francesca M. Cancian ‘The Feminization of Love’ Signs 11, no. 4 (Summer 1986): 694. 13 . Jeanine Basinger. A Woman’s View: How Hollywood Spoke to Women 1930–1960. London: Chatto and Windus, 1993: 18. 14 . Mark D. Rubinfeld. Bound to Bond: Gender, Genre and the Hollywood Romantic Comedy. Westport, Connecticut: Praeger, 2001: xiv. 15 . Daniel Lopez. Films by Genre: 775 Categories, Styles, Trends and Moments Defined, with a Filmography for Each. Jefferson, N. C.: McFarland and Company, 1993: 259. 16 . The view that love is related to women is similar to sociologists who observe the labelling of love as a feminine domain. See Chapter 1. 17 . MacKinnon. ‘Male Spectatorship and the Hollywood Love Story’. See also Steve Cohan and Ina Rae Hark (eds). Screening the Male: Exploring Masculinities in Hollywood Cinema. London: Routledge, 1993. 18 . David Thomson. America in the Dark: Hollywood and the Gift of Unreality. London: Hutchison, 1978: 205. 19 . Giddens. The Transformation of Intimacy . 59–60. Although, he notes for men ‘romantic love stands in tension with the imperatives of seduction’ and ‘men by and large have excluded themselves’ from romantic love and intimacy. 20 . Thomson. America in the Dark . 205. 21 . Giddens. The Transformation of Intimacy . 2. 22 . Stuart Brock. ‘Fictions, Feelings and Emotions’ Philosophical Studies 132, no. 2 (2007): 230–231. 23 . Molly Haskell. ‘The Woman’s Film’ in Feminist Film Theory: A Reader , edited by Sue Thornham, 22. Edinburgh: Edinburgh University Press, 1999. 24 . Toby Miller and others. Global Hollywood. London: BFI, 2001: 174. 25 . Steve Neale. ‘Questions of Genre’ Screen 31, no. 1 (1990): 56; Ralph Cohen. ‘History and Genre’ Neohelicon 13, no. 2 (September 1986): 47. 26 . Alan Soble. The Philosophy of Sex and Love 2nd edn. St. Paul, MN: Paragon House, 2008: 131. 27 . C. S. Lewis. The Four Loves. London: Bles, 1960. Many sociologists have focused more on one or two of these Greek concepts and altered their meanings over time. This is particularly true of those invested in studies related to more intimate love, who focus on the eros and agape types. Soble looks more historically at the terms eros , agape and philia , and places emphasis on the importance of the distinction between these concepts. See Soble. ‘An Introduction to the Philosophy of Love’ xxii–xxiii. Anders Nygren, who looks solely at two of these concepts, sums up that eros is 110 Notes

associated with egocentric love and self-assertion, while agape is described as being an unselfish love, with self-sacrifice, which is very much in keeping with the eros and agape put forward by Lewis. See Anders Nygren. ‘ Agape and Eros ’ in Eros, Agape and Philia: Readings in the Philosophy of Love , edited by Alan Soble, 93. New York: Paragon House, 1989. In his work, Vincent Brümmer has also accounted for the importance scholarship places on eros and agape in particular and highlights Nygren and Friedrich Nietsche as eminent scholars in this field (Nygren preferred the ideal of agape , whilst Nietsche criticised it as a substitute for eros ). See Vincent Brümmer. The Model of Love: A Study in Philosophical Theology. Cambridge: Cambridge University Press, 1993: 110. 28 . See Plato. Symposium . ed. introduction, translation. and commentary by C. J. Rowe. Warminster: Aris and Phillips, 1998; Thomas L. Cooksey. Plato’s Symposium. London: Continuum, 2010; Soble. The Philosophy of Sex and Love. 20. See also A. W. Price. Love and Friendship in Plato and Aristotle . Oxford: Clarendon Press, 1989: 15. Price synthesises that while each person provides different accounts of love, Socrates ulti- mately subscribes to the principles he learned from a seer, Diotima, which place divine love above all else. This argument, that one should find a spiritual connection with one’s lover, continues in the following centuries. The Symposium as a whole emphasises the abstract nature of love. 29 . See Aristotle. Nicomachean Ethics . Introduction and translation by David Ross, revised by J. L. Ackrill and J. O. Urmson. Oxford: Oxford University Press, 1998; Soble. The Philosophy of Sex and Love . 22. 30 . Alan Soble. ‘An Introduction to the Philosophy of Love’ in Eros, Agape, and Philia: Readings in the Philosophy of Love , edited by Alan Soble, xxii–xxiii. New York: Paragon House, 1989. 31 . C. S. Lewis. The Four Loves. London: Bles, 1960. 32 . Robert J. Sternberg. ‘A Triangular Theory of Love’ Psychological Review 93, no. 2 (1986): 119–135. 33 . Sternberg. A Triangular Theory of Love . 119–120, 122,124. 34 . Sternberg. A Triangular Theory of Love . 119–120, 160. 35 . Sternberg. A Triangular Theory of Love . 36 . See for example, Michelle Acker and Mark H. Davis. ‘Intimacy, Passion and Commitment in Adult Romantic Relationships: A Test of the Triangular Theory of Love’ Journal of Social and Personal Relationships 9, no. 1 (February 1992): 21–50. 37 . See, for example, Susan Sprecher and Pamela C. Regan. ‘Passionate and Companionate Love in Courting and Young Married Couples’ Sociological Inquiry 68, no. 2 (May 1998): 163–185; Elaine Hatfield and Susan Sprecher. ‘Measuring Passionate Love in Relationships’ Journal of Adolescence 9 (1986): 383–410; Elaine Hatfield. ‘Passionate Love and Companionate Love’ in The Psychology of Love , edited by Robert J. Sternberg and Michael L. Barnes, 191–217. New Haven, C. T.: Yale University Press, 1988; Elaine Hatfield and Richard L. Rapson. ‘Gender Differences in Love and Intimacy: The Fantasy vs. the Reality’ in Social Work and Notes 111

Love , edited by H. Gochros and W. Ricketts. New York: Hayworth Press: 1985; Elaine Hatfield and Richard L Rapson. ‘Love and the Attachment Process’ in Handbook of Emotions , edited by Michael Lewis and Jeannette M. Haviland-Jones, 654–662. New York: Guillford Press, 1993. 38 . Hatfield and Rapson. ‘Love and the Attachment Process’ 654. 39 . Sternberg. ‘Triangular Theory of Love’ 124. Subsequent examina- tions support this general observation. See, for example, Hatfield and Rapson. ‘Love and the Attachment Process’ 654; Hatfield and Sprecher. ‘Measuring Passionate Love in Intimate Relationships’ 396. 40 . Stephanie Coontz. ‘The World Historical Transformation of Marriage’ in Journal of Marriage and Family 6 (November 2004): 974–979; Stephanie Coontz. ‘The New Fragility of Marriage: For Better or for Worse’ Chronicle of Higher Education 51, no. 35 (2005). Accessed 24 March 2009. web. ebscohost.com/ehostdelivery?vid=9&hid=106&sid=db2f7; Stephanie Coontz. ‘The Origins of Modern Divorce’ Family Process 46, no. 1 (2006): 7–16; Giddens. The Transformation of Intimacy ; Helen E. Fisher. Anatomy of Love: The Natural History of Monogamy, Adultery and Divorce. New York: W. W. Norton and Company, 1992. 41 . See, for example: Featherstone. ‘Love and Eroticism’ 5; Giddens. The Transformation of Intimacy . 149. 42 . See, for example, Eileen Fischer and Steven J. Arnold. ‘More than a Labor of Love: Gender Roles and Christmas Gift Shopping’ Journal of Consumer Research 17, no. 3 (December 1990): 333–345; David Cheal. ‘The Postmodern Origin of Ritual’ Journal of Social Behaviour 18, no. 3 (1988): 269–290. Featherstone links the connection to consumerism to the eighteenth and nineteenth centuries and notes that love ‘had the function of encouraging strangers to meet and converse. A parallel to the economic market, the market of free emotions started to develop’. See Featherstone. ‘Love and Eroticism’ 5. He agrees with other scholars such as Niklas Luhmann. Love As Passion: The Codification of Intimacy. Cambridge: Harvard University Press, 1986; Arlie Russell Hochschild. The Commercialization of Intimate Life. London: University of California Press, 2003: 125. 43 . Giddens. The Transformation of Intimacy . 37. Giddens also differenti- ates romantic love from passion; however, I follow with the conten- tion that infatuation and romantic love are interlinked as explored in Elaine Hatfield and G. William Walster. A New Look at Love. Lantham: University Press of America, 1978. 44 . This is supported by Hatfield and Sprecher’s research. They have used qualitative studies comprising surveys and interviews, of their own as well as of others, and discuss passionate love under the impression that it is not always ‘reciprocated’. See Hatfield and Sprecher. ‘Measuring Passionate Love in Intimate Relationships’ 386. Like Sternberg, Hatfield and Sprecher agree that passionate love tends to last for a short time, which is reflected in folklore, and they argue that this leads passion to be associated with suffering. See Hatfield and Sprecher. ‘Measuring Passionate Love in Relationships’ 385–386, 396. 112 Notes

45 . Hatfield and Sprecher. ‘Measuring Passionate Love in Relationships’ 387. They extend the work of Hatfield and Rapson. ‘Gender Differences in Love and Intimacy’. 46 . See for example, Hatfield and Sprecher. ‘Measuring Passionate Love in Relationships’ 383–384; Horace Bidwell English and Ava Champney English. A Comprehensive Dictionary of Psychological and Psychoanalytical Terms . New York: David McKay, 1958; Barry A. Farber. ‘Adolescence’ in On Love and Loving , edited by K. S. Pope, 44–60. San Francisco: Jossey- Bass, 1980. 47 . Featherstone. ‘Love and Eroticism’ 2. 48 . See, for example, Brümmer. The Model of Love . 83; Denis de Rougemont. Passion and Society . Translation Montgomery Belgion, revised and augmented edn. London: Faber and Faber, 1962: 34; Gathorne-Hardy. Love, Sex, Marriage and Divorce . 123; Fisher. Anatomy of Love . 295; Andreas Capellanus. The Art of Courtly Love , translated by John Jay Parry. New York: Ungar, 1959. 49 . Featherstone. ‘Love and Eroticism’ 5. 50 . Although Lewis distances eros from sexuality, Giddens defines passion by sex. See Lewis. The Four Loves ; Giddens. The Transformation of Intimacy . 51 . Hatfield and Sprecher. ‘Measuring Passionate Love in Relationships’ 396. See also Richard Driscoll and others. ‘Parental Interference and Romantic Love: The Romeo and Juliet Effect’ Journal of Personality and Social Psychology 24 (1972): 1–10. 52 . Eva Illouz. Consuming the Romantic Utopia: Love and the Cultural Contradictions of Capitalism. London: University of California Press, 1997; Featherstone. ‘Love and Eroticism’ 6. 53 . Sternberg. ‘A Triangular Theory of Love’ 124. 54 . Sternberg. ‘A Triangular Theory of Love’ 132. 55 . Lopez. Films by Genre. 172. Lopez states, ‘[R]omance is synonymous with love story’. See Lopez. Films by Genre . 295. 56 . Mark Jancovich. ‘Genre and the Audience: Genre Classifications and the Cultural Distinctions in the Mediation of Silence of the Lambs ’ in Hollywood Spectatorship: Changing Perceptions of Cinema Audiences , edited by Melvyn Stokes and Richard Maltby, 34. London: BFI, 2001. 57 . Neale. ‘Questions of Genre’ 63; Terry Threadgold. ‘Talking about Genre Ideologies and Incompatible Discourses’ Cultural Studies 3, no. 1 (January 1989): 121–122. 58 . Basinger. A Woman’s View ; Steve Neale and Frank Krutnik. Popular Film and Television Comedy. New York: Routledge, 1990. 59 . Neale. ‘Questions of Genre’ 61. 60 . Rick Altman. ‘A Semantic/Syntactic Approach’ Cinema Journal 23, no. 3 (Spring 1984): 6–18. 61 . See, for example, Steve Neale. Genre and Hollywood. London: Routledge, 2000: 204. 62 . Barry Keith Grant. Film Genre: From Iconography to Ideology. London: Wallflower, 2007: 24–28. Notes 113

63 . Grant. Film Genre . 24–28. 64 . Stuart Voytilla. Myth and the Movies: Discovering the Mythic Structure of 50 Unforgettable Films. Michael Wiese Productions: Studio City, 1999: 184. 65 . Dowd and Pallotta. ‘The End of Romance’ 549–580. 66 . Preston. ‘Hanging on a Star’ 229. 67 . Deborah Thomas. Beyond Genre: Melodrama, Comedy and Romance in Hollywood Films. Moffat: Cameron and Hollis, 2000. 68 . Maureen Turim. ‘Women’s Films: Comedy, Drama, Romance’ in Chick Flicks: Contemporary Women at the Movies , edited by Suzanne Ferriss and Mallory Young, 26. New York: Routledge, 2008. 69 . Kathleen Rowe. ‘Comedy, Melodrama and Gender: Theorising the Genres of Laughter’ in Classical Hollywood Comedy , edited by Kristine Brunovska Karnick and Henry Jenkins, 49. New York: Routledge, 1995. 70 . Kathleen Rowe. The Unruly Woman: Gender and the Genres of Laughter. Austin: University of Texas Press, 1992: 114. 71 . John C. Lyden, ‘Melodrama, Tearjerkers and “Women’s Films”’ in Film As Religion: Myths, Morals, and Rituals , 164–178. New York: New York University Press, 2003; John C. Lyden. ‘Romantic Comedies’ in Film as Religion: Myths, Morals, and Rituals , 179–190. New York: New York University Press, 2003. 72 . Rubinfeld. Bound to Bond . 177–178. Although he says that the terms are ‘not completely synonymous’ 177–178. 73 . Shumway. Modern Love ; Dowd and Pallotta. ‘The End of Romance’ 549–580; Voytilla. Myth and the Movies . 74 . Abbott and Jermyn. ‘Introduction’ 2. 75 . Lyden. ‘Romantic Comedies’ 179. 76 . Rubinfeld. Bound to Bond . xiv. 77 . Cavell. Pursuits of Happiness ; Celestino Deleyto. The Secret Life of Romantic Comedy. Manchester: Manchester University Press, 2009; Leger Grindon. The Hollywood Romantic Comedy: Conventions, History and Controversies. Malden: Wiley-Blackwell, 2011; and McDonald. Romantic Comedy . 78 . Deleyto. T h e S e c re t Life o f Ro m a n t i c C o m e d y in particular 18–24 and 55–102; McDonald. Romantic Comedy . 10. McDonald says that romantic comedies are ‘light-hearted’ (Romantic Comedy . 10); Karnick. ‘Commitment and Reaffirmation in Hollywood Romantic Comedy’ 126. 79 . Pertaining to its aforementioned ‘Boy Meets Girl’ formula. 80 . Lyden. ‘Romantic Comedies’ 186–187; Dowd and Pallotta. ‘The End of Romance’ 559. 81 . Voytilla. Myth and the Movies . 210–213. 82 . See, for example, Sternberg. ‘A Triangular Theory of Love’. See also Katharina Giltre. Hollywood Romantic Comedy: States of Union 1934–1965. Manchester: Manchester University Press, 2006. Woody Allen’s films, including Annie Hall and Manhattan (Woody Allen, 1979), as well as An Unmarried Woman (Paul Mazursky, 1978) and The Goodbye Girl (Herbert Ross, 1977), illustrate that the interest in romance had survived through this era, but that the endings were not always happy for the couple. 114 Notes

According to Lyden, Allen’s nervous romances and other films within this period are proof that romantic comedies do not always have the couples remain together at the end of the narrative; yet, they ‘reinforce romance itself as a source of humor whether through parody, satire or farce’. See Lyden. ‘Romantic Comedies’ 179. Many of the romantic comedies made in the 1960s and 1970s thus emphasise the continual importance of tone to this type of love story. In his detailed analysis of this period, Rubinfeld concluded that Private Benjamin (Howard Zeiff, 1980) was the last successful romantic comedy of the time, which was recognised due to the protagonist’s ‘self-actualization through uncou- pling’. See Rubinfeld. Bound to Bond . 153. Although many romantic comedies produced during this period did not conclude with a union, companionate love remains foregrounded as the central protagonists question the role that finding a suitable companion plays in society. It shuns the model of passion, whereby one may instantly meet their true love as an idealistic construct. 83 . Thomas Schatz. Hollywood Genres: Formulas, Filmmaking and the Studio System. New York: McGraw-Hill, 1981: 35. 84 . Cavell. Pursuits of Happiness . 84; Hilary Radner. ‘ Le Divorce : Romance, Separation and Reconciliation’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 208. London: I. B. Tauris, 2009; Lyden. ‘Romantic Comedies’ 189. 85 . Cavell. Pursuits of Happiness . 18; Rowe. The Unruly Woman . 50. Cavell says of comedies of remarriage that, ‘the woman’s mother is conspicuously absent’. See Cavell. Pursuits of Happiness . 18. 86 . Cavell. Pursuits of Happiness . 137, 84; Voytilla. Myth and the Movies . 210–213. 87 . Lyden. ‘Romantic Comedies’ 181. 88 . Voytilla. Myth and the Movies . 210–213. 89 . Lyden. ‘Romantic Comedies’ 180; Abbott and Jermyn. ‘Introduction’ 2; Rubinfeld highlights that it is ‘aimed at and consumed by audiences who are overwhelmingly white’, although he notes minorities are more repre- sented in recent years. Rubinfeld. Bound to Bond . xvi. 90 . Abbott and Jermyn. ‘Introduction’ 2. 91 . See, for example, Margaret Tally. ‘Something’s Gotta Give : Hollywood, Female Sexuality and the “Older Bird” Chick Flick’ in Chick Flicks: Contemporary Women at the Movies , edited by Suzanne Ferriss and Mallory Young. New York: Routledge, 2008; Karen Bowdre. ‘Romantic Comedies and the Raced Body’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 105–116. London: I. B. Tauris, 2009; Tamar Jeffers McDonald. ‘Homme-Com: Engendering Change in Contemporary Romantic Comedy’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn. London: I. B. Tauris, 2009; Deborah A. Moddelmog. ‘Can Romantic Comedy Be Gay? Hollywood Romance, Citizenship and Same-Sex Marriage Panic’ J ournal of Film and Television 36, no. 4 (Winter 2009). Notes 115

92 . Neale. ‘Questions of Genre’ 65.

1 Passionate Love in Hollywood and the Romantic Drama Genre

1 . Mark D. Rubinfeld. Bound to Bond: Gender, Genre and the Hollywood Romantic Comedy. Westport, Connecticut: Praeger, 2001: 178. Rubinfeld’s italics. He suggests that ‘the romance and the musical’ no longer hold prominence in Hollywood (here, Rubinfeld uses the term ‘romance’ where I would use ‘romantic drama’). 2 . Figures: Box Office Mojo . ‘All Time Box Office’ November 2010. Accessed 1 November 2010. boxofficemojo.com/alltime. When adjusted for inflation in domestic total gross Titanic was placed sixth (US$943,342,300). 3 . Laurent Jullier. Hollywood et la difficulté d’aimer. Paris: Editions Stock, 2004; Jean-Loup Bourget. ‘Romantic Dramas of the Forties: An Analysis’ Film Comment 10, no. 1 (January/February 1974): 46–51; Catherine L. Preston. ‘Hanging on a Star: The Resurrection of the Romance Film in the 1990s’ in Film Genre 2000: New Critical Essays , edited by Wheeler Winston Dixon, 227–243. Albany: State University of New York Press, 2000; Shumway. Modern Love: Romance, Intimacy, and the Marriage Crisis. New York: New York University Press, 2003. 4 . Ralph Cohen. ‘History and Genre’ Neohelicon 13, no. 2 (September 1986): 91. 5 . Mike Featherstone. ‘Love and Eroticism: An Introduction’ Theory, Culture and Society 15, no. 1 (1998): 3. 6 . Cohen. ‘History and Genre’ 92. Furthermore, as Stanley Cavell observes, the broader genre of women’s melodrama, related to the romantic drama, ‘derives from the comedy of remarriage’. Stanley Cavell. Contesting Tears: The Hollywood Melodrama of the Unknown Woman. Chicago: University of Chicago Press, 1996: 5. 7 . Rubinfeld. Bound to Bond . 178; John Mercer and John Shingler. Melodrama: Genre, Style, Sensibility. London: Wallflower Press, 2004. Steve Neale has said that the term ‘romantic melodrama’ has been quite uncommon in the marketing of films, and scholars do not really use this term in their references, perhaps for this reason. See Steve Neale. ‘Melo Talk: On the Meaning and Use of the Term “Melodrama” in the American Trade Press’ The Velvet Light Trap , no. 32 (Fall 1993): 73–74. 8 . Bourget. ‘Romantic Dramas of the Forties’; James J. Dowd and Nicole R. Pallotta. ‘The End of Romance: Demystification of Love in the Post- Modern Age’ Sociological Perspectives 43, no. 4 (2000): 549–580; Preston. ‘Hanging on a Star’. 9 . For example, Box Office Mojo and Wikipedia are popular sites that use the term ‘romantic drama’ in their categorisation process. Box Office Mojo . ‘ Romantic Drama: 1980-Present’ April 2012. Accessed 12 April 2012. boxofficemojo.com/genres/chart/?id=romanticdrama. 116 Notes

htm; Wikipedia . ‘Category: American Romantic Drama Films’ Last modified 16 August 2010. Accessed 11 October 2010. en.wiki /Category:American_romantic_drama_films. 10 . See Steve Neale. Genre and Hollywood. London: Routledge, 2000: 14, 28, 197, 212, 204; Neale. ‘Melo Talk’ 73–74. 11 . Deborah Thomas. Beyond Genre: Melodrama, Comedy and Romance in Hollywood Films. Moffat: Cameron and Hollis, 2000. 12 . See John C. Lyden. Myths, Morals and Rituals: Film as Religion. New York: New York University Press, 2003: 164–178. Lyden says that melo- drama ‘came to mean a drama with a certain emotional effect on the viewer ... Over time, however, its meaning narrowed to be focused prima- rily on sentimental films directed towards female viewers that featured narratives about women and their sufferings’. See also Tania Modleski. ‘Time and Desire in the Woman’s Film’ Cinema Journal 23, no. 3 (Spring 1984): 24. Modleski states, ‘Women in melodrama almost always suffer the pains of love and death [ ... ] while their husbands, lovers and chil- dren remain partly, or totally unaware of their experience’. 13 . An Affair to Remember is mentioned in Raphaëlle Moine. Cinema Genre. Malden: Blackwell, 2008: 119–120. She observes that the film begins in the style of a screwball comedy with the courtship and becomes melodra- matic partway through due to tragic circumstances. Annie Hall is noted in Dowd and Pallotta. ‘The End of Romance’ 561; Moonstruck is exam- ined by Kathleen Rowe. ‘Comedy, Melodrama and Gender: Theorising the Genres of Laughter’ in Classical Hollywood Comedy , edited by Kristine Brunovska Karnick and Henry Jenkins, 52–56. New York: Routledge, 1995. 14 . Janet Staiger. ‘Hybrid or Inbred: The Purity Hypothesis and Hollywood Genre History’ in Film Genre Reader 3 , edited by Barry Keith Grant, 185–195. Austin: University of Texas Press, 2003. 15 . Jeanine Basinger. A Woman’s View: How Hollywood Spoke to Women 1930–1960. London: Chatto and Windus, 1993: 8. 16 . Neale’s and Jancovich’s assertion that romance has a low cultural currency applies here. See Steve Neale. ‘Questions of Genre’ Screen 31, no. 1 (Spring 1990): 47; Mark Jancovich. ‘Genre and the Audience: Genre Classifications and the Cultural Distinctions in the Mediation of Silence of the Lambs ’ in Hollywood Spectatorship: Changing Perceptions of Cinema Audiences , edited by Melvyn Stokes and Richard Maltby, 34. London: BFI, 2001. 17 . Basinger. A Woman’s View . 9. 18 . Kathleen Rowe. ‘Comedy, Melodrama and Gender: Theorising the Genres of Laughter’ 50. 19 . Basinger describes the woman’s film as having a ‘woman at the center of the universe’, A Woman’s View . 20, 25. Haskell similarly describes it as ‘the woman – a woman – is at the center of the universe’. See Molly Haskell. From Reverence to Rape: The Treatment of Women in the Movies 2nd edn. Chicago: University of Chicago Press, 1987: 156. Notes 117

20 . Janet Staiger. ‘The First Bond Who Bleeds, Literally and Metaphorically’ in Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema , edited by Hilary Radner and Rebecca Stringer, 16. New York: Routledge, 2011. Staiger briefly mentions Casablanca as an example; Janet Staiger. ‘Film Noir as Male Melodrama: The Politics of Film Genre Labeling’ in The Shifting Definitions of Genre: Essays on Labeling Films, Television Shows and Media , edited by Lincoln Geraghty and Mark Jancovich, 71–91. Jefferson, N. C.: McFarland and Company, 2008. 21 . Staiger, ‘The First Bond Who Bleeds, Literally and Metaphorically’ 16. 22 . Robert C. Solomon. About Love: Reinventing Romance for Our Times. Indianapolis: Hackett Publishing Company, 2006: 103. 23 . Rowe. ‘Comedy, Melodrama and Gender’ 45–46. Rowe says ‘Comedy often mocks the masculinity that tragedy ennobles’ (45). 24 . Robin Wood. ‘Ideology, Genre, Auteur’ in Film Theory and Criticism: Introductory Readings , edited by Gerald Mast, Marshall Cohen and Leo Braudy, 477. New York: Oxford University Press, 1992. 25 . Wood. ‘Ideology, Genre, Auteur’ 477. 26 . Stanley Cavell. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Cambridge: Harvard University Press, 1981: 82. 27 . The idea of the ‘sheltered woman’ is relative. In comparison to the women of the western genre, these women are far more independently represented. It is important to acknowledge that because the ‘hero’ is collective in romantic dramas, (that is to say, the male and the female are equally important to the narrative), that they are far better off than their counterparts in genres that fall under Schatz’s ‘Rites of Order’ category. See Schatz. Hollywood Genres . However, when compared to the romantic comedy, the ‘comedy of equality’, the female character is often presented as less independent-minded. See Cavell. Pursuits of Happiness . 82. 28 . Dowd and Pallotta also note that this sacrifice is ‘in order for social order to be re-established’. See Dowd and Pallotta. ‘The End of Romance’ 552. 29 . Anthony Giddens. The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Societies. Stanford: Stanford University Press, 1992: 38. 30 . Shumway. Modern Love . 96. 31 . Dark Victory , directed by Edmund Goulding (1939; Burbank, CA: Turner Entertainment, 2005), DVD. 32 . Wood. ‘Ideology, Genre, Auteur’ 477. 33 . Shumway. Modern Love . 96. 34 . Wood. ‘Ideology, Genre, Auteur’ 476–477. 35 . Ian Gordon. ‘Nostalgia, Myth, and Ideology: Visions of Superman at the End of the “American Century”’ in Comics and Ideology , edited by Matthew P. McAllister and others, 1010. New York: Peter Lang, 2001. 36 . See also Dowd and Pallotta. ‘The End of Romance’ 552. 37 . David Lowenthal. The Past Is a Foreign Country. Cambridge: Cambridge University Press, 1985. 118 Notes

38 . Helen E. Fisher. Anatomy of Love: The Natural History of Monogamy, Adultery and Divorce. New York: W. W. Norton and Company, 1992: 48. 39 . See Cavell. Pursuits of Happiness . 49; Katharina Giltre. Hollywood Romantic Comedy: States of Union 1934–1965. Manchester: Manchester University Press, 2006. 40 . Basinger. A Woman’s View . 8. 41 . Basinger. A Woman’s View . 8. 42 . Unlike Basinger’s description, in the romantic drama, the couples’ intense passion tends to be longer than ‘a brief period of time’ and is linked to the exotic setting rather than a quick visual montage. 43 . Shumway. Modern Love . 112. See also Mary Ann Doane. The Desire to Desire: The Woman’s Film of the 1940s. Bloomington: Indiana University Press, 1987: 96–97. 44 . Shumway. Modern Love . 112. 45 . Tamar Jeffers McDonald. Romantic Comedy: Boy Meets Girl Meets Genre . London: Wallflower, 2007; Kristine Brunovska Karnick. ‘Commitment and Reaffirmation in Hollywood Romantic Comedy’ in Classical Hollywood Comedy , edited by Kristine Brunovska Karnick and Henry Jenkins, 123–146. New York: Routledge, 1995; Deborah A. Moddelmog. ‘Can Romantic Comedy Be Gay? Hollywood Romance, Citizenship and Same-Sex Marriage Panic’ Journal of Film and Television 36, no. 4 (Winter 2009): 162–172; Stacey Abbott and Deborah Jermyn. ‘Introduction: A Lot Like Love’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 1–8. London: I. B. Tauris, 2009. 46 . For example, the genders are interchangeable and vary from film to film; rather than ‘boy meets girl’, sometimes the female protagonist meets the male protagonist. 47 . See Cavell. Pursuits of Happiness . 84, 172. 48 . Cavell. Contesting Tears . 10. 49 . Robert Brown. Analysing Love. Cambridge: Cambridge University Press, 1987: 80. He notes that ‘blind infatuation’ is ‘based on unconscious wishes and desires’. 50 . Stevi Jackson. ‘Women and Heterosexual Love: Complicity, Resistance and Change’ in Romance Revisited , edited by Lynne Pearce and Jackie Stacey, 53. London: Lawrence and Wishart, 1995. 51 . Shumway. Modern Love . 95. 52 . Giddens. The Transformation of Intimacy . 37. 53 . See Cavell. Pursuits of Happiness . 84, 172; Stuart Voytilla. Myth and the Movies: Discovering the Mythic Structure of 50 Unforgettable Films . Michael Wiese Productions: Studio City, 1999: 212. 54 . Dowd and Pallotta. ‘The End of Romance’ 552. 55 . In their analysis of romance genres, Dowd and Pallotta suggest that there are only two forms of impediment: the love triangle and the differences in background. See Dowd and Pallotta. ‘The End of Romance’ 562. 56 . Fisher. Anatomy of Love . 48. Notes 119

57 . According to Rowe, the woman in a melodrama can ‘triumph only in her suffering’. Rowe. ‘Comedy, Melodrama and Gender’ 41, 45. As mentioned above, this type of suffering is not restricted to the woman in romantic dramas and in many instances, the man suffers in the same way. 58 . See, for example, Vincent Brümmer. The Model of Love: A Study in Philosophical Theology. Cambridge: Cambridge University Press, 1993: 83–102; Featherstone. ‘Love and Eroticism’ 2; Mary-Lou Galician. Sex, Love and Romance in the Mass Media: Analysis and Criticism of Unrealistic Portrayals and the Influence. Mahwah: Lawrence Erlbaum Associates, 2004; Jonathan Gathorne-Hardy. Love, Sex, Marriage and Divorce . London: Triad Paladin, 1983: 123. 59 . Love Story , directed by Arthur Hiller (1970; Hollywood, CA: Paramount Home Entertainment, 2007), DVD. 60 . Giddens. The Transformation of Intimacy . 38. 61 . Cavell. Contesting Tears . 6, 11. 62 . Haskell. From Reverence to Rape . 156. 63 . Virginia Wright Wexman. Creating the Couple: Love, Marriage and Hollywood Performance. Princeton: Princeton University Press, 1993: 3. 64 . Robert J. Sternberg. ‘A Triangular Theory of Love’ Psychological Review 93, no. 2 (1986): 124. 65 . Torben Grodal. ‘Love and Desire in the Cinema’ Cinema Journal 43, no. 2 (Winter 2004): 29. 66 . Allan Bloom. Love and Friendship. New York: Simon and Schuster, 1993: 281. 67 . In the heroine’s voiceover narration, she reflects, using an extract from William Wordsworth. Ode: Intimations of Immorality. Great Britain: Simon King, 1991: 1807. Using Wordsworth’s words, she keeps the memory of their love alive, even if she is no longer in a relationship with the hero. Furthermore, the hero’s marriage is portrayed as lacking in passion, strengthening the heroine’s final words. 68 . Intermezzo: A Love Story , directed by Gregory Ratoff (1939; Santa Monica, CA: Metro Goldwyn Mayer Home Entertainment, 2004), DVD. The French script read, ‘Mon amour dure après la mort’, and the hero tells the heroine, ‘That was written for us’. See Intermezzo: A Love Story , directed by Gregory Ratoff, DVD. 69 . Maria Lauret. ‘Hollywood Romance in the Aids Era: Ghost and When Harry Met Sally ’ in Fatal Attractions: Re-scripting Romance in Contemporary Literature and Film , edited by Lynne Pearce and Gina Wisker, 29. London: Pluto Press, 1998. 70 . Lauret. ‘Hollywood Romance in the Aids Era’ 22. 71 . Love Story , directed by Arthur Hiller, DVD. 72 . All taglines sourced from IMDb.com . 1990–2010. Accessed 27 October 2010. imdb.com. 73 . See, for example, W. F. R. Hardie. ‘Aristotle’s Treatment of the Relation between the Soul and the Body’ The Philosophical Quarterly 14, no. 54 (January 1964): 67. 120 Notes

74 . Somewhere in Time , directed by Jeannot Szwarc (1980; Universal City, CA: Universal Home Video, 2000), DVD. 75 . Intermezzo: A Love Story , directed by Gregory Ratoff, DVD. 76 . Diane Ackerman. A Natural History of Love. New York: Vintage Books, 1995: 12. 77 . Cameron. ‘Commentary’ disc 2. 78 . A Walk to Remember , directed by Adam Shankman (2002; Burbank, CA: Warner Home Video, 2003), DVD. 79 . For a discussion of the significance of letters in films such as these, see Teri Higgins. ‘Attention to Detail: Epistolary Discourse and Contemporary Cinema’ PhD diss., University of Otago, 2013. 80 . Peter L. Allen, The Art of Love: Amatory Fiction from Ovid to the Romance of the Rose. Philadelphia: University of Pennsylvania Press, 1982: 3. 81 . Grodal. ‘Love and Desire in the Cinema’ 28. 82 . Ralph Harper. Human Love: Existential and Mystical . Baltimore: John Hopkins Press, 1966: 49. 83 . Maureen Turim. Flashbacks in Film: Memory and History. New York: Routledge, 1989: 12. 84 . City of Angels , directed by Brad Silberling (1998; Pyrmont, NSW: Warner Home Video, 2000), DVD. 85 . Staiger. ‘The First Bond Who Bleeds, Literally and Metaphorically’ 19–20. She makes brief reference to Casablanca and Titanic , but this idea spreads across romantic dramas. 86 . The theme of nostalgia works with the emotional tendency of passionate love and coincides with Clifford Geertz’s understanding of nostalgia, wherein ‘ideologies transform sentiment into significance’. See Clifford Geertz. Interpretation of Cultures: Selected Essays . New York: Basic Books, 1973: 207. 87 . Turim also highlights the many ways in which the flashback is utilised, referring to the work of Roland Barthes. For example, it can be a ‘quest for an answer’; ‘to delay the answer of a question’; or ‘to provide some sort of scientific knowledge’. Providing insight into characters is one of the uses of the flashback as identified in Turim. Flashbacks in Film . 1, 11–12. 88 . Titanic , directed by James Cameron (1997; Moore Park, NSW: Twentieth Century Home Entertainment, 2005), DVD. 89 . Susan Stewart’s research reinforces this, as she argues that nostalgia prioritises the past as genuine over the present. Susan Stewart. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Baltimore: John Hopkins University Press, 1984: 23. Also observed in Gordon. ‘Nostalgia, Myth, and Memory’ 1010. 90 . Lowenthal. The Past Is a Foreign Country . 194. 91 . Turim. Flashbacks in Film . 2. 92 . Barry Keith Grant. Film Genre: From Iconography to Ideology. London: Wallflower, 2007: 24–28. 93 . See, for example, Featherstone. ‘Love and Eroticism’ 1–18. Notes 121

94 . For example, Cavell dubs the classical Hollywood model of romantic comedy, the ‘comedy of equality’. Cavell. Pursuits of Happiness . 82.

2 Passionate Love in Early Hollywood Romantic Dramas

1 . Sometimes referred to as The Kiss or The Rice-Irwin Kiss . 2 . Thomas Schatz. ‘Wartime Stars, Genres, and Production Trends’ in Boom and Bust: The American Cinema in the 1940s , edited by Thomas Schatz, vol. 6, 206. New York: Simon and Schuster Macmillan, 1997. 3 . Patrick Colm Hogan. The Mind and Its Stories: Narrative Universals and Human Emotions . Cambridge: Cambridge University Press, 2003: 101–110, 232. See also David R. Shumway. Modern Love: Romance, Intimacy, and the Marriage Crisis . New York: New York University Press, 2003. 4 . Hogan. The Mind and Its Stories . 232. 5 . Stanley Cavell. Pursuits of Happiness: The Hollywood Comedy of Remarriage . Cambridge: Harvard University Press, 1981: 142–145, 153–154, 156, 261. 6 . Mike Featherstone. ‘Love and Eroticism: An Introduction’ Theory, Culture and Society 15, no. 1 (1998): 3. Also see James J. Dowd and Nicole R. Pallotta. ‘The End of Romance: Demystification of Love in the Post- Modern Age’ Sociological Perspectives 43, no. 4, (2000): 551. 7 . This myth is known by several titles, owing to the variation in the lovers’ names – Tristan is often cited as Tristram and Isolde as Iseult or Yseult. Usually both lovers die; however, it varies from version to version. 8 . See, for example, Denis de Rougemont. Passion and Society . translated by Montgomery Belgion, revised and augmented edn.. London: Farber and Farber, 1962; Laurence Lerner. Love and Marriage : Literature and Its Social Context . London: Edward Arnold, 1979; Shumway. Modern Love . 9 . See Robert J. Sternberg. Cupid’s Arrow: The Course of Love through Time . New York: Cambridge University Press, 1998: 75; Dowd and Pallotta. ‘The End of Romance’ 552. 10 . Andreas Capellanus. The Art of Courtly Love . Translated by John Jay Parry, 185. New York: Ungar, 1959. 11 . Anthony Giddens. The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Societies . Stanford: Stanford University Press, 1992: 39. 12 . Robert J. Sternberg. ‘A Triangular Theory of Love’ Psychological Review 93, no. 2 (1986): 124. 13 . See Daniel Rosenthal. 100 Shakespeare Films . London: BFI, 2007. 14 . Theatrical Trailer for Wuthering Heights , directed by William Wyler (1939; United States: HBO Home Video, 1997), DVD. 15 . Tagline sourced from IMDb.com . 1990–2010. Accessed 27 October 2010. imdb.com. 16 . Theatrical Trailer for Camille , directed by George Cukor (1936; Burbank, CA: Warner Home Video, 2005), DVD. 17 . Rosenthal. 100 Shakespeare Films . 227. 122 Notes

18 . See, for example, Ralph Dengler. ‘The First Screen Kiss and “The Cry of Censorship”’ Journal of Popular Film and Television 7, no. 3 (1979): 266–272. Dengler suggests that the response to the kiss was varied. 19 . See, for example, Amy Lawrence. ‘Rudolph Valentino: Italian American’ in Idols of Modernity: Movie Stars of the 1920s, edited by Patrice Petro . New Brunswick: Rutgers University Press, 2010: 93. 20 . Emily W. Leider. Dark Lover: The Life and Death of Rudolph Valentino . New York: Faber and Faber, 2003: 162–166. 21 . Thomas Schatz. Hollywood Genres: Formulas, Filmmaking and the Studio System . New York: McGraw-Hill, 1981: 95–99. 22 . Schatz. Hollywood Genres . 95–96. Direct quotation comes from the ‘“General Principles” of the MPPDA’s Production Code’, cited in Schatz. Hollywood Genres . 95. 23 . Erica Todd. ‘Pépé le Moko, Cinematic Appropriations and the Passionate Love Story’ in Creative Imitations, and Appropriations: From Cinematic Adaptations to Re-makes , Research Colloquium Select Refereed Papers, edited by Erica Todd, Clément Da Gama, Ellen Pullar and Hilary Radner, 82–83. Dunedin: Centre for Research on National Identity, 2011. 24 . Molly Haskell. From Reverence to Rape: The Treatment of Women in the Movies 2nd edn. Chicago: Chicago University Press, 1987, 94. 25 . Kathleen Rowe. The Unruly Woman: Gender and the Genres of Laughter . Austin: University of Texas Press, 1992: 19. 26 . See Ramona Curry. ‘Mae West, Film Censorship and the Comedy of Unmarriage’ in Classical Hollywood Comedy , edited by Kristine Brunovska Karnick and Henry Jenkins, 211–237. New York: Routledge, 1995. 27 . Curry. ‘Mae West, Film Censorship and the Comedy of Unmarriage’ 216. 28 . Curry. ‘Mae West, Film Censorship and the Comedy of Unmarriage’ 213, 217. 29 . Curry. ‘Mae West and Film Censorship and the Comedy of Unmarriage’ 213, 235, 232–233. 30 . Haskell. From Reverence to Rape . 117–118. 31 . See, for example, Karen Lury. The Child in Film: Tears, Fears and Fairy Tales . London: I. B. Tauris, 2010: 59–64. 32 . Todd. ‘Pépé le Moko, Cinematic Appropriations and the Passionate Love Story’ 82. 33 . Russell Campbell. ‘Prostitution and Film Censorship in the USA’ Screening the Past (1997). Accessed 24 February 2012. latrobe.edu.au/ screeningthepast/firstrelease/firdec/Campbell.html. 34 . Frank Walsh. Sin and Censorship: The Catholic Church and the Motion Picture Industry . New Haven: Yale University, 1996: 170–171. 35 . See Marilyn Coleman, Lawrence H. Ganong and Kelly Warznick. Family Life in 20th-Century America . Greenwood Press: Westport, 2007: 18. 36 . See Laurent Jullier. Hollywood et la difficulté d’aimer . Paris: Editions Stock, 2004: 189. Jullier points out that Rick represents eros and Victor signifies agape . See also Ashton D. Trice and Samuel Holland, Heroes, Antiheroes Notes 123

and Dolts: Portrayals of Masculinity in American Popular Film . Jefferson: McFarland, 2001: 71. Trice and Holland suggest that Victor loves Ilsa passionately, which is possible, although not entirely evident. 37 . Robert Ray. A Certain Tendency of the Hollywood Cinema, 1930–1980 . Princeton: Princeton University Press, 1985: 93–98. 38 . Richard Maltby. ‘Narrative 2: Clarity and Ambiguity in Casablanca’ in Hollywood Cinema 2nd edn. Malden: Blackwell, 2003, 479. 39 . James Card. ‘Confessions of a Casablanca Cultist’ in The Cult Film Experience: Beyond All Reason , edited by J. P. Telotte, 72. Austin: University of Texas Press, 1991. 40 . In the play, Rick tells Lois (Ilsa) to stay with him. Murray Burnett and Joan Alison. Everybody Comes to Rick’s (unpublished play), (property of Warner Brothers, Burbank, California, n.d.), 2.1.12. References are to act, scene, and page. 41 . Clayton R. Koppes. ‘Regulating the Screen: The Office of War Information and the Production Code Administration’ in Boom and Bust: The American Cinema in the 1940s , edited by Thomas Schatz, vol. 6, 262. New York: Simon and Schuster Macmillan, 1997. See also Rick Altman. Film/Genre . London: BFI Publishing, 1999: 109. 42 . Schatz. ‘Wartime Stars, Genres, and Production Trends’ 204. 43 . Schatz. ‘Wartime Stars, Genres, and Production Trends’ 204. 44 . See for example, Sternberg. ‘A Triangular Theory of Love’ 120. 45 . Casablanca , directed by Michael Curtiz (1942; Pyrmont, NSW: Warner Home Video, 2003), DVD. 46 . Dowd and Pallotta. ‘The End of Romance’ 552. Some passionate love stories use the sacrifice as more of a romantic and noble gesture like Intermezzo: A Love Story . 47 . John H. Davis. ‘“Still the Same Old Story”: The Refusal of Time to Go By in Casablanca’ Literature/Film Quarterly 18, no. 2 (1990): 123. 48 . For more on the western hero, see for example Robert Warshow. ‘Movie Chronicle: The Westerner’ in The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture , 135–154. New York: Atheneum, 1971; John Saunders. The Western Genre: From Lordsburg to Big Whiskey . London: Wallflower Press, 2001; Will Wright. Six Guns and Society: A Structural Study of the Western . Berkeley: University of California Press, 1975. 49 . Haskell. From Reverence to Rape . 120. Also discussed by other genre scholars, such as Schatz. ‘Wartime Stars, Genres, and Production Trends’ 204. 50 . Anthony Slide. Silent Players: A Biographical and Autobiographical Study of 100 Actors and Actresses . Lexington: The University Press of Kentucky, 2002: 216. 51 . See, for example, Alistair Phillips. ‘Boyer, Charles (1899–1978)’ in Journeys of Desire: European Actors in Hollywood, a Critical Companion , edited by Alistair Phillips and Ginette Vincendeau, 186. London: BFI, 2006; Todd. ‘Pépé le Moko, Cinematic Appropriations and the Passionate Love Story’ 83. 124 Notes

52 . The Sheik , directed by George Melford, DVD. 53 . Burnett and Alison. Everybody Comes to Rick’s 2.1.7. See also Schatz. ‘Wartime Stars, Genres, and Production Trends’ 203. 54 . Casablanca , directed by Michael Curtiz, DVD. 55 . As noted in Haskell. From Reverence to Rape . 213. Ray. A Certain Tendency of the Hollywood Cinema explores the Western correlation thoroughly. 56 . See, for example, Roland Barthes. A Lover’s Discourse , translated by Richard Howard. New York: Hill and Wang, 1978. Roland Barthes has argued that a man suffering from love is often feminised. See also Shumway. Modern Love . 110. 57 . For a more detailed discussion of ‘fallen men’, see Janet Staiger. ‘The First Bond Who Bleeds, Literally and Metaphorically’ in Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema , edited by Hilary Radner and Rebecca Stringer, 16. New York: Routledge, 2011. Janet Staiger. ‘Film Noir as Male Melodrama: The Politics of Film Genre Labeling’ in The Shifting Definitions of Genre: Essays on Labeling Films, Television Shows and Media , edited by Lincoln Geraghty and Mark Jancovich, 71–91. Jefferson, N. C.: McFarland and Company, 2008. 58 . Trice and Holland. ‘Casablanca’ 54. 59 . Dennis Bingham. Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson and Clint Eastwood . New Brunswick, N. J. Rutgers University Press, 1994: 221. 60 . Casablanca , directed by Michael Curtiz, DVD. 61 . Bingham. Acting Male . 171. 62 . The Sheik , directed by George Melford (1921; Chatsworth, CA: Image Entertainment, 2002), DVD. 63 . The Sheik , directed by George Melford, DVD. 64 . Ella Shohat. ‘Gender and Culture of Empire: Toward a Feminist Ethnography of Cinema’ in Visions of the East: Orientalism in Film , edited by Matthew Bernstein and Gaylyn Studlar, 55. London: I. B. Tauris, 1997. 65 . Barry Keith Grant. Film Genre: From Iconography to Ideology . London: Wallflower, 2007: 26. 66 . Robin Wood. ‘Ideology, Genre, Auteur’ in Film Theory and Criticism: Introductory Readings , edited by Gerald Mast, Marshall Cohen and Leo Braudy, 477. New York: Oxford University Press, 1992. 67 . Burnett and Alison. Everybody Comes to Rick’s . For example, in the play, Lois (Ilsa) uses Rick to get exit visas, leading Rick to exclaim ‘You bitch!’ (Everybody Comes to Rick’s , 2.1.17). The Sam character also says to Rick about Lois, ‘Dat woman jos’ breathes trouble’ (2.2.20). 68 . Schatz. ‘Wartime Stars, Genres and Production Trends’ 203. 69 . Romantic heroines do have a more active position when compared to women in more masculine genres such as the western or gangster, where women are presented as flatter characters – either the good wife or mother, or the sexually promiscuous barmaid (see, for example, Schatz. Hollywood Genres . 51–56). They are frequently a catalyst and motive for Notes 125

the action. Yet, in comparison to women in romantic comedies, their agency is lacking and does reaffirm particular cultural beliefs. This is not a point lost on feminist film scholars. Haskell, notes, for example; ‘Throughout the history of films, and the forties were no exception, women have been subsidiary to the action [ ... ] this has been true even of those films in which they have been romantically central’. See Haskell. From Reverence to Rape . 202. 70 . Ora Gelley. ‘Ingrid Bergman’s Star Persona and the Alien Space of Stromboli’ Cinema Journal 47, no. 2 (Winter 2008): 29. 71 . Gelley. ‘Ingrid Bergman’s Star Persona’ 34. 72 . David Denby. ‘The Natural’ review of Notorious: The Life of Ingrid Bergman, by Donald Spoto, New Yorker , 28 July 1997: 72. Quoted in Gelley. ‘Ingrid Bergman’s Star Persona’ 36. In the original text, Gelley had written ‘Charles Cooper’, which I have taken to be a mistake for ‘Gary Cooper’. 73 . Gelley highlights this change in view in films like Dr. Jekyll and Mr. Hyde (Victor Fleming: 1941) where Bergman was able to convey ‘sexual sophistication’; Gelley remarks that films such as those of Alfred Hitchcock in which Bergman starred ( Spellbound in 1945 and Notorious in 1946) emphasised the sexualisation of her face through close-up shots, as well as of her body in the latter film in particular. Gelley. ‘Ingrid Bergman’s Star Persona’ 31–33. Notably, when Bergman engaged in an affair in her private life with director Roberto Rossillini, her career was damaged due to the deviation from her prescribed star persona. See, for example, Gelley. ‘Ingrid Bergman’s Star Persona’ 26; David W. Smit. ‘Marketing Ingrid Bergman’ Quarterly Review of Film and Video 22, no. 3 (July–September 2005): 237. Gelley. ‘Ingrid Bergman’s Star Persona’ 31–33. 74 . Featherstone. ‘Love and Eroticism’ 8. See also Sternberg. ‘A Triangular Theory of Love’ 119. Sternberg specifies ‘physical attraction’ as an impor- tant part of passion. 75 . Lucy Fischer and Marcia Landy. ‘General Introduction: Backstory’ Stars: The Film Reader , edited by Lucy Fischer and Marcia Landy, 5. New York: Routledge, 2004. 76 . Pandro S. Berman, quoted in Koppes. ‘Regulating the Screen’ 263. Koppes’ italics. 77 . Haskell. From Reverence to Rape . 12. 78 . Hedy Lamarr’s ‘glamorous’ persona is discussed in Tim Bergfelder. ‘Lamarr, Hedy (Hedwig Kiesler) (1913–2000)’ in Journeys of Desire: European Actors in Hollywood, a Critical Companion , edited by Alistair Phillips and Ginette Vincendeau. London: BFI, 2006: 327–328. See also Todd. ‘Pépé le Moko Cinematic Appropriations and the Passionate Love Story’ in Creative Imitations, and Appropriations , 83. 79 . Broken Blossoms , directed by D. W. Griffith (1919; New York: Kino, 2001), DVD. 80 . See also Shumway. Modern Love . 116. 126 Notes

81 . The Sheik , directed by George Melford, DVD. 82 . Casablanca , directed by Michael Curtiz, DVD. 83 . Sarah Berry. ‘Hollywood Exoticism’ in Stars: The Film Reader , edited by Lucy Fischer and Marcia Landy, 189, 194. New York: Routledge, 2004. 84 . Ian C. Jarvie. ‘Stars and Ethnicity: Hollywood and the United States 1932–1951’ in Stars: The Film Reader , edited by Lucy Fischer and Marcia Landy, 175. New York: Routledge, 2004. 85 . See for example: James C. Robertson. The Casablanca Man: The Cinema of Michael Curtiz . London: Routledge, 1993: 77; Schatz. ‘Wartime Stars, Genres and Production Trends’ 203. See also, Burnett and Alison. Everybody Comes to Rick’s . 86 . See, for example, Matthew Bernstein. ‘Introduction’ in Visions of the East: Orientalism in Film , edited by Matthew Bernstein and Gaylyn Studlar, 1–18. London: I. B. Tauris, 1997. 87 . Ray. A Certain Tendency of the Hollywood Cinema . 89. 88 . Leider. Dark Lover . 158. 89 . Colin McArthur. The Casablanca File . London: Half Brick Images, 1992: 9. 90 . ‘Original Theatrical Trailer’ Casablanca , DVD. 91 . IMDb.com . 1990–2010. Accessed 27 October 2010. imdb.com. 92 . The Sheik , directed by George Melford, DVD. 93 . Casablanca , directed by Michael Curtiz, DVD. 94 . Schatz. ‘Wartime Stars, Genres, and Production Trends’ 204. 95 . See for example, James F. Pontusco, ed. Political Philosophy Comes to Rick’s: Casablanca and American Civic Culture . Lanham, M. D.: Lexington, 2005. 96 . Elaine Hatfield and Susan Sprecher. ‘Measuring Passionate Love in Relationships’ Journal of Adolescence 9 (1986): 395. 97 . Todd. ‘Pépé le Moko Cinematic Appropriations and the Passionate Love Story’ 82. 98 . Casablanca , directed by Michael Curtiz, DVD. 99 . Casablanca , directed by Michael Curtiz, DVD. 100 . Ruth Perlmutter. ‘Memories, Screens, Dreams’ Quarterly Review of Film and Video 22, no. 2 (April–June 2005): 125. 101 . T. J. Ross. ‘The Cult Send-Up: Beat the Devil or Goodbye, Casablanca’ in The Cult Film Experience: Beyond All Reason , edited by J. P. Telotte, 81. Austin: University of Texas Press, 1991. 102 . Greg Smith. ‘“I Was Misinformed”: Nostalgia and Uncertainty in Casablanca’ in Film Structure and the Emotion System , 164. Cambridge: New York University Press, 2003. 103 . American Film Institute . ‘AFI’s 100 Years ... 100 Movie Quotes’ June 2005. Accessed 25 October 2010. connect.afi.com/site/DocServer/quotes100. pdf. 104 . The ranking of these quotes were fifth, forty-third and twenty-eighth respectively. See also Casablanca , directed by Michael Curtiz, DVD. 105 . As satirised by director Herbert Ross and star Woody Allen in the film of the same name. 106 . Susannah Radstone. ‘Reconceiving Binaries: The Limits of Memory’ History Workshop Journal 59 (2005): 138. Notes 127

107 . American Film Institute . ‘AFI 100 Years ... 100 Passions: America’s Greatest Love Stories’ 11 June 2002. Accessed 7 April 2008. connect.afi.com/site /DocServer/passions100.pdf?docID=248. 108 . Umberto Eco. ‘Casablanca or the Clichés Are Having a Ball’ in On Signs , edited by Marshall Blonsky, 38. Oxford: Blackwell, 1985. 109 . Todd. ‘Pépé le Moko, Cinematic Appropriations and the Passionate Love Story’ 84–85.

3 Passionate Love in Hollywood Romantic Dramas 1950s–1970s

1. The Paramount Decision is a significant turning point in cinema history. As scholars such as Schatz note, prior to this decision, five major and three minor studios owned the majority of the ‘first-run’ movie theatres which lead to two things: firstly, these studios received most of the revenues from the film industry; and secondly, audiences established the ‘general trends of studio production and cinematic expression’ (Schatz, Hollywood Genres, 4–5). Grant discusses that in 1948, the United States Supreme Court ruled that studios had to ‘divest their exhibition chains’ in order to minimise the hold that they had upon the industry (Grant, Film Genre, 9). 2 . The romantic comedy was also in decline during this period. See David R. Shumway. Modern Love: Romance, Intimacy, and the Marriage Crisis. New York: New York University Press, 2003: 107. Shumway observes that, ‘The 1950s and 1960s were relatively weak decades for film comedy’, and that the 1980s was when this genre really picked up again. 3 . The figures were: Doctor Zhivago US$999,290,400 gross adjusted for inflation ($111,721,910 unadjusted); Love Story US$563,485,100 gross adjusted for inflation ($106,397,186 unadjusted). See Box Office Mojo . ‘All Time Box Office: Domestic Grosses Adjusted for Ticket Price Inflation’ April 2013. Accessed 12 April 2012. boxofficemojo.com /alltime/adjusted.htm. 4 . See, for example, Linda Ruth Williams and Michael Hammond. ‘1960s: An Introduction’ in Contemporary American Cinema , edited by Linda Ruth Williams and Michael Hammond, 5–6. London: McGraw-Hill, 2006. 5 . See, for example, Elaine Hatfield and Susan Sprecher. ‘Measuring Passionate Love in Relationships’ Journal of Adolescence 9 (1986): 383–384. 6 . Waterloo Bridge (James Whale, 1931; Mervyn LeRoy, 1940) and Back Street (John M. Stahl, 1932; Robert Stevenson, 1941). 7 . See, for example, Herb Bridges. The Filming of Gone with the Wind. Macon: Mercer University Press, 1998: 3. 8 . Stuart Brock. ‘Fictions, Feelings and Emotions’ Philosophical Studies 132, no. 2 (2007): 229. Brock’s discussion revolves around the general concept of ‘fiction’ rather than cinema specifically; however, his arguments can 128 Notes

include film. He uses David Hume to argue that, ‘The genius in a work of fiction lies not only in the storyline, but also in the resources used to express it’. See Brock. ‘Feelings, Fictions and Emotions’ 229. In the case of these passionate love stories, the visual aesthetics emphasise the emotions. See also David Hume. ‘Of Tragedy’ in Of the Standard of Taste and Other Essays , 219–220. Indianapolis: Bobs-Merrill, 1965. 9 . Robert R. Shandley. Runaway Romances: Hollywood’s Postwar Tour of Europe . Philadelphia: Temple University Press, 2009. 10 . Shandley. Runaway Romances . 11 . John Campbell. ‘Hong Kong Faces a “Many Splendored Thing”’ New York Times (3 April 1955): x5. 12 . Gene Phillips. Beyond the Epic: The Life and Films of David Lean . Lexington, University Press of Kentucky, 2006: 329. 13 . Phillips. Beyond the Epic. 328–329. 14 . Love Is a Many-Splendored Thing , directed by Henry King (1955; Beverly Hills, CA: Twentieth Century Fox Home Entertainment, 2003), DVD. 15 . The Notebook , directed by Nick Cassavetes (2004; Burbank, CA: New Line Home Entertainment, 2005), DVD. 16 . Taglines sourced from IMDb.com . 1990–2010. Accessed 27 October 2010. imdb.com. 17 . Bosley Crowther. ‘Love Is a Few Splendors Shy: Patrick’s Adaptation of Suyin Novel Opens. Hong Kong Scenery Its Chief Excitement’ Review of Love Is a Many-Splendored Thing . New York Times (19 August 1955): 10. 18 . Bosley Crowther. ‘Venice Stars in “Summertime”; Film from “Time of Cuckoo” Opens’ Review of Summertime . New York Times (22 June 1955): 25. 19 . Bosley Crowther. ‘Doctor Zhivago’ Review of Doctor Zhivago . New York Times (23 December 1965): 21. 20 . The Academy of Motion Picture Arts and Sciences . ‘Academy Awards Database: Doctor Zhivago ’ Last modified 2012. Accessed 23 February 2012. awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime =1361884060775. 21 . The Academy of Motion Picture Arts and Sciences . ‘Academy Awards Database: Love Is a Many-Splendored Thing ’ Last modified 2012. Accessed 23 February 2012. awardsdatabase.oscars.org/ampas_awards/DisplayMain. jsp?curTime=1361883886257. 22 . Pam Cook. Screening the Past: Memory and Nostalgia in Cinema . London: Routledge, 2004: 2. 23 . Michael Anderegg. David Lean . Boston: Twayne Publishers, 1984: 123. 24 . See, for example, Robert J. Sternberg. ‘A Triangular Theory of Love’ Psychological Review 93, no. 2 (1986): 24; Anthony Giddens. The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Societies . Stanford: Stanford University Press, 1992. 25 . Cas Wouters. ‘Balancing Sex and Love since the 1960s Sexual Revolution’ in Love and Eroticism , edited by Mike Featherstone, 188. London: Sage, 1999. Notes 129

26 . Tamar Jeffers McDonald. ‘Homme-Com: Engendering Change in Contemporary Romantic Comedy’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 149. London: I. B. Tauris, 2009; Tamar Jeffers McDonald. Romantic Comedy: Boy Meets Girl Meets Genre. London: Wallflower, 2007: 38. 27 . See also Katharina Giltre. Hollywood Romantic Comedy: States of Union 1934–1965 . Manchester: Manchester University Press, 2006. Katharina Giltre reinforces the theme of desire. 28 . See Richard Maltby. ‘Narrative 2: Clarity and Ambiguity in Casablanca ’ in Hollywood Cinema 2nd edn. 479. Malden: Blackwell, 2003, 479. 29 . Gregory D. Black. ‘Changing Perceptions of the Movies: American Catholics Debate Film Censorship’ in Hollywood Spectatorship: Changing Perceptions of Cinema Audiences , edited by Richard Maltby and Melvyn Stokes, 83–84. London: BFI, 2001. 30 . Francesca M. Cancian. ‘The Feminization of Love’ Signs 11, no. 4 (Summer 1986): 704. She also notes that the notion of sex has negative effects, as it is sometimes seen as an abusive tool for men. 31 . Splendor in the Grass , directed by Elia Kazan (1961; Burbank, California: Warner Home Video, 2000), DVD. 32 . See also Stanley Cavell. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Cambridge: Harvard University Press, 1981: 53. Cavell indi- cates that in classical romantic comedies, the father figure (the mother was usually absent) is there to ‘provide the daughter’s education and to protect her virginity’. In films such as The Lady Eve (Preston Sturges, 1941), The Philadelphia Story (George Cukor, 1940) and It Happened One Night (Frank Capra, 1934), the female protagonists often learn valuable lessons about life and relationships from their fathers mirroring tradi- tions of Shakespearean comedies. 33 . Bill Marshall ed. ‘Brigitte Bardot’ in France and the Americas: Culture, Politics and History , vol. 1, 118. Santa Barbara: ABC-CLIO, 2005. 34 . Cas Wouters. Sex and Manners: Female Emancipation in the West, 1890– 2000 . London: Sage Publications, 2004: 124. Wouter’s italics. 35 . Helen Gurley Brown. Sex and the Single Girl . Fort Lee: Barricade, 1962. 36 . Brown. Sex and the Single Girl . 65. Brown’s italics. 37 . Williams and Hammond. ‘The 1960s’ 6. 38 . Steve Neale. ‘The Last Good Thing We Ever Had? Revising the Hollywood Renaissance’ in Contemporary American Cinema , edited by Linda Ruth Williams and Michael Hammond, 96–97. London; Maidenhead: McGraw-Hill, 2005. Box office returns that Neale presents for these two films reflect that the audience enjoyed the change, with 66 million dollars (United States currency) received in the United States and Canada between 1967 and 1968. 39 . Shumway. Modern Love . 172. 40 . Doctor Zhivago , directed by David Lean (1965; Burbank, CA: Warner Home Video, 2001), DVD. 130 Notes

41 . Eva Illouz. Consuming the Romantic Utopia: Love and the Cultural Contradictions of Capitalism . London: University of California Press, 1997; Mike Featherstone. ‘Love and Eroticism: An Introduction’ Theory, Culture and Society 15, no. 1 (1998): 6. See also Giddens. The Transformation of Intimacy . 39. Giddens explains that sexuality was historically an aspect of an aristocratic lifestyle across Europe, granting women freedom from the ‘chaste’ alternative in marriage. 42 . Arlie Russell Hochschild. The Commercialization of Intimate Life . London: University of California Press, 2003: 123. 43 . See, for example, Featherstone. ‘Love and Eroticism: An Introduction’ 4; Elisabeth Beck-Gernsheim. ‘On the Way to the Post-Familial Family: From a Community of Need to Elective Affinities’ in Love and Eroticism , edited by Mike Featherstone, 53–70. London: Sage, 1999. 44 . Brown. Sex and the Single Girl . 3. 45 . Brown. Sex and the Single Girl . 5–6. 46 . Brown. Sex and the Single Girl. Chapters and their respective page numbers are: chapter 3, 33–64; chapter 4, 65–88; chapter 9, 167–185. 47 . Love Is a Many-Splendored Thing , directed by Henry King, DVD. 48 . Love Is a Many-Splendored Thing , directed by Henry King, DVD. In Casablanca , Ilsa (Ingrid Bergman) tells Rick (Humphrey Bogart) in their final moment of intimacy, that she cannot think for herself and that he will need to think for both of them. 49 . Frank Krutnik. ‘The Faint Aroma of Performing Seals: The “Nervous” Romance and the Comedy of the Sexes’ The Velvet Light Trap 26 (1990): 69–70. 50 . Tom Grochowski. ‘Neurotic in New York: The Woody Allen touches in Sex and the City ’ in Reading Sex and the City , edited by Kim Akass and Janet McCabe, 150. London: I.B. Tauris, 2004. See also McDonald. Romantic Comedy . 149; Mark D. Rubinfeld. Bound to Bond: Gender, Genre and the Hollywood Romantic Comedy . Westport, Connecticut: Praeger, 2001: 148. 51 . Love Is a Many-Splendored Thing , directed by Henry King, DVD. 52 . September Affair , directed by William Dieterle (1950; USA: Paramount Pictures, 1989). 53 . Thomas Doherty. Teenagers and Teenpics: The Juvenalization of American Movies in the 1950s . revised and expanded edn.. Philadelphia: Temple University, 2002: 1, 2. 54 . Neale. ‘The Last Good Thing We Ever Had’ 97. 55 . Marshall (ed.). ‘Brigitte Bardot’ 118. 56 . ‘Theatrical Trailer’ Splendor In the Grass . DVD. . 57 . See William Wordsworth. Ode: Intimations of Immortality (originally published 1807 ; Great Britain: Simon King, 1991). 58 . Splendor in the Grass , directed by Elia Kazan, DVD. 59 . Laura Mulvey. ‘Visual Pleasure and Narrative Cinema’ in Feminist Film Theory Reader , edited by Sue Thornham, 58–69. 1975; repr., New York: New York University, 1999. Notes 131

60 . Krin Gabbard and William Luhr. ‘Introduction’ in Screening Genders , 3–5. New Brunswick, N. J.: Rutgers University Press, 2008. 61 . Giltre. Hollywood Romantic Comedy . 141. 62 . McDonald. ‘Homme-Com’ 149; Shumway. Modern Love . 107; Celestino Deleyto. The Secret Life of Romantic Comedy . Manchester: Manchester University Press, 2009: 82–83. 63 . P. David Marshall. ‘The Cinematic Apparatus and the Construction of the Film Celebrity’ in Cultural Studies: An Anthology , edited by Michael Ryan, 1124. Malden: Blackwell, 2008. 64 . Dennis Bingham. Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood . New Brunswick: N. J.: Rutgers University Press, 1994: 7. 65 . Bingham. Acting Male . 8–10. He concurs with Graham McCann. Rebel Males: Clift, Brando, and Dean . New Brunswick, N. J.: Rutgers University Press, 1993. 66 . Bingham. Acting Male . 10. He notes exceptions, as with every generali- sation, such as 1950s and 1960s star Rock Hudson whose persona was masculine and classical Hollywood star James Stewart, who Bingham sees as more feminine. See Bingham. Acting Male . 10. 67 . Neale. ‘The Last Good Thing We Ever Had’ 97. 68 . See, for example, Thomas Schatz. ‘The New Hollywood’ in Film Theory Goes to the Movies , edited by Jim Collins, 8–36. New York: Routledge, 1993. 69 . Beatty starred in The Roman Spring of Mrs. Stone (José Quintero, 1961); was producer–actor for Bonnie and Clyde (Arthur Penn, 1967) and Love Affair (Glenn Gordon Caron, 1994); and directed and starred in Reds (Warren Beatty, 1981). 70 . Chris Cagle. ‘Robert Redford and Warren Beatty: Consensus Stars for a Post-Consensus Age’ in Hollywood Cinema: Movie Stars of the 1970s , edited by James Morrison, 45. New Brunswick: Rutgers University Press, 2010. 71 . Cagle. ‘Robert Redford and Warren Beatty’ 46. 72 . Linda Ruth Williams and Michael Hammond. ‘The 1970s: An Introduction’ in Contemporary American Cinema , edited by Linda Ruth Williams and Michael Hammond, 120–121. London: McGraw-Hill, 2006. 73 . Kathleen Rowe. ‘Comedy, Melodrama and Gender: Theorising the Genres of Laughter’ in Classical Hollywood Comedy , edited by Kristine Brunskova Karnick and Henry Jenkins, 45–46. New York: Routledge, 1995. 74 . See, for example Don Harrán. ‘Guido Casoni on Love as Music, a Theme “For All Ages”’ Renaissance Quarterly 54, no. 3 (Autumn 2001): 883–913. Harrán addresses the way that music can be generated by love and vice versa, looking particularly at renaissance music; Diane Ackerman. A Natural History of Love . New York: Vintage Books, 1995: 83. Ackerman examines a later period, the eighteenth- to nineteenth-centuries, suggesting that Beethoven’s works are among those that were produced 132 Notes

to coincide with and amplify changing views towards love and court- ship; Larry E. Greeson and Rose Ann Williams. ‘Social Implications of Music Videos for Youth: An Analysis of Content and Effects of MTV’ Youth and Society 18, no. 2 (1986): 177–189. Greeson and Williams looked at love and romance in popular music aimed at youth, finding that it was a theme in half the music videos that they selected in 1986; Donald Horton. ‘The Dialogue of Courtship in Popular Songs’ The American Journal of Sociology 62, no. 6 (May 1957): 569. Horton looked at the ‘dialogue of courtship in popular songs’ towards the end of the 1950s and assessed the cultural effect that music had upon teenagers, and the way that it shaped the expectations that they had for their life in terms of dating and love (569). 75 . Crowther. ‘“Love” is a Few Splendors Shy’ 5. 76 . ‘Academy Awards Database: Love is a Many-Splendored Thing ’ Accessed 23 February 2012. 77 . Jeff Smith. The Sounds of Commerce: Marketing Popular Film Music . New York: Columbia University Press, 1998: 17. 78 . Jeff Smith. ‘Selling My Heart: Music and Cross-Promotion in Titanic’ in Titanic: Anatomy of a Blockbuster , edited by Kevin S. Sandler and Gaylyn Studlar, 49. New Brunswick, NJ: Rutgers University Press, 1999. 79 . The Academy of Motion Picture Arts and Sciences , ‘Academy Awards Database: Doctor Zhivago ’ Accessed 23 February 2012. 80 . Smith. The Sounds of Commerce . 17. 81 . Smith. The Sounds of Commerce . 17.

4 Passionate Love in Contemporary Hollywood Romantic Dramas

1 . Recently, another James Cameron film, Avatar (2009) overtook Titanic earning US$760,392,602 domestically and US$2,776,032,936 world- wide. The figures for Titanic were US$600,788,188 domestically and US$1,842,879,955 worldwide. Figures: Box Office Mojo . ‘All Time Box Office’ November 2010. Accessed 1 November 2010. boxofficemojo.com /alltime/. 2 . The Academy of Motion Picture Arts and Sciences. ‘Academy Awards Database: Out of Africa ’ Last modified 2012. Accessed 23 February 2012. awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime =1365943486970; The Academy of Motion Picture Arts and Sciences . ‘Academy Awards Database: The English Patient’ Last modified 2012. Accessed 23 February 2012. awardsdatabase.oscars.org/ampas_awards/ DisplayMain.jsp?curTime=1365943724210; The Academy of Motion Picture Arts and Sciences . ‘Academy Awards Database: Titanic ’ Last modified 2012. Accessed 23 February 2012. awardsdatabase.oscars.org /ampas_awards/DisplayMain.jsp?curTime=1365943825257. 3 . Box Office Mojo , which has recorded the earnings of films released in the last few decades, reveals that while The Notebook had a modest intake in its opening weekend, reaching only number three, it ranked twelfth in Notes 133

their list of biggest earnings overall for dramatic romance films, from 1980 to the present. Box Office Mojo . ‘Romantic Drama Movies: 1980– Present’ April 2012. Accessed 12 April 2012. boxofficemojo.com/genres /chart/?id=romanticdrama.htm. 4 . Mother–daughter relationships are often viewed from a psychoana- lytic perspective and are emblematic of melodramatic films. See, for example, John C. Lyden. ‘Melodrama, Tearjerkers and “Women’s Films”’ in Film and Religion: Myths, Morals and Rituals , 169, 170. New York: New York University Press 2003; Kathleen Rowe. ‘Comedy, Melodrama and Gender: Theorising the Genres of Laughter’ in Classical Hollywood Comedy , edited by Kristine Brunskova Karnick and Henry Jenkins, 51. New York: Routledge, 1995. As Rowe contends, ‘mothers and daughters caught up in each other’s lives can only tear each other apart’. 5 . Linda Ruth Williams and Michael Hammond. ‘The 1990s and Beyond: An Introduction’ in Contemporary American Cinema , edited by Linda Ruth Williams and Michael Hammond, 327. London: McGraw-Hill, 2006. 6 . Williams and Hammond. ‘The 1990s and Beyond’ 327. Linda Ruth Williams and Michael Hammond. ‘The 1980s: An Introduction’ in Contemporary American Cinema , edited by Linda Ruth Williams and Michael Hammond, 227. London: McGraw-Hill, 2006. 7 . Steve Neale and Frank Krutnik. Popular Film and Television Comedy. New York: Routledge, 1990: 172. 8 . See, for example, Lyden. ‘Melodrama, Tearjerkers and “Women’s Films”’ 170. For a discussion of inter-racial relationships, see also James J. Dowd and Nicole R. Pallotta. ‘The End of Romance: Demystification of Love in the Post-Modern Age’ Sociological Perspectives 43, no. 4 (2000): 552. 9 . Diane Elam. Romancing the Postmodern. New York: Routledge, 1992: 13. 10 . Laura Mulvey. ‘Visual Pleasure and Narrative Cinema’ in Feminist Film Theory Reader , edited by Sue Thornham, 58–69. 1975; Reprint, New York: New York University, 1999; John Berger. Ways of Seeing. London: BBC and Penguin, 1972. There has also been subsequent feedback and coun- ter-arguments to these examinations about the ‘gaze’. See for example Stephen Kern. The Eyes of Love: The Gaze in English and French Paintings and Novels 1840–1900. London: Reaktion Books, 1996. Kern’s time period is different to Berger’s, however, he observes that in his sample the depic- tion of women suggest they have a ‘wider horizon of visual interests, a broader range of purposes, and more profound, if not more intense, emotions’ (7). 11 . Titanic , directed by James Cameron (1997; Moore Park, NSW: Twentieth Century Home Entertainment, 2005), DVD 12 . Titanic , directed by James Cameron, DVD. 13 . Titanic , directed by James Cameron, DVD. 14 . The Notebook , directed by Nick Cassavetes (2004; Burbank, California: New Line Home Entertainment, 2005), DVD. 15 . Some scholars have discussed anachronistic behaviour in Titanic . See, for example, Robert von Dassanowsky. ‘A Mountain of a Ship: Locating the “Bergfilm” in James Cameron’s Titanic ’ Cinema Journal 40, no. 4 (Summer 2001): 18, 20; Peter N. Chumo II. ‘Learning to Make Each Day Count: 134 Notes

Time in James Cameron’s Titanic’ Journal of Popular Film and Television 26, no. 4 (Winter 1999): 164. 16 . Titanic , directed by James Cameron, DVD. 17 . Molly Brown was a well-known figure in the tragedy; as old Rose discusses in her voiceover, she came from ‘new money’ and was referred to as ‘unsinkable’ due to her outspoken and independent nature. See Titanic , directed by James Cameron, DVD. 18 . See, for example, Carl Plantinga. ‘Trauma, Pleasure and Emotion in the Viewing of Titanic : A Cognitive Approach’ in Film Theory and Contemporary Hollywood Movies , edited by Warren Buckland, 239–256. New York: Routledge 2009; Matthew Bernstein. ‘“Floating Triumphantly”: The American Critics on Titanic’ in Titanic: Anatomy of a Blockbuster , edited by Kevin S. Sandler and Gaylyn Studlar, 14–28. New Brunswick, N. J.: Rutgers University Press, 1999; Peter Krämer. ‘Women First: Titanic (1997), Action Adventure Films and Hollywood’s Female Audience’ Historical Journal of Film and Television 18, no. 4 (October 1998): 600–601, 605. 19 . The Notebook , directed by Nick Cassavetes, DVD. 20 . In male-oriented genres, women are traditionally relegated to one- dimensional positions like the good wife or mother, or the sexually promiscuous barmaid. See for example, Thomas Schatz. Hollywood Genres: Formulas, Filmmaking and the Hollywood Studio System. New York: McGraw-Hill, 1981: 51–56. 21 . Helen Gurley Brown. Sex and the Single Girl. Fort Lee: Barricade, 1962. 22 . Cas Wouters. Sex and Manners: Female Emancipation in the West, 1890–2000. London: Sage Publications, 2004: 126. 23 . Titanic , directed by James Cameron, DVD. 24 . The Notebook , directed by Nick Cassavetes, DVD. 25 . James Cameron. ‘Commentary’ Titanic , disc 2, directed by James Cameron, special edn. DVD. 1997; Moore Park, NSW: Twentieth Century Home Entertainment, 2005. 26 . Margaret Tally. ‘Something’s Gotta Give: Hollywood, Female Sexuality and the “Older Bird” Chick Flick’ in Chick Flicks: Contemporary Women at the Movies , edited by Suzanne Ferriss and Mallory Young, 120, 130. New York: Routledge, 2008. 27 . Patricia Mellancamp. ‘Crisis and Fear at the Movies and in Life, or on Being as Old as My Grandmother’ in Screening Genders , edited by Krin Gabbard and William Luhr, 78–92. New Brunswick, N. J.: Rutgers University Press, 2008. Mellancamp, like Tally, also sees some changes to the age of women and makes reference to The First Wives Club (Hugh Wilson, 1996) and Something’s Gotta Give (Nancy Meyers: 2003). See also Tally. Something’s Gotta Give . 119–131. 28 . Mellancamp. ‘Crisis and Fear at the Movies and in Life’ 86, 87. 29 . Titanic , directed by James Cameron, DVD. 30 . The foregrounding of the interaction between the mother and daughter characters is certainly not new, particularly in maternal melodramas such as Stella Dallas (King Vidor, 1937) and Imitation of Life (Douglas Sirk, 1959). Notes 135

See for example, Lyden. ‘Melodrama, Tearjerkers and “Women’s Films”’ 169, 170; Stanley Cavell. Contesting Tears: The Hollywood Melodrama of the Unknown Woman. Chicago: University of Chicago Press, 1996: 5. Cavell observes that in melodramas ‘of the unknown woman’, the protagonist’s ‘mother is always present (or her search for, or loss of or competition with her mother is always present)’, and this same intertwining between mother and daughter occurs in some romantic dramas. 31 . Lyden. ‘Melodrama, Tearjerkers and “Women’s Films’” 176. 32 . An idea discussed by Simone de Beauvoir. The Second Sex , translated and edited by H. M. Parshley. Harmondsworth: Penguin, 1983. De Beauvoir remarks, ‘in her daughter [the mother] finds herself’. See De Beauvoir. The Second Sex . 600. See also Linda Williams. ‘“Something Else besides a Mother”: Stella Dallas and the Maternal Melodrama’ Cinema Journal 24, no. 1 (Autumn 1984): 9. 33 . Williams. ‘Something Else besides a Mother’ 9. Williams’ italics. 34 . Titanic , directed by James Cameron, DVD. 35 . The Notebook , directed by Nick Cassavetes, DVD. 36 . Evening , directed by Lajos Koltai (2007; Universal City, CA: Universal Studios Home Entertainment, 2007). 37 . The Bridges of Madison County , directed by Clint Eastwood (1995; Pyrmont, N.S.W: Warner Bros Entertainment, 2010), DVD. 38 . Titanic , directed by James Cameron, DVD. 39 . Titanic , directed by James Cameron, DVD. 40 . Steven J. Zani. ‘Traumatic Disaster and Titanic Recuperation’ Journal of Popular Film and Television 31, no. 2 (Fall 2003): 128. See also, David Lubin. Titanic. London: BFI, 1999: 96, to whom Zani refers. 41 . Titanic , directed by James Cameron, DVD. 42 . The Notebook , directed by Nick Cassavetes, DVD. 43 . Ashton D. Trice and Samuel A. Holland. Heroes, Antiheroes and Dolts: Portrayals of Masculinity in American Popular Film, 1921–1999. Jefferson: McFarland, 2001: 213. 44 . Trice and Holland. Heroes, Antiheroes and Dolts . 213–214. They also use the male protagonist in Shakespeare in Love as another example. 45 . See, for example, Trice and Holland. Heroes, Antiheroes and Dolts . 213–214. They offer descriptions of the ‘artist’ and the ‘androgynous’ man as portraying a particular type of masculinity. 46 . This is owed in many ways to Brown who reformed the magazine medium in her position of editor-in chief of Cosmopolitan in the 1960s. 47 . E. Ann Kaplan. ‘A History of Gender Theory in Cinema Studies’ in Screening Genders , edited and introduction by Krin Gabbard and William Luhr, 23. New Brunswick: Rutgers University Press, 2008. 48 . Stuart Brock. ‘Fictions, Feelings and Emotions’ Philosophical Studies 132 (2007): 221. Brock’s italics. 49 . See, for example, Richard Dyer. Stars. London: BFI, 1982; Christine Gledhill (ed.). Stardom: Industry of Desire. London: Routledge, 1991. 136 Notes

50 . P. David Marshall. ‘The Cinematic Apparatus and the Construction of the Film Celebrity’ in Cultural Studies: An Anthology , edited by Michael Ryan, 1122. Malden: Blackwell, 2008. 51 . Angela McRobbie. ‘More!: New Sexualities in Girls’ and Women’s Magazines’ in Back to Reality?: Social Experience and Cultural Studies , edited by Angela McRobbie, 198–199. Manchester: Manchester University Press, 1997. 52 . Marshall. ‘The Cinematic Apparatus and the Construction of the Film Celebrity’ 1137. 53 . See for example, Marshall. ‘The Cinematic Apparatus and the Construction of the Film Celebrity’ 1137; Joshua Gamson. Claims to Fame: Celebrity in Contemporary America. Berkeley: University of California Press, 1994: 15–16; David R. Shumway. ‘The Star System in Literary Studies’ PMLA 112, no. 1 (January 1997): 88; P. David Marshall. Celebrity and Power: Fame in Contemporary Culture. Minneapolis: Minnesota University Press, 1997. 54 . See Trice and Holland. Heroes, Antiheroes and Dolts. 204; Zani. ‘Traumatic Disaster and Titanic Recuperation’ 130. 55 . Krämer. ‘Women First’ 613. Krämer’s figures from David Ansen. Newsweek. 23 February 1998. 56 . Andy Seiler. ‘Repeat Viewers Keep Titanic Afloat: Love Story, Historic Tragedy and DiCaprio Keep Them Coming Back’ USA Today . 14 January 1998, D7. 57 . Melanie Nash and Martti Lahti. ‘Almost Ashamed to Say I Am One of those Girls: Titanic, Leonardo DiCaprio, and the Paradoxes of Girls’ Fandom’ in Titanic: Anatomy of a Blockbuster , edited by Kevin S. Sandler and Gaylyn Studlar, 65. New Brunswick: Rutgers University Press, 1999. See also Richard Maltby. ‘Taking Hollywood Seriously: The Commercial Aesthetic of Titanic’ in Hollywood Cinema 2nd edn. 11. Malden: Blackwell, 2003. 58 . David Ansen. ‘Our Titanic love affair’ Newsweek (23 February 1998): 46–47. 59 . Trice and Holland. Heroes, Antiheroes and Dolts. 204. They refer to Time here. Peter Lehman and Susan Hunt also explore the fact that media outlets, like Entertainment Weekly and Grand Royal (in addition to some Internet blogs) parodied ‘ Titanic’s reliance on DiCaprio’s attractive face as a source of viewer pleasure’ (Peter Lehman and Susan Hunt. ‘Something and Someone Else: The Mind, the Body and Sexuality in Titanic’ in Titanic: Anatomy of a Blockbuster , edited by Kevin S. Sandler and Gaylyn Studlar, 91. New Brunswick, N. J.: Rutgers University Press, 1999. 60 . People Weekly. 11 January 1998: cover page; People Weekly. 11 May 1998: cover page. 61 . Krämer. ‘Women First’ 618. Krämer citing Cathy Horton. ‘Leonardo Takes Wing’ Vanity Fair . January 1998: 54–59, 112–114. Direct quotations from title page and 112. 62 . Shawna Malcolm. ‘Guys We Love’ Teen People . June/July 2004: 78 63 . Joel Stein. ‘Person of the Year, 2011: Crazy, Stupid Cool’ Time (online). 14 December 2011. Accessed 12 April 2013. time.com/time/specials /packages/article/0,28804,2101745_2102368_2102347,00.html. Notes 137

64 . Melena Ryzik. ‘Hey, Girl. Happy Holidays. To You. To Us’ The New York Times (online). 21 December 2011. Accessed 12 April 2013. carpetbagger. blogs.nytimes.com/2011/12/21/hey-girl-happy-holidays-to-you-to-us. 65 . People . ‘The Year’s Sexiest Movie Character’ 26 November 2007, 159. 66 . People . ‘The Year’s Sexiest Movie Character’ 159. 67 . Williams and Hammond. ‘The 1990s and Beyond’ 326. See also Williams and Hammond. ‘The 1980s’ 225. 68 . See Williams and Hammond. ‘The 1990s and Beyond’ 327. 69 . R. Serge Denisoff and George Plasketes. ‘Synergy in 1980s Film and Music: Formula for Success or Industry Mythology?’ Film History 4, no. 2 (1990): 257. 70 . David R. Shumway. ‘Rock “n” Roll Soundtracks and the Production of Nostalgia’ Cinema Journal 38, no. 2 (Winter 1999): 36–51. 71 . Shumway. ‘Rock “n” Roll Soundtracks and the Production of Nostalgia’ 45–48. 72 . ‘Credit Sequence,’ Out of Africa , directed by Sydney Pollack (1985; Studio City, CA: Universal Studios, 2000), DVD. 73 . ‘Academy Awards Database: Out of Africa ’; American Film Institute . ‘AFI’s 100 Years of Film Scores’ September 2005. Accessed 12 April 2013. afi. com/Docs/100Years/scores25.pdf. 74 . ‘Credit Sequence’ The Notebook , directed by Nick Cassavetes, DVD. 75 . See, for example, David Lieberman. ‘“Titanic” Soundtrack Sales “Off the Map”’ USA Today , 28 April 1998, 02B; Chris Morris. ‘“Titanic” Sets Soundtrack Record’ Billboard , 14 March 1998, 9, 125. 76 . Lieberman, ‘“Titanic” Soundtrack Sales “Off the Map”’. 77 . An instrumental adaptation of the melody plays at certain points throughout the film; however, the main song, with the vocals of Céline Dion, is first heard at the beginning of the final credit sequence. 78 . ‘My Heart Will Go On’ won ‘Best Original Song’ at the Academy Awards and the MTV Movie Awards in 1998 and the Grammy’s and the Golden Globe Awards in 1999. Film critics’ societies, such as Chicago’s and Las Vegas’, praised the song in 1998, while ASCAP and Blockbuster in 1999 acknowledged it as a favourite among the general public. See IMDb.com . ‘Awards for Titanic (1997)’ 1990–2010. Accessed 31 October 2010. imdb. com/title/tt0120338/awards. 79 . Celine Dion.com . ‘Lets Talk About Love: 1997’ Sony Music Entertainment Canada Inc. and Five Star Feeling Inc., 1996–2009. Accessed 31 October 2010. http://www.celinedion.com/celinedion/english /music.cgi?album_id=10. 80 . Adrienne Munich and Maura Spiegel. ‘Heart of the Ocean: Diamonds and Democratic Desire in Titanic ’ in Titanic: Anatomy of a Blockbuster , edited by Kevin S. Sandler and Gaylyn Studlar, 163. New Brunswick, N. J.: Rutgers University Press, 1999. 81 . See, ‘Multiple Grammy Winner Celine Dion’s music video “My Heart Will Go On”’ Titanic , directed by James Cameron (1997; Moore Park, NSW: Twentieth Century Home Entertainment, 2005), special ed. DVD. 82 . Maltby. ‘Taking Hollywood Seriously’ 12; Richard Maltby. Hollywood Cinema 2nd edn. Oxford: Blackwell, 2003: 300. 138 Notes

83 . The Notebook , directed by Nick Cassavetes, DVD. 84 . The Notebook , directed by Nick Cassavetes, DVD. 85 . The Notebook , DVD See also Josh Grant. ‘The Book of Love: Romantic Love in Nick Cassavetes’ The Notebook’ unpublished essay (online). 30 November 2009. Accessed 31 May 2010. http://www.westga.edu/~jgrant/ Love/The %20Notebook%20Sample.doc. As Josh Grant notes. The Notebook mirrors Ovid’s classical tale of Baucis and Philemon in the eighth book of his Metamorphoses , in which the supreme God Zeus makes the two elderly lovers into entwining trees upon their deaths, granting their wish to be together forever. Ovid. Metamorphoses . Tanslation by A. D. Melville, introduction and notes by E. J. Kenney. Oxford: Oxford University Press, 1987. see in particular Book VIII. 86 . See, for example, Krämer. ‘Women First’ 610; Dassanowsky. ‘A Mountain of a Ship’ 30. 87 . Todd F. Davis and Kenneth Womack. ‘Narrating the Ship of Dreams: The Ethics of Sentimentality in James Cameron’s Titanic ’ Journal of Popular Film and Television 29, no. 1 (Spring 2001): 47. See also Lyden ‘Melodrama, Tearjerkers and “Women’s Films”’ 176. He says that the reunion is a ‘transcendental reality’. 88 . Many other contemporary films offer a reunion of some sort, including Dear John (where the romantic hero and heroine happen upon each other in the final scene, leaving an ambiguous ending). 89 . Alternatively, in Revolutionary Road the relationship is not passionate, depicting the breakdown of marriage. 90 . Forbes.com . ‘In Pictures: Hollywood’s 10 Top-Earning Screen Couples’. Accessed 3 February 2010. forbes.com/2009/02/10/leonardo-dicap- rio-kate-winslet-movies-business-media_0210_couples_slide.html. Specifications for assessing the couples on the website: ‘Forbes consid- ered all romantic pairings that appeared in the silver screen in the last 20 years ... Non-inflation adjusted from Box Office Mojo . Animated and Ensemble cast not included’. Couples from franchises like Harry Potter (produced by David Heyman, 2001, 2011) and Transformers (Michael Bay, 2007–2014) have since overtaken DiCaprio and Winslet. 91 . MTV Movie Networks . ‘2005 MTV Movie Awards’. 4 June 2005. Accessed 27 October 2010. mtv.com/ontv/movieawards/2005/. They are now sepa- rated, but McAdams recently starred in The Time Traveler’s Wife , reprising her romantic protagonist status. 92 . The Notebook , directed by Nick Cassavetes, DVD. 93 . See, for example, Elaine Hatfield and Richard L. Rapson. ‘Gender Differences in Love and Intimacy: The Fantasy vs. the Reality’ in Intimate Relationships: Some Social Work Perspectives on Love , edited by Harvey L. Gochros and Wendell Ricketts, 15–26. New York: Hayworth Press, 1987. 94 . Likewise, Rose’s marriage to another man is also never shown. 95 . Laura Mulvey. ‘Afterthoughts ... Inspired by Dual in the Sun ’ Framework 15–17 (1981): 14. Notes 139

96 . For discussion about changing attitudes and figures about contemporary marriage, see, for example, Andrew J. Cherlin. ‘The Deinstitutionalization of American Marriage’ Journal of Marriage and Family 66, no. 4 (2004): 848–861; Tavia Simmons and Martin O’Connell. ‘Married-Couple and Unmarried-Partner Households: 2000’ in United States Census 2000 , 1. Census Bureau: February 2003; Stevi Jackson and Sue Scott. ‘The Personal is Still Political: Heterosexuality, Feminism and Monogamy’ Feminism and Psychology 14, no. 1 (2004): 151–157. Conclusion: The Changing Landscape of Passionate Love in Cinema

1 . Raphaëlle Moine. Cinema Genre. Malden: Blackwell, 2008: 103. 2 . Alan Williams. ‘Is a Radical Genre Criticism Possible?’ Quarterly Review of Film Studies 9, no. 2 (Spring 1984): 124. 3 . Rick Altman. Film/Genre . London: BFI Publishing, 1999: 206. 4 . Vanity Fair , for example, published a twelve photo spread of Pattinson, one of the most popular current romance film actors. As magazine notes, the ‘coverstar has made teenage girls (and their mothers) swoon’. Vanity Fair [online]. ‘Robert Pattinson: The Bruce Weber Portraits (Part One)’ 2 November 2009. Accessed 3 February 2010. vanityfair.com/hollywood /features/2009/12 /robert-pattinson-outtakes-A-20012. 5 . Box Office Mojo . The Twilight Saga: Breaking Dawn Part 2 . February 2013. Accessed 15 February 2013. boxofficemojo.com /movies/?id=breakingdawn2.htm. 6 . Rosalind Gill and Elena Herdiekerhoff. ‘Rewriting the Romance: New Feminiities in Chick Lit?’ Feminist Media Studies 6, no. 4 (2006): 497. 7 . See Claire Hines. ‘Armed and Fabulous: Miss Congeniality’s Queer Rom-Com’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 117. London: I. B. Tauris, 2009. 8 . See, for example, Martha Gever. Entertaining Lesbians: Celebrity, Sexuality and Self-Invention . New York: Routledge, 2003. 9 . See, for example, Judith Halberstam. Female Masculinity. Durham: Duke University Press, 1998: 211–213; Sarah Waters. ‘“A Girton Girl on a Throne”: Queen Christina and Versions of Lesbianism, 1906– 1933’ Feminist Review , no. 46 (Spring 1994): 41–60; Caroline Sheldon. ‘Lesbians and Film: Some Thoughts’ in The Columbia Reader on Lesbians & Gay Men in Media, Society, and Politics , edited by Larry Gross and James D. Woods, 301–306. New York: Columbia University Press, 1999. 10 . Umberto Eco. ‘Casablanca or the Clichés Are Having a Ball’ in On Signs , edited by Marshall Blonsky. 37. Oxford: Blackwell, 1985. Eco’s italics. 11 . Harvey Roy Greenberg. ‘Cult Cinema: Casablanca – If It’s So Schmaltzy, Why Am I Weeping?’ In Screen Memories: Hollywood Cinema on the Psychoanalytic Couch , 50. New York: Columbia University Press, 1993. 140 Notes

In addition, Greenberg views Rick’s final decision to send Ilsa off with Victor as an instinctual need to be rid of her so that he can be with Renault instead (although this reading undercuts what makes the film so successful). 12 . Catherine L. Preston. ‘Hanging on a Star: The Resurrection of the Romance Film in the 1990s’ in Film Genre 2000: New Critical Essays , edited by Wheeler Winston Dixon, 227. Albany: State University of New York Press, 2000. 13 . Deborah A. Moddelmog. ‘Can Romantic Comedy Be Gay? Hollywood Romance, Citizenship and Same-Sex Marriage Panic’ Journal of Film and Television 36, no. 4 (Winter 2009): 171. She states, ‘there has been a virtual explosion of films in the past fifteen years [ ... ] that might be considered gay or lesbian romantic comedies’ 164. 14 . See, for example, Robin Wood. ‘On and Around Brokeback Mountain’ Film Quarterly 60, no. 3 (Spring 2007): 28–31. 15 . The figures for Brokeback Mountain were US$83,043,761 domesti- cally and US$178,062,759 worldwide. See, Box Office Mojo . ‘Brokeback Mountain’ March 2011. Accessed 2 March 2011. boxofficemojo.com /movies/?id=brokebackmountain.htm. 16 . See Jeanine Basinger. A Woman’s View: How Hollywood Spoke to Women 1930–1960 . London: Chatto and Windus, 1993: 8. 17 . Altman. Film/Genre . 26. 18 . For more about contemporary films like A Single Man that deal with love beyond a heteronormative structure, see, for example, Michael DeAngelis. ‘Queer Memories and Universal Emotions: A Single Man (2009)’ in Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema , edited by Hilary Radner and Rebecca Stringer, 25–35. New York: Routledge, 2011. 19 . As Dudley Andrew points out, ‘To define French cinema with Hollywood in mind, then, is not merely a heuristic exercise, for French cinema has developed in relation to this explicit competition’. See Dudley Andrew. Mists of Regret: Culture and Sensibility in Classic French Film . Princeton: Princeton University Press, 1995: 7. 20 . English translations of quotes are taken from the subtitles on the DVD unless otherwise specified: Marcel Carné, Le Quai des brumes (France, 1938; United States: Criterion Collection, 2004), DVD. 21 . See, for example, Mary-Lou Galician. Sex, Love and Romance in the Mass Media: Analysis and Criticism of Unrealistic Portrayals and their Influence . Mahwah: Lawrence Erlbaum Associates, 2004: 51; Mike Featherstone. ‘Love and Eroticism: An Introduction’ Theory, Culture and Society 15, no. 1 (1998): 2. 22 . Denis de Rougemont. Passion and Society , translated by Montgomery Belgion, revised and augmented edn. 232. London: Farber and Farber, 1962. ‘During the Second Empire, the French middle class made an attempt to accommodate within its social framework the lawless workings of the passion’, 233. De Rougemont does not address French cinema, however, specifically addressing the treatment of love in American cinema. Notes 141

23 . See Georges Bataille. Death and Sensuality: A Study of Eroticism and the Taboo . New York: Walker, 1962; De Rougemont. Passion and Society . Particularly 42–46. 24 . See also Erica Todd. ‘Pépé le Moko, Cinematic Appropriations and the Passionate Love Story’ in Creative Imitations, and Appropriations: From Cinematic Adaptations to Re-makes , Research Colloquium Select Refereed Papers, edited by Erica Todd, Clément Da Gama, Ellen Pullar and Hilary Radner, 79–87. Dunedin: Centre for Research on National Identity, 2011. 25 . Ginette Vincendeau. Stars and Stardom in French Cinema . London: Continuum, 2000: 62. 26 . See, for example, Guy Austin. Contemporary French Cinema: An Introduction . New York: St Martins Press, 1996: 9; Jean-Pierre Jeancolas. ‘Cinéma des années trente: la crise et l’image de la crise’ Le Mouvement social , no. 154 (January–March 1991): 194–195; Vincendeau. Stars and Stardom in French Cinema . 62. 27 . Gabin continued to have roles in crime-related films after the war. See Yannick Dehée. ‘Les mythes policiers du cinéma français des années 1930 aux années 1990’ Vingtième Siècle: Revue d’histoire , no. 55 (July– September 1997): 84–86; Vincendeau. Stars and Stardom in French Cinema . 68. Vincendeau talks about the ‘Gabin myth’, which is associated with ‘male bonding, violent and doomed passions and authenticity’ 66. 28 . Dehée. ‘Les mythes policiers du cinéma français’ 84. 29 . Dehée. ‘Les mythes policiers du cinéma français’ 84: ‘gangster américain névrosé: solitaire mais aussi séducteur’ and ‘voués à l’échec’. Author’s translation. See also Ginette Vincendeau. Pépé le Moko . London: BFI, 1998: 49. Little Caesar (Mervyn LeRoy, 1931) is an example, in which Vincendeau points out the subject of love is ‘spurned or marginalised as “soft stuff”’, unlike the French equivalent. 30 . In scholarship, see for example, Ginette Vincendeau. ‘Community, Nostalgia and the Spectacle of Masculinity’ Screen 26, no. 6 (1985): 20–22; Henry A. Garrity. ‘Narrative Space in Julien Duvivier’s Pépé le Moko’ The French Review 65, no. 4 (March 1992): 623. Some examples of popular sources include, Fabienne Bradfer. ‘La belle histoire d’une gueule d’amour Gabin d’avant-guerre à découvrir en DVD dans ses clas- siques’ Lesoir.be . 28 July 2004. Accessed 3 November 2010. archives. lesoir.be/la-belle-histoire-d-une-gueule-d-amour-gabin-d-avant-gu_t- 20040728-Z0PLPG.html; Wikipedia [French]. ‘Film policier’ Last modi- fied 1 November 2010. Accessed 3 November 2010. fr.wikipedia.org /wiki/Film_policier. 31 . Andrew. Mists of Regret . 244, 249. Andrew suggests that director Duvivier evokes this tone in many of his films. 32 . Garrity. ‘Narrative Space in Julien Duvivier’s Pépé le Moko’ 623. 33 . See also Todd. ‘Pépé le Moko, Cinematic Appropriations and the Passionate Love Story’ 83–86. 34 . Janice Morgan. ‘In the Labyrinth: Masculine Subjectivity, Expatriation and Colonialism in Pépé le Moko’ French Review 67, no. 4 (March 1994): 639. 142 Notes

35 . The fragmented introduction of Hollywood women is often used in refer- ence to Bette Davis’ character, Charlotte in Now, Voyager (Irving Rapper, 1942) descending the stairs. See, for example, Maria LaPlace. ‘Producing and Consuming the Woman’s Film: Discursive Struggles in Now, Voyager’ in Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film , edited by Christine Gledhill, 138–166. London: BFI, 1987. 36 . English quotations are taken from the subtitles on the DVD unless other- wise specified: Pépé le Moko , directed by Julien Duvivier (France, 1937; United States: Criterion Collection, 2003), DVD. 37 . In Le Jour se lève , the police persistently attempt to get into François’ room while his neighbours discuss him. 38 . Maureen Turim. ‘French Melodrama: Theory of a Specific History’ Theatre Journal 39, no. 3 (October 1987): 327. 39 . Annette Kuhn and Susannah Radstone (eds). The Women’s Companion to International Film . London: Virago, 1990: 163–164. 40 . Vincendeau. Stars and Stardom in French Cinema . 28. 41 . Colin Crisp. Genre, Myth and Convention in the French Cinema 1929–1939 . Bloomington: Indiana University Press, 2002: 270–271. 42 . Noël Burch. ‘La Garce et le bas bleu’ Lectora , no. 7 (2001): 24. ‘Contrairement aux studios hollywoodiens, des années trente qui esti- ment s’adresser avant tout au public féminine [ ... ] le cinéma français pratiquera la marginalisation des femmes’. Author’s translation. As an example, Burch points out that American female stars had their images occupying publicity posters alone (without sharing the frame with any other stars), which did not occur in France (‘La Garce et le bas bleu’ 24). 43 . Burch. ‘La Garce et le bas bleu’ 24. He suggests Danielle Darrieux and Michèle Morgan as examples. 44 . Diana Holmes. Romance and Readership in Twentieth-Century France: Love Stories . Oxford: Oxford University Press, 2006: 8. 45 . Holmes. Romance and Readership in Twentieth-Century France . 2. 46 . For further discussion, see, for example, Molly Haskell. From Reverence to Rape: The Treatment of Women in the Movies . Chicago: Chicago University Press, 1987: 294–295. 47 . Haskell. From Reverence to Rape . 289–290. 48 . Haskell. From Reverence to Rape . 284–285. 49 . Burch. ‘La Garce et le bas bleu’ 31. ‘[L]a reconnaissance que la femme a un corps et des désirs (et ce même dans ses films d’avant guerre), cela n’est pas pour nous surprendre s’agissant d’une société où jamais la sexu- alité en soi n’a été un mauvais objet’. Author’s translation. 50 . Burch. ‘La Garce et le bas bleu’ 31. 51 . Andrew. Mists of Regret . 244. 52 . Burch. ‘La Garce et le bas bleu’ 31: ‘la sexualité féminine dangereuse’. Author’s translation. Burch says that the type is also characterised by Mary Astor and Barbara Stanwyck’s characters in The Maltese Falcon (John Huston, 1941) and Double Indemnity (Billy Wilder, 1944) respec- tively. See also Michelle Perrot’s ‘Préface’ in La drôle de guerre des sexes du Notes 143

cinéma francais (1930–1956) . Noël Burch and Geneviève Sellier, revised edn. 4. Paris: Armand Colin, 2005. Perrot also remarks that Gaby is a ‘treacherous siren’ who takes Pépé, who is ‘strong and vulnerable, manly, and tender’ as ‘easy prey’. Author’s translation from ‘les perfides sirènes’; ‘le héros fort et vulnérable, male et tendre’; ‘proie facile’. 53 . Barbara Creed. ‘Abject Desire and Basic Instinct: A Tale of Cynical Romance’ in Fatal Attractions: Re-scripting Romance in Contemporary Literature and Film , edited by Lynne Pearce and Gina Wisker, 174, 175. London: Pluto Press, 1998. Creed argues that ‘ Un Chien andalou (Luis Buñuel, 1929) was one of the first to draw the connection between desire and death’ and that ‘the deadly femme fatale [ ... ] also offers the promise of taboo sexual passion’. 54 . Crisp. Genre, Myth and Convention in the French Cinema . 260. On 25 July 1919, it was required that ‘no cinematic film with the excep- tion of newsreels, could be shown in public if the film and its title had not obtained a visa of the Ministry of Public Instruction and the Beaux Arts’. Paul Léglise quoted in Rémi Fournier Lanzoni. French Cinema: From Its Beginnings to the Present . New York: Continuum, 2002: 65. See also Paul Léglise, Histoire de la politique du cinéma français , vol. 1 (Paris: Film Editions, 1970), 29–32, 63. 55 . Crisp. Genre, Myth and Convention in the French Cinema . xxiv; Colin Crisp. The Classic French Cinema: 1930–1960 . Bloomington: Indiana University Press, 1993: 183–186. Jeancolas attributes the pessimism of this style to the national anxiety. See Jeancolas. ‘Cinéma des années trente’ 195. He states, ‘France is depressed. It is encountering a reality that is becoming more urgent with each day’/’La France déprime, elle se heurte à une réalité chaque jour plus pressante’. Author’s translation. 56 . Garrity. ‘Narrative Space in Julien Duvivier’s Pépé le Moko’ 625. 57 . Vincendeau observes that colonialism was very prominent in French film at the time, stating that, ‘North Africa was by far the most favoured colo- nial location, and was used in over half of the 85 or so French films in the 1930s set outside western countries’. See Vincendeau. Pépé le Moko . 55. 58 . Crisp. Genre, Myth and Convention in the French Cinema . 233. Bibliography

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Trailers?

** James Cameron. ‘Commentary’ Titanic , disc 2, directed by James Cameron (1997; Moore Park, NSW: Twentieth Century Home Entertainment, 2005), special ed. DVD. ** ‘Credit Sequence’ Out of Africa , directed by Sydney Pollack (1985; Studio City, CA: Universal Studios, 2000), DVD. ** ‘Multiple Grammy Winner Celine Dion’s music video “My Heart Will Go On”’ Titanic , directed by James Cameron (1997; Moore Park, NSW: Twentieth Century Home Entertainment, 2005), special ed. DVD. ** Marcel Carné, Le Quai des brumes (France, 1938; United States: Criterion Collection, 2004), DVD. ** Pépé le Moko , directed by Julien Duvivier (France, 1937; United States: Criterion Collection, 2003), DVD. 27 Dresses (motion picture). Directed by Anne Fletcher. United States, 2008. À bout de souffle (Breathless ) (motion picture). Directed by Jean-Luc Godard. France, 1960. An Affair to Remember (motion picture). Directed by Leo McCarey. United States, 1957. The African Queen (motion picture). Directed by John Huston. United States and United Kingdom, 1951. Algiers (motion picture). Directed by John Cromwell. United States, 1938. Alien (motion picture). Directed by Ridley Scott. United States, 1979. All This and Heaven Too (motion picture). Directed by Anatole Litvak, 1940. American Gigolo (motion picture). Directed by Paul Schrader. United States, 1980. Angélique (motion picture series). Directed by Bernard Borderie. France, Italy, and West Germany, 1964–1968. Anna Karenina (motion picture). Directed by Clarence Brown. United States, 1935. Annie (motion picture). Directed by John Huston. United States, 1982. Annie Hall (motion picture). Directed by Woody Allen. United States, 1977. Atonement (motion picture). Directed by Joe Wright. United Kingdom and France, 2007. Avatar (motion picture). Directed by James Cameron. United States and United Kingdom, 2009. Back Street (motion picture). Directed by John M. Stahl. United States, 1932. Back Street (motion picture). Directed by Robert Stevenson. United States, 1941. Back Street (motion picture). Directed by David Miller. United States, 1961.

160 Flimography 161

The Bodyguard (motion picture). Directed by Mick Jackson. United States, 1992. Bonnie and Clyde (motion picture). Directed by Arthur Penn. United States, 1967. The Bridges of Madison County (motion picture). Directed by Clint Eastwood. United States, 1995. Bridge over the River Kwai (motion picture). Directed by David Lean. United States and United Kingdom, 1957. Brief Encounter (motion picture). Directed by David Lean. United Kingdom, 1945. Brokeback Mountain (motion picture). Directed by Ang Lee. Canada and United States, 2005. Broken Blossoms (motion picture). Directed by D. W. Griffith. United States, 1919. Camille (motion picture). Directed by Ray C. Smallwood. United States, 1921. Camille (motion picture). Directed by George Cukor. United States, 1936. Casablanca (motion picture). Directed by Michael Curtiz. United States, 1942. Casque d’or (Golden Helmet ) (motion picture). Directed by Jacques Becker. France, 1952. Un Chien andalou ( An Andalusian Dog ) (motion picture). Directed by Luis Buñuel. France, 1929. China Girl (motion picture). Directed by Abel Ferrara. United States, 1987. City of Angels (motion picture). Directed by Brad Silberling. Germany and United States, 1998. Coming Home (motion picture). Directed by Hal Ashby. United States, 1978. Dark Victory (motion picture). Directed by Edmund Goulding. United States, 1939. Dear John (motion picture). Directed by Lasse Hallström. United States, 2010. Death Takes a Holiday (motion picture). Directed by Mitchell Leisen. United States, 1934. Dirty Dancing (motion picture). Directed by Emile Ardolino. United States, 2007. Dr. Jekyll and Mr. Hyde (motion picture). Directed by Victor Fleming. United States, 1941. Doctor Zhivago (motion picture). Directed by David Lean. United States, 1965. Double Indemnity (motion picture). Directed by Billy Wilder. United States, 1944. The End of the Affair (motion picture). Directed by Neil Jordan. United Kingdom and United States, 1999. Endless Love (motion picture). Directed by Franco Zeffirelli. United States, 1981. Les Enfants du paradis (Children of Paradise ) (motion picture). Directed by Marcel Carné. France, 1945. 162 Flimography

The English Patient (motion picture). Directed by Anthony Minghella. United States and United Kingdom, 1996. Et Dieu… créa la femme (And God Created Woman ) (motion picture). Directed by Roger Vadim. France and Italy, 1956. Evening (motion picture). Directed by Lajos Koltai. United States, 2007. The First Wives Club (motion picture). Directed by Hugh Wilson. United States, 1996. The Five Year Engagement (motion picture). Directed by Nicholas Stoller. United States, 2012. The Four Horsemen of the Apocalypse (motion picture). Directed by Rex Ingram. United States, 1921. Funny Face (motion picture). Directed by Stanley Donen. United States, 1957. Gaby (motion picture). Directed by Curtis Bernhardt. United States, 1956. Ghost (motion picture). Directed by Jerry Zucker. United States, 1990. The Ghost and Mrs Muir (motion picture). Directed by Joseph L. Mankiewicz. United States, 1947. Go Fish (motion picture). Directed by Rose Troche. United States, 1994. Goin’ to Town (motion picture). Directed by Alexander Hall. United States, 1935. Gone with the Wind (motion picture). Directed by Victor Fleming. United States, 1939. The Goodbye Girl (motion picture). Directed by Herbert Ross. United States, 1977. The Graduate (motion picture). Directed by Mike Nichols. United States, 1967. Le Grand Jeu (motion picture). Directed by Jacques Feyder. France, 1934. Grease (motion picture). Directed by Randal Kleiser. United States, 1978. Harry Potter (motion picture series). Produced by David Heyman. United Kingdom and United States, 2001–2011. Hitch (motion picture). Directed by Andy Tennant. United States, 2005. The Horse Whisperer (motion picture). Directed by Robert Redford. United States, 1998. Hôtel du Nord (motion picture). Directed by Marcel Carné. France, 1938. Intermezzo: A Love Story (motion picture). Directed by Gregory Ratoff. United States, 1939. Imitation of Life (motion picture). Directed by Douglas Sirk. United States, 1959. It Happened One Night (motion picture). Directed by Frank Capra. United States, 1934. Le Jour se lève ( Daybreak ) (motion picture). Directed by Marcel Carné. France, 1939. Jules et Jim (motion picture). Directed by François Truffaut. France, 1962. Katia (motion picture). Directed by Maurice Tourneur. France, 1938. Kiss the Bride (motion picture). Directed by C. Jay Cox. United States, 2007. The Lady Eve (motion picture). Directed by Preston Sturges. United States, 1941. Flimography 163

Lawrence of Arabia (motion picture). Directed by David Lean. United Kingdom, 1962. Letter from an Unknown Woman (motion picture). Directed by Max Ophüls. United States, 1948. Life is Beautiful (La vita è bella) (motion picture). Directed by Roberto Benigni. Italy, 1997. Little Caesar (motion picture). Directed by Mervyn LeRoy. United States, 1931. Un long dimanche de fiançailles ( A Very Long Engagement ) (motion picture). Directed by Jean-Pierre Jeunet. France and United States, 2004. Love Affair (motion picture). Directed by Glenn Gordon Caron. United States, 1994. Love is a Many-Splendored Thing (motion picture). Directed by Henry King. United States, 1955. Lovespell (motion picture). Directed by Tom Donovan. Ireland, 1981. Love Story (motion picture). Directed by Arthur Hiller. United States, 1970. The Maltese Falcon (motion picture). Directed by John Huston. United States, 1941. Maid in Manhattan (motion picture). Directed by Wayne Wang. United States, 2002. Making Love (motion picture). Directed by Arthur Hiller. United States, 1982. Manhattan (motion picture). Directed by Woody Allen. United States, 1979. The May Irwin Kiss (The Kiss) (motion picture – short). Directed by William Heise. United States, 1896. Mayerling (motion picture). Directed by Anatole Litvak. France, 1936. Miss Congeniality (motion picture). Directed by Donald Petrie. United States and Australia, 2000. Moonstruck (motion picture). Directed by Norman Jewison. United States, 1987. Morocco (motion picture). Directed by Josef von Sternberg. United States, 1930. Moulin Rouge! (motion picture). Directed by Baz Luhrmann. United States and Australia, 2001. The Notebook (motion picture). Directed by Nick Cassavetes. United States, 2004. Notorious (motion picture). Directed by Alfred Hitchcock. United States, 1946. Now Voyager (motion picture). Directed by Irving Rapper. United States, 1942. One Way Passage (motion picture). Directed by Tay Garnett. United States, 1932. Orage (Storm) (motion picture). Directed by Marc Allégret. France, 1938. Out of Africa (motion picture). Directed by Sydney Pollack. United States, 1985. Pardes (motion picture). Directed by Subhash Ghai. India, 1997. Passage to Marseille (motion picture). Directed by Michael Curtiz. USA, 1944. 164 Flimography

The Passionate Friends (motion picture). Directed by David Lean. United Kingdom, 1949. Pépé le Moko (motion picture). Directed by Julien Duvivier. France, 1937. The Philadelphia Story (motion picture). Directed by George Cukor. United States, 1940. The Piano (motion picture). Directed by Jane Campion. Australia, New Zealand, and France, 1993. Play It Again, Sam (motion picture). Directed by Herbert Ross. United States, 1972. Private Benjamin (motion picture). Directed by Howard Zieff. United States, 1980. Psycho (motion picture). Directed by Alfred Hitchcock. United States, 1960. Le Quai des brumes ( Port of Shadows ) (motion picture). Directed by Marcel Carné. France, 1938. Queen Christina (motion picture). Directed by Rouben Mamoulian. United States, 1933. Random Harvest (motion picture). Directed by Mervyn LeRoy. United States, 1942. Reds (motion picture). Directed by Warren Beatty. United States, 1981. The Red Shoes (motion picture). Directed by Michael Powell and Emeric Pressburger. United Kingdom, 1948. Revolutionary Road (motion picture). Directed by Sam Mendes. United States and United Kingdom, 2008. The Roaring Twenties (motion picture). Directed by Raoul Walsh. United States, 1939. Roman Holiday (motion picture). Directed by William Wyler. United States, 1953. The Roman Spring of Mrs. Stone (motion picture). Directed by José Quintero. United Kingdom, 1961. Romeo and Juliet (motion picture). Directed by George Cukor. United States, 1936. Romeo and Juliet (motion picture). Directed by Franco Zeffirelli. United Kingdom and Italy, 1968. Romeo + Juliet (motion picture). Directed by Baz Luhrmann. United States, 1996. La Ronde (motion picture). Directed by Max Ophüls. France, 1950. Ryan’s Daughter (motion picture). Directed by David Lean. United Kingdom, 1970. September Affair (motion picture). Directed by William Dieterle. United States, 1950. Shakespeare in Love (motion picture). Directed by John Madden. United Kingdom and United States, 1998. She Done Him Wrong (motion picture). Directed by Lowell Sherman. United States, 1933. The Sheik (motion picture). Directed by George Melford. United States, 1921. A Single Man (motion picture). Directed by Tom Ford. United States, 2009. Flimography 165

Something’s Gotta Give (motion picture). Directed by Nancy Meyers. United States, 2003. Somewhere in Time (motion picture). Directed by Jeannot Szwarc. United States, 1980. Splendor in the Grass (motion picture). Directed by Elia Kazan. United States, 1961. Star Wars (motion picture series). Created by George Lucas. United States, 1977–2008. Stella Dallas (motion picture). Directed by King Vidor. United States, 1937. Summertime ( Summer Madness ) (motion picture). Directed by David Lean. United Kingdom and United States, 1955. Terminator (motion picture). Directed by James Cameron. United States and United Kingdom, 1984. Terminator 2: Judgement Day (motion picture). Directed by James Cameron. United States and France, 1991. ‘Til We Meet Again (motion picture). Directed by Edmund Goulding and Anatole Litvak. United States, 1940. A Time to Love and a Time to Die (motion picture). Directed by Douglas Sirk. United States, 1958. The Time Traveler’s Wife (motion picture). Directed by Robert Schwentke. United States, 2009. Titanic (motion picture). Directed by James Cameron. United States, 1997. Transformers (motion picture series). Directed by Michael Bay. United States, 2007–2014. Tristan and Isolde (motion picture). Directed by Kevin Reynolds. Germany, Czech Republic, United Kingdom, and United States, 2006. Tristan et Yseult (short film). Directed by Albert Capellani. France, 1911. Twilight (motion picture). Directed by Catherine Hardwicke. United States, 2008. The Twilight Saga: Breaking Dawn Part 2 (motion picture). Directed by Bill Condon. United States, 2012. The Twilight Saga: New Moon (motion picture). Directed by Chris Weitz. United States, 2009. An Unmarried Woman (motion picture). Directed by Paul Mazursky. United States, 1978. A Walk to Remember (motion picture). Directed by Adam Shankman. United States, 2002. Waterloo Bridge (motion picture). Directed by James Whale. United States, 1931. Waterloo Bridge (motion picture). Directed by Mervyn LeRoy. United States, 1940. The Way We Were (motion picture). Directed by Sydney Pollack. United States, 1973. West Side Story (motion picture). Directed by Jerome Robbins and Robert Wise. United States, 1961. 166 Flimography

What Women Want (motion picture). Directed by Nancy Meyers. United States, 2000. When Harry Met Sally (motion picture). Directed by Rob Reiner. United States, 1989. When Tomorrow Comes (motion picture). Directed by John M. Stahl. United states, 1939. Wings of Desire (Der Himmel über Berlin) (motion picture). Directed by Wim Wenders. West Germany and France, 1987. Wuthering Heights (motion picture). Directed by William Wyler. United States, 1939. Index

adolescence, 7, 13, 33, 57, 94 Brokeback Mountain, 19, 99–101 see also youth Broken Blossoms, 40, 46, 49, 51, An Affair to Remember, 17, 116, 160 67, 161 The African Queen, 17, 46, 160 Brown, Helen Gurley, 63, 65, Algiers, 22, 25–6, 28, 39–40, 44, 79, 146 50–1, 53, 106, 160 All This and Heaven Too, 44, 160 Cameron, James, 2, 14, 30, 73, 78, Anna Karenina 80, 92, 132, 160, 165 1935 film, 21, 23, 34, 37, 41, 48–9, Camille 81, 160 1921 film, 44, 161 Novel, 23, 37 1936 film, 2, 20–3, 26, 30, 34, 37, Annie Hall, 17, 66, 113, 116, 160 51, 54–5, 161 Archetypes of passion, 12, 34, 36–8, La Dame aux camélias Novel, 50, 93, 97 23, 37 “As Time Goes By”, 42, 55, 70 Casablanca, 2, 14, 18–21, 29, 34, Atonement, 88, 97, 160 41–3, 45–7, 49–55, 62, 65–6, attraction, 8, 11, 15, 24–5, 28, 36, 70, 81, 91, 99, 106–7, 117, 120, 48–50, 69, 76–7, 85, 100–1, 130, 139, 161 125, 143 Casque d’or, 106, 161 Audience reception, 4, 12, 14, 16, censorship, 16, 39, 41–2, 47, 54, 57, 33–5, 37–9, 41–4, 47–9, 51–5, 63–4, 68, 79, 95 58, 61, 63, 67, 73, 75–6, 83–4, characters 86–9, 91–2, 94, 96–9, 103–4, female protagonist/heroine, 11, 106, 108, 114, 129 13, 17, 19–23, 26, 28–32, 35, 39, 43, 46–9, 58–9, 64–6, 68, Back Street 71, 74, 76–82, 84, 88, 90, 98, 1932 film, 18, 34, 41, 160 101, 103–4, 106, 118–19, 124, 1941 film, 18, 34, 41, 44, 64, 160 129, 138 1961 film, 18, 57, 64, 160 male protagonist/hero, 4, 11, Beatty, Warren, 62, 69–70, 84, 131 17–23, 26, 28–32, 35–6, 38, Bergman, Ingrid, 35, 41, 47–8, 50, 43–5, 49, 65–6, 69–70, 74, 54, 99, 125, 130 76–7, 81, 83–8, 94, 98, 101–5, Beauty, 48–50, 57, 68, 80, 99 117–19, 123, 135, 138, 142 Bogart, Humphrey, 41, 46, 48, 54, China Girl, 18, 20, 26, 75 66, 99, 130 cinematography, 58, 60–1, 98, 100 Bonnie and Clyde, 63, 131, 161 City of Angels, 25, 28, 31, 73, 78, Boyer, Charles, 35, 39, 41, 44, 84–5, 97, 120 55, 102 Coming Home, 56–7, 60, 64, 68, The Bridges of Madison County, 18, 70, 161 20, 22–3, 32, 38, 73–4, 75–6, commitment, 5–6, 8, 11, 22, 24, 27, 81–4, 88, 91, 93, 161 68, 94, 108, 110, 113, 118

167 168 Index

costuming, 44, 46, 48, 50, 57, 68, Flashback, 15, 31–2, 53, 61, 68, 71, 80, 84–5, 99, 103 76, 81, 94, 106, 120 courtship, 13–15, 18, 21–2, 24–5, Fleming, Victor, 34, 57, 134, 161–2 30–1, 33, 36, 38–9, 49–51, 53, friendship, 4–5, 8, 11, 21, 24, 57, 59, 61–2, 66–7, 68–9, 72, 27–8, 99 74–5, 81–2, 88–9, 91, 98–100, 116, 131 Gable, Clark, 45–6 Cukor, George, 2, 20, 27, 34, 37, 67, Gaby, 39, 53, 57, 162 121, 129, 161, 163–4 Garbo, Greta, 35, 37, 47–8, 50, 54, 99 Dark Victory, 18, 21, 26, 55, 117, 161 gender, 4, 20, 23, 35, 43, 44, 46–7, Dear John, 21, 35, 30, 73, 80, 87, 62–4, 66, 69–70, 77, 81–2, 85, 138, 161 99, 101, 104, 108, 118 death, 17, 26, 28–30, 32, 36–7, 39, femininity, 3–4, 9, 19, 40, 44–5, 44, 46–7, 52, 61, 78, 80–2, 69, 80, 82, 104, 109, 131, 142 84, 89, 91–4, 102–3, 105, 116, masculinity, 35, 43–6, 62, 69–70, 137, 143 84–5, 117, 124, 131, 135 Death Takes a Holiday, 91, 161 genre (film), 1–4, 8–19, 32–3, 56, DiCaprio, Leonardo, 74, 76, 85–9, 79, 88, 96–7, 101, 103–4, 117, 93, 136, 138 124, 134 Doctor Zhivago action, 88 1965 film, 2, 14, 19, 22, 56, 59–61, comedy, 9–11, 16–17, 26, 62, 70, 64, 68, 71, 127, 161 104, 116–17, 121, 127 Novel, 38, 59 romantic comedy, see genre (film), romance Endless Love, 84, 90, 161 screwball comedy, 9, 17, 24, 116 The English Patient, 26, 73, 83–4, female Friendship Films, 4 132, 162 film noir, 9, 19 emotion, 4–7, 11–12, 19, 32, 36, 53, gangster, 9, 12, 18, 79, 103, 124, 57–8, 61, 66, 69, 71–2, 84, 141 88–9, 97–8, 111, 116, 120, hard-boiled detective, 9 127, 133 hybrid, 9, 15, 18–19, 23, 26, 98, The End of the Affair, 21, 161 116, 119, 132 Les Enfants du paradis, 106, 161 melodrama, 9–10, 19, 27, 47, 58, Evening, 74, 82, 135, 162 66, 70, 104 family melodrama, 4, 17–18 fairy tales, 4, 104 maternal melodrama, 17–18, family, 4–5, 17–18, 20–1, 45, 66–8, 134 76, 82, 99, 101 romantic melodrama, 16, 18, fate, 28–9, 31, 36–7, 59, 91–3, 37, 115; see also genre (film), 102, 106 romance, romantic drama father-figure, 11, 21, 47, 63, 82, 129 women’s melodrama, 115 film industry, 12–13, 35, 40, 57, 70, musical, 10, 33, 38, 58, 70, 89, 115 73, 75, 97–8, 101, 104–6 romance, 1, 4–6, 8–12, 14–19, 24, film marketing, 4, 29, 37, 47–8, 29, 36, 41, 60, 66, 76, 96, 100, 50–1, 60, 67, 71, 74, 80, 115 104, 115–16, 118 Index 169

genre (film) – continued Leigh, Vivian, 39, 50 romantic comedy, 1–3, 9–12, 14, Le Jour se lève, 101–3, 106, 142, 162 16–17, 19–27, 29, 33, 36, 62, Le Quai des brumes, 101–5, 164 66, 69–70, 100, 108, 114, 117, LeRoy, Mervyn, 22, 27, 35, 163–5 121, 127 love romantic drama, 1–2, 9, 12–107, companionate, 2–3, 6–8, 10–11, 115, 117–20, 134 17, 24, 26–7, 33, 36, 41–2, 64, science fiction, 17 94–5, 108, 114 supernatural, 18, 20, 26, 91, courtly, 7, 26, 36–7, 102 93, 98 eternal, 26–32, 35, 52, 59, 68, 75, thriller, 18 93, 98 women’s picture, 4, 9, 18–19, familial, 3, 5 23, 115–16 forbidden, 25, 40, 52, 84 Western, 9–10, 12, 33, 44–5, 79, passionate, 2–3, 5–8, 10–92, 117, 123–4 96–143 Ghost, 18–19, 29, 73, 78, 84, 88, 91, in art, 1–2, 12, 19 93, 162 in film, 2, 12, 19 The Ghost and Mrs. Muir, 18–19, 23, in history, 3–4, 7–8, 36, 48, 50, 26, 41, 91, 162 55, 63, 65, 67, 77, 96–7, 99, Gone with the Wind, 27, 34, 37, 41, 102, 104, 109, 129 43, 45–46, 52, 55, 57, 162 literature, 1–2, 4, 9, 12, 19, 23, The Graduate, 63, 162 36–8, 48, 67, 81, 99, 102, 104 heart-symbol, 29–30, 67, 102 theatre, 2, 12, 19, 38, 42, heteronormativity, 12, 16, 46, 97, 45, 123–4 100–1, 140 love at first sight, 7, 15, 25, 48, 76, heterosexuality, 1, 3, 19, 66, 99–100 101–2 homosexuality, 19, 35, 99–101 Love is a Many-Splendored Thing, 22, homosociality, 44 26, 30, 56–62, 64–6, 68, 78, The Horse Whisperer, 17, 162 88, 163 Hôtel du Nord, 103, 162 Love Story, 21, 26, 29, 56–7, 60–1, Hull, Edith Maude, 37 64–5, 68, 71, 91, 127, 163 love triangle, 26, 41, 102, 118 iconography, 27, 30 impediment, 22, 26, 42–3, 62, 74, mad love (or falling madly in love), 100, 118 7, 25, 66, 84, 106 Intermezzo: A Love Story, 19–21, Manhattan, 113, 163 26, 28, 30, 41, 47, 50, 119, marriage, 6–8, 20, 24, 26–9, 31, 123, 162 35–6, 39–2, 64, 69, 75, 77, intimacy, 1, 3, 5–8, 24, 30, 35, 37–8, 79, 82, 93–5, 100–2, 114, 119, 42, 47, 55, 57, 62, 64, 71, 79, 129, 138 90–1, 109, 130 husband, 41–2, 45, 47, 60, 64, 68–70, 75, 77, 92, 116 Kazan, Elia, 28, 56, 62, 84, 164 wife, 17, 21, 41, 45, 47, 63–4, 66, 76–7, 102, 124, 134 Lamarr, Hedy, 39, 48, 125 McAdams, Rachel, 76, 81, 93, 138 170 Index

Mayerling, 44, 101–2, 106, 163 poetic realism, 102–6 memory, 12, 15, 17, 23, 28–32, 35, polygamy, 8 45–6, 52–5, 61, 68, 72, 75, 81, popular culture, 19, 42, 47–8, 54–5, 84, 87–91, 93, 106, 119 73, 107 Metro-Goldwyn-Mayer (MGM), Production Code Administration x, 48 (PCA), x, 41–2, 57 Motion Picture Association of Psycho (1960), 17, 164 America (MPAA), x, 63 Motion Picture Producers and Queen Christina, 20–1, 23, 26, 47, 51, Distributors of America 99, 164 (MPPDA), x, 38–42, 63 mother-figure, 11, 47, 49, 62–4, 67, race, 12, 20, 26, 38–9, 75, 133 74, 76–83, 93–4, 114, 124, Random Harvest, 22, 28, 45, 52, 164 129, 132, 134, 139 romantic reunion, 39, 79, 91–3, 138 Mitchell, Margaret, 37 Romeo and Juliet Moonstruck, 17, 116, 163 1936 film, 37, 164 musical themes, 1, 13, 30, 49, 54, 1968 film, 97, 164 57, 59, 62, 70–2, 74–5, 84, 1996 film Romeo + Juliet, 38, 86, 88–91, 131 89, 107, 164 “My Heart Will Go On”, 90–1, 137 play/original archetype, 36–7, 45, myth, 34, 36–7, 97, 102, 104, 50, 55, 67, 70, 75, 81, 93 121, 141 sacrifice, 17, 21, 28, 35, 43, 53, 66, narrative structure, 2, 8, 10–12, 100, 110, 117, 123 14–17, 19–20, 22–4, 27–8, 32, separation, 11, 17, 20, 25–6, 28, 30, 34–8, 40–2, 61, 66, 68, 73, 76, 36, 43, 62, 75–6, 78, 81, 91–3 91, 103, 108, 114 September Affair, 21, 56–8, 60, nostalgia, 12, 15, 17, 21, 31–2, 52–5, 66–8, 164 105, 120 setting The Notebook, 2, 19, 21, 23, 25–7, physical setting, 12, 17, 23, 31, 32, 38, 59, 73–4, 76–83, 85, 35, 50–2, 56–61, 75, 83, 100, 87–90, 92–4, 132, 137, 163 106, 143 Now, Voyager, 17, 141 temporal setting, 15, 17, 23, 52, nudity, 39, 63–4, 76, 80 61, 75–6, 78, 100 sexual relations, 3, 7, 12, 17, 35, Office of War Information (OWI), 39–42, 57, 61–6, 69, 79, 86, x, 42 104–5, 112, 124, 129, 134, old age, aging, 54, 68, 79–81, 83, 142–3 94, 98 sexual revolution, 57, 62, 69, 75, 96 One Way Passage, 23, 25, 29, 50, 163 Shakespeare in Love, 17, 74, 135, 164 Out of Africa, 14, 20, 23, 25–6, Shakespeare, William, 24, 36–8, 30, 59, 73, 75, 77–8, 83, 89, 129 88, 90, 163 The Sheik The Paramount Decision, 12, 56, 62, 1921 film, 34–5, 37–8, 40, 44, 46, 70, 72 49–51, 54, 164 Novel, 37 Pépé le Moko, 39, 101–3, 105–6, 163 A Single Man, 99, 109, 140, 164 Index 171

Somewhere in Time, 26, 29, 32, 76, Twilight 79, 84, 91, 93, 164 2008 film, 98 Splendor in the Grass, 28, 56–7, 61–3, 2008–2012 film series, 97–9, 165 66–9, 81–2, 84, 164 Novel, 98 Star Persona, 40, 48, 54–5, 83, 86–8, 93, 99, 103, 125 A Walk to Remember, 25–6, 30, 85, Streep, Meryl, 75–6 90, 165 Style (film), 9–10, 27, 33, 55, 58–9, war, 20–2, 26, 35, 42–7, 52, 58, 61, 66, 73, 105, 116 64, 69–70, 105, 141 suffering, 2, 7, 15–16, 19, 35, 37, 45, Waterloo Bridge 47, 61, 63, 75, 77, 91, 111, 116, 1931 film, 35, 45, 50–2, 165 119, 124 1940 film, 27, 32, 35, 39–40, 45, Summertime, 23, 26, 30, 56–8, 60, 47, 50–3, 165 66, 68, 165 The Way We Were, 27, 56–7, 60–1, Swayze, Patrick, 74, 84, 88 68, 71–2, 88, 165 West Side Story, 70, 165 Taylor, Robert, 39, 54 When Harry Met Sally, 29, 165 technology (cinematic), 12–13, 33, When Tomorrow Comes, 44, 165 35, 51, 56–8, 61 Winslet, Kate, 76, 87, 93, 103, 138 ‘Til We Meet Again, 28, 50, Wood, Natalie, 62, 84 92, 165 woman’s movement, 16, 57, A Time to Live and a Time to Die, 30, 74 –5, 96 56, 165 Wuthering Heights The Time Traveler’s Wife, 18, 20, 26, 1939 film, 23, 27, 37, 51, 55, 165 32, 73, 80, 83, 91, 138, 165 Novel, 23, 37 Titanic, 2, 14, 18, 20–1, 23, 25–6, 29–32, 73–4, 76–94, 103, 115, Valentino, Rudolph, 35, 38, 44, 46, 132–3, 136 50, 55, 83, 87 Tolstoy, Leo, 37 voiceover narration, 15, 28, 31–2, Tristan and Isolde 52, 61, 84, 88, 119, 133 2006 film, 32, 165 myth, 36, 45, 67, 97, 102, 121 youth, 7, 13, 28, 40, 47, 57, 63, true love, 7, 19, 25, 29, 31, 42, 66–70, 74, 76, 80–2, 86, 91–2, 93–4, 114 98–9, 131