Author(s): Wen Yu Lee
Mentor(s): Leandra H. Hernandez
Institution U of U
The genre of romantic comedy films is one of the rare occasions where women shine and dominate in the media, but there is a glaring discrepancy in the representation of women of color. Intersectionality of gender and race is an increasingly prominent part of the female identity, yet the film industry struggles to accurately convey these concepts and create substantial films about the female experience without falling back on classic racial stereotypes or not having any proper representation. Romantic comedies are generally based on lighthearted romantic experiences, but the way women are portrayed can result in a perpetuation of highly negative racial and gender stereotypes. Current research reveals a broad coverage on the varying gender stereotypes observed in movies as well as racial stereotypes. A huge gap lies in the lack of media study on how these two concepts are so inescapably related, especially in the feminine sphere of romance. Female sexuality and racial identity cannot be discussed without acknowledging the other, which is something that both the film industry and current research do not adequately examine. This thesis begins to bridge this gap by specifically honing in on data from romantic comedy movies, a genre widely beloved and closely related to the feminine audience. The study contains primary research on 100 major romantic comedy films, spanning a whole century since the genre was first coined in 1934. Films have been curated based on factors including, but not limited to: mainstream popularity, diversity, pre-existing ranking lists, modern relevance, and relevance to the research. I have gathered extensive data on actor demographics, statistics on audience perception, and qualitative information on general plot patterns. Preliminary review of the data supports my hypothesis on a significant divide between the representation of white women and women of color. There are observed differences in actress typecasting, character arcs, and common relationship trends, all of which contribute to realized effects in box office statistics and awards won by the films. This thesis strives to synthesize existing research and modern data to reveal the importance of intersectionality and representation in the world of film.