Letting Women Have the Last Laugh: Week 4 Lesson 2 Blog for Creative Writing and Film Studies

In Friday's lesson within the unit, Film Genres and National Cinemas, students continued their laughter-filled investigation into the world of comedy genre films. Going into this lesson, students considered the role of comedy as an instrument for bringing people together, in a world so often divided. Often in today’s society, we tend to write-off other people and even ourselves based on surface level criteria of what success and happiness looks like, as dictated by media representations. For instance in teen films, it might be a better ‘social move’ to avoid the ‘loser table’, characterised by students in plaid, with braces, bad skin, and a snort when they laugh (often in response to something that caught their eye in a maths textbook or a superhero comic). In the dating scene in films, men may gravitate to the ‘perfect girl’, with a slender body, long blonde hair, and trendy outfit, while women may want the guy with the action hero ‘eight-pack’ over the ‘dad-bod’. The reality of the situation however is that no matter what anyone looks like, it is easy to wake up, look in the mirror, and feel like you are not good enough in some way; and this directly impacts our ability to make the most of life and its opportunities and blessings. This is especially the case for women and young girls, as society continues to make it impossible to be ‘up to standard’.

While we began with looking at comedy genre films as a means for making a spectacle out of on-screen characters, these films also possess the power to turn our gaze back towards ourselves, and for us to love every imperfection that makes us who we are. While films that use exaggeration and elements of slapstick and physical comedy can produce hilarious incongruity, a key to seeing comedy as a means of self acceptance and embracing those pushed onto the fringe of society is to ‘laugh with’ these characters, rather than ‘laugh at’ them. When I was in primary school, I remember a teacher who would always say ‘if a joke is not funny to everyone involved, it is not funny at all.’ This is an important thing to keep in mind when you consider the origin of your laughter, and whether this ‘joy’ is a positive experience. In Stephen King’s classic horror novel Carrie (1974), the girls in the locker room ‘laugh at’ Carrie, and her unusual naivety in regards to her changing body. While a giggle can come as a surprise, this constant onslaught of laughter and taunting comes as a result of feelings of superiority (as mentioned in my previous article, this is a psychological theory that predated incongruity theory in comedic studies). Previously, I often saw comedy films as a form of exploitative bullying, making the person on the outside the butt of every joke. I remember initially seeing trailers for Melissa McCarthy films, Paul Blart: Mall Cop (2009), and even Kung Fu Panda (2008) and assuming that they would be silly, offensive, and merely making fun of the main character for not being G.I. Joe or a living Barbie doll. However, upon watching these films, I quickly fell in love with these characters, for their tenacity, authenticity, and unbreakable commitments to be true to themselves. Especially in the last few years with the pain and uncertainty of the world, anything starring Melissa McCarthy is a ‘go-to’ source of happiness for me. Her characters in films such as Identity Thief (2013), The Boss (2016), and Life of the Party (2018) are loud, unapologetically themselves, and refuse to be pulled down by ‘the haters’. As a woman in a world that is constantly telling you to sit down, be polite, quiet, and small in frame and voice, characters that simply won't back down are a breath of fresh air in what can be such a stuffy and oppressive existence.

In the film industry, one thing that is still developing slowly and for the better is the representation of authentic, strong female characters. While it was certainly a fun first lesson on comedy films earlier in the week, it was one that was glaringly without adequate female representation. I did preface this with the students, and highlighted how diving back into the history of film can uncover things that have been improved upon since, however these improvements are still conditional. Often even in cinema today, ‘strong’ female characters are flattened out and made into two-dimensional versions of their former selves. Even in what some refer to as ‘feminist Hollywood’ films, characters that are shown as ‘strong’ have traditionally masculine characteristics. They often have fighting skills and weapons, and leave the pink clothes and scented candles at the door. For instance, Captain Marvel (2019), Black Widow (2021), and Sarah Connor from the Terminator film franchise (1984 - 2019, but particularly from the second film onwards) are fantastic characters, but their status as strong depends on their overall rejection and subversion of traditionally feminine traits. While both women and men can exhibit both masculine and feminine traits, the term ‘strong’ is too often reserved for those with masculine traits. According to Wayne, “As I’ve gotten older, though, I’ve started to question what made these characters “strong.” I’ve also paid close attention to what male critics and fanboys are saying about these characters. And I’ve realized that many Strong Female Characters still aren’t as fully fleshed out as their male equivalents” (Wayne, 2018). Additionally, power and strength for these characters can be dependent on the whims of male characters and creators alike, and may even be limited to the realm of a woman's imagination as seen in the head-scratching psychological action film, Sucker Punch (2011) (you can view my previous piece on the film here). While there is certainly a lot of merit in these films that have emerged out of ‘feminist Hollywood’, it appears that comedy genre films are doing some of the best work to humanise and empower regular women and their experiences.

A film that I had on our list for consideration and analysis for this lesson was I Feel Pretty (2018), starring Amy Schumer. I still remember having my fair share of doubts when I saw the trailer, expecting another film that made a woman into an object of ridicule, but I was certainly wrong (and I am glad that I decided to see it on the big screen at the time of its release). In a nutshell, Schumer plays a young woman named Renee Barrett who wants nothing more than to work 'front of house' at her favourite cosmetics company, Lily LeClaire. After sustaining a bump to the head, Renee looks in the mirror and sees what she deems to be a ‘perfect girl’; modelesque and drop dead gorgeous. While this change in her appearance is however only in Renee’s head, this change makes it possible for her to live her life in a way that is free from any self-esteem issues. The humour of this film certainly derives from the incongruity of Renee’s attitude and her appearance as a more ordinary woman, however this does not make her into a laughing stock. Instead, the audience is able to see how much a woman can accomplish if she sees herself as someone worthy of happiness, career growth, love, and other people’s time. As Renee comes out of her shell, everyone around her can not help but love her unapologetic confidence, charisma, and ingenuity that had previously been hidden behind layers of self-doubt. In a way, I Feel Pretty operates under a similar premise to that of Yes Man (2008) starring Jim Carrey, where an isolated man’s life opens up and is enriched when he decides to commit to saying ‘yes’ to opportunities when they arise. Importantly also, the film makes the point that conventional outer beauty does not necessarily mean that a person is happy. American model, Emily O'Hara Ratajkowski stars as Mallory, Renee’s ‘beautiful’ friend, who reveals that she too suffers from self esteem issues, and the fact that many people do not take her seriously or see her as intelligent because of how she looks. I Feel Pretty is certainly a triumph for the comedy genre and for women, as viewers can see that true value and beauty is something that exists on the inside, and that anyone who wants to be around you based on looks alone is simply not worth your time.

References:

STXfilms. 2018, I Feel Pretty | Official Trailer | Own It Now on Digital HD, Blu Ray & DVD, online video, viewed on 26 February 2023, https://www.youtube.com/watch?v=cVx9EFK3DWE

Wayne, R. (2018). Fierce Femmes: The Problem with Strong Female Characters, https://rachelwayne.medium.com/fierce-femmes-the-problem-with-strong-female-characters-6c4e23847b8f, accessed on 26/2/23

Incongruity Theory in Comedy: Week 4 Lesson 1 Blog for Creative Writing and Film Studies

In today's lesson within the unit, Film Genres and National Cinemas, students began their hilarious investigation into the world of comedy genre films. At the outset, students considered the idea of ‘physical comedy’, and how the human body can be used as an instrument by actors to initiate joy and laughter. Historically, and especially in the case of pre-sound cinema, actors had to rely more on their facial expressions and movements in order for the jokes to land successfully. When we consider actors such as Charlie Chaplin, we can still see his charm and appeal, despite (or perhaps in part, because of) his complete lack of dialogue in his silent film roles. However, it would certainly be incorrect to say that physical comedy is dead, and that the arrival of sound cinema caused its obsolescence. Rather, when looking at practically any piece of comedy or comedic act, physical comedy is not just a remnant but a foundation for laughter inducing performances. Upon discussion, the students were quick to bring up comics such as Rowan Atkinson (known for his portrayal of the title character in Mr Bean (1990=1995)), Jack Black (School of Rock (2003), Jumanji: Welcome to the Jungle (2017)), and Jim Carrey (The Mask (1994), Bruce Almighty (2003)).

Throughout the lesson, the students considered the purpose of comedy in various films, and what film and comedic techniques were used to bring them to life. For my blog today, I will discuss the technique and theory of incongruity, and how decisively setting up contradictions to the audience’s expectations can elicit the most delightful viewing experiences. According to Morreall in The Stanford Encyclopedia of Philosophy, “While the Superiority Theory says that the cause of laughter is feelings of superiority, and the Relief Theory says that it is the release of nervous energy, the Incongruity Theory says that it is the perception of something incongruous—something that violates our mental patterns and expectations. This approach…is now the dominant theory of humor in philosophy and psychology” (Morreall, 2020). As previously stated, researchers have tried to explain the cause of laughter using various approaches. While there certainly are different causes and levels of laughter, the idea of incongruity checks the most boxes when applied to the film and television industries.

One of the examples that we looked at today was The True Memoirs of an International Assassin (2016), starring Kevin James. In this film, James plays an author named Sam who writes novels about ‘action hero types’ in dangerous but possibly realistic scenarios. As part of his writing process, Sam learns how to assemble a gun and handle weapons. He gets his head around the workings of various fighting techniques, and masters Spanish as a second language (as the bad guys in his latest story are Columbian). In addition, as part of his ‘research’, he consults his friend Amos, who is an older man that knows a lot about this kind of world, including a certain heroic individual known only as ‘The Ghost’. While Mason promises not to publish the story of The Ghost, he does so under the title “The True Memoirs of an International Assassin”. What starts as a marketing ploy quickly leads to real life danger, when the enemies of The Ghost come for Sam, believing he must be the elusive and faceless hero, given the specific details he reveals in his ‘novel’.

Considering this film in respect to incongruity theory, we can see how this works from beginning to end. The casting choice of Kevin James alone sets the stage for hilarious incongruity. As James is widely known to play endearing comedic individuals (such as Paul Blart in Paul Blart: Mall Cop (2009)), and is not exactly a G.I. Joe lookalike, the very idea of him being mistaken for a highly sophisticated and dangerous assassin is laughable. This comes from playing off the audience’s expectations of what a super spy killer ‘should’ look like. For example, if the role of Sam was filled by Bruce Willis, fresh off the set of Die Hard (1988), and he expressed confusion at being mistaken for an action hero, this would not be funny, as it would affirm what the audience assumes is normal. One of the hallmarks of this film however (and keeping with the spirit of the Paul Blart: Mall Cop film series (2009-2015)), is the message to not judge a book by its cover. While Sam is not exactly the T-1000 killer machine cop from Terminator 2 (1991), he is shown early on to possess many useful skills needed to survive real life danger. After finishing a chapter of his book, he uses a survival knife to ‘ninja’ chop an apple in half, then uses it to hit the target on a dart board, while speaking Spanish fluently. This foreshadows Sam’s transformation into a true hero, and emphasises that the only real barrier in his way of achieving this (aside from some excellent examples of physical comedy, where he doesn’t always land the winning blow) is his own self doubt. This pattern of the funny ‘unlikely hero’ can be seen in films such as Kung Fu Panda (2008), The Master of Disguise (2002), and Get Smart (2008), where each character, not despite but because of their uniqueness and idiosyncrasies can save the day without conforming to the textbook definition of a hero. In this sense, comedy films like this not only entertain us, but allow viewers to embrace their own quirks, and can inspire us to be like Sam and fulfil our true potential.

References:

Morreall, John, "Philosophy of Humor", The Stanford Encyclopedia of Philosophy (Fall 2020 Edition), Edward N. Zalta (ed.),https://plato.stanford.edu/archives/fall2020/entries/humor/, accessed on 21/2/23

Netflix MENA. 2016, The True Memoirs of an International Assassin - Main Trailer - Only on Netflix, online video, viewed on 21 February 2023, https://www.youtube.com/watch?v=Gf17WwFDp7s

Tano. 2017, The True Memoirs of an International Assassin Funny Clips, online video, viewed on 21 February 2023, https://www.youtube.com/watch?v=toMlL7geqZE

Aussie vs American Romance in Film: Week 3 Lesson 2 Blog for Creative Writing and Film Studies

In Friday's lesson within the unit, Film Genres and National Cinemas, students continued their investigation into the romance genre, with a sharper focus on how a change in national context can affect genre conventions. Leading into this lesson, students considered the classic romantic comedy film, What Women Want (2000), and compared it with a clip from the Chinese remake of the same name, that came out eleven years later in 2011. Not only did the passage of time affect the appearance of love and romance, the switch to the high class corporate marketing world in China certainly allowed for our main heroine Li Yi-Wong portrayed by Gong Li to be a more formidable and confident force to be reckoned with, when compared to the original film’s ‘girl boss’ Darcy Maguire, played by Helen Hunt. Unlike Mel Gibson’s cocky and self assured character, Nick Marshall, the Chinese film’s Sun Zigang played by Andy Lau had a wackier and more humble personality, as he struggled to come to terms with his strange new ability: to be able to read the minds of women.

Throughout the lesson, the students considered the appearance of love and romance in various national contexts, with examples from Germany, the United States, South Korea, the United Kingdom, and Australia. For their blog, students were to consider how changing national contexts can affect the representation of genre films and television, by selecting to compare and contrast two focus clips. For my blog today, I will reflect on a clip from the quintessential romantic comedy film 10 Things I Hate About You (1999), where Kat confesses her feelings for Patrick, and a moment from the second season of the Australian hit drama series, H2o: Just Add Water (2007), where Cleo and Lewis finally get back together.

In the above clip from 10 things I Hate About You, main character Kat (inspired by Katerina Minola from Shakespeare’s 1592 play, The Taming of the Shrew) confesses her love for resident bad boy, Patrick (based on the apparent ‘tamer’, Petruchio from the same play). This however is not done in a way that could be described at all as ‘low key’, following the film’s inclination towards grand gestures and drama. When the English teacher asks if anyone would be willing to share their poems in front of the class, Kat obliges with a slight hesitation, already showing a change in her usual unapologetic and abrupt manner. To this, the teacher expresses his preparedness for something controversial or disruptive, as Kat is perceived as an ‘opinionated student’, quick to get on her high horse (certainly not the kind of teacher I would recommend to run a learning environment based on an authentic inquiry approach!). Her poem is as follows:

“I hate the way you talk to me, And the way you cut your hair.

I hate the way you drive my car, I hate it when you stare.

I hate your big dumb combat boots, and the way you read my mind

I hate you so much it makes me sick, It even makes me rhyme.

I hate the way you're always right, I hate it when you lie

I hate it when you make me laugh, Even worse when you make me cry

I hate it when you're not around, And the fact that you didn't call

But mostly I hate the way I don't hate you, Not even close, Not even a little bit, Not even at all.” (Gil Junger, Richard Gibbs & Richard Gibbs, K. K. (1999))

Kat’s rather sing-song and simplistic poem in this scene serves to reveal the deeper changes in her heart. The repetition of “I hate” at the beginning reinforces how the other characters see her; as a spiteful and unpleasant loner. It is in her tonality that her tough girl facade begins to break down. The line “Even worse when you make me cry” causes Kat to whimper and tear up as she reads, highlighting that the hate for the person in the poem is different from the effortless hate she applies to the vast majority of people she encounters in her day to day life. This hate appears to be in painful contradiction to her true feelings, which she confirms in the final line. Once she finishes her poem, Kat is no longer the scary and unapproachable girl we knew, but rather a normal teenage girl with a broken heart and raw emotions. The close up on Patrick’s face empathises his struggle to respond to the gesture, which was perhaps even more dramatic than his earlier cheeky rendition of Frankie Vali and the Four Seasons’ post-disco classic Can’t Take My Eyes off You (1967). This scene reinforces how romance is often depicted in American films; that the truer the love, the bolder the gesture. In this film’s race towards dominance in the relationship, Kat and Patrick often find themselves evenly matched, however it seems inevitable that their need for control would eventually be eclipsed by their feelings for one another. It is important in American romance films that the characters are rather loud in their actions, so that there can be no mistake about the existence of their relationship to both people in the couple, as well as to all of the surrounding characters. Quiet love connections appear to be few and far between in romance films from the USA, and 10 Things I Hate About You is certainly no exception.

In contrast to Kat and Patrick, Cleo and Lewis in Australia’s H2o: Just Add Water have a more subtle moment of true connection. While they certainly experienced their fair share of ups and downs on their road to becoming reunited, the rekindling of their spark throughout the series is a ‘slow burn’ process. In the above clip, Lewis joins Cleo on the beach. The pair sit closely together, as the rolling waves provide a soothing moment of seclusion for true feelings to be shared. This follows the pattern of the show where apologies, expressions of feelings, and heart to heart moments require space away from those not directly involved, contrasting with the need to ‘make a scene’ in many American films. The camera remains in close proximity to the two and a shot-reverse shot editing pattern allows us to see Cleo’s solemn and quiet pain (no crocodile tears), and Lewis’ more mature awareness of the damage he has done. Reserving all dramatics, Cleo asks “Why’d you come after me, Lewis?” In response, Lewis answers this question with another: “Why’d you think?”, highlighting that his actions speak volumes for his feelings, and that their connection leaves little to be clarified. In a relaxed, brief and candid conversation, Lewis reveals the elephant in the room, his controlling girlfriend Charlotte is now out of the picture. In a friendly and also rather Australian fashion, Cleo lightens the mood by telling Lewis that it “took [him] long enough” to realise they were not a good fit for one another. Lewis takes the well deserved dig graciously and makes it clear that he would like to be “a lot more than friends”, if that is what Cleo wants. Beautiful, ‘magical ocean’ music begins to play, symbolising that this is a match made in Heaven. Both smile softly and move in for a delicate kiss. Cleo and Lewis then regard each other with sheepish and wordless joy. The camera then cuts to a mid shot of the couple from behind as Lewis puts his around Cleo as she leans in, emphasising that all is back to how it should be.

As mentioned before, this moment of romance in Australian television is quiet, stripped back, and in a private setting. While American couples are often quick to express their feelings and ideas publicly in films, when it comes to love and revealing deeper truths, Australians who often like to joke around and appear casual and flippant to most people need space and distance from others for authentic one-on-one moments like this. Thus, romance in many Australian films and programs is something that is private, and can only flourish authentically with some space and time to dedicate to serious and candid conversations. Unlike Kat, Cleo is a softer mannered character, but even in her hardest times, she tends to mask her heartbreak. This makes it only possible for the people who know her best to reach her when she becomes distant. In addition, Louis is a more realistic teen, with quite a unique set of idiosyncrasies, unlike Patrick who (while he is played by Australian actor Heath Ledger) is a more stereotypical bad boy who hides a softer heart behind a thick facade of performative delinquency.

References:

Frankie Vali and The Four Seasons. 1967, provided to youTube by Rhino 2017, Can’t Take My Eyes Off You, online video, viewed on 19 February 2023, https://www.youtube.com/watch?v=DYwQy_9JPtQ

Gil Junger, Richard Gibbs & Richard Gibbs, K. K. (1999) 10 THINGS I HATE ABOUT YOU. USA.

Jaley Williams. 2019, H2o Just Add Water | Cleo and Lewis get back together, online video, viewed on 19 February 2023, https://www.youtube.com/watch?v=8EwXlr1Xu_A

ThatVideoGirl1997. 2013, 10 Things I Hate About You - Full Poem Scene HD, online video, viewed on 19 February 2023, https://www.youtube.com/watch?v=31N_HM2f9Ks