The concept of the wedding along with women’s social status is under constant revision throughout the decades. The Hollywood film industry concededly exhibits and contributes to the ideological and socio-cultural shaping for both the cultural rituals and women’s positions. As the plots in romantic comedy, neo-romantic comedy and new romances are essentially similar in narrating the heroine’s journey of
searching for her true love, marriage seems to be the only outcome to announce the triumph of womanhood. Apart from sabotaging the opportunity for women to gain their autonomy, such comedies have also severely obliterated other possibilities for them as well. In recent years, one can observe the rise of a new genre of comedy which has arisen to (re-)examine the issue of relationship and wedding particularly from women’s perspectives. Instead of concluding arbitrarily that marriage is the only way out, wedding comedy presents a different ending to the audience. Most
importantly, it focuses on the process of women’s self-understanding. Even though undergoing the same journey as they do in romantic comedy, female protagonists in wedding comedy provide alternative interpretations and perspectives. Unlike the core value in romantic comedies, love no longer conquers all; wedding comedy is about the protagonist’s self-awakening, self-understanding and self-transformation. Take the movie My Best Friend’s Wedding as an example. In the beginning of the movie, three lovely bridesmaids are circling around the bride and chanting the song, “You will be
His.”23 The lyrics “Wishin’, and hopi’, and thinkin’, and prayin’, Planning and dreamin’ each night of his charms” created some romantic undertone. However, the female protagonist Julianne Potter in her late 20s is thunderstruck by the news of her good old friend Michael O’Neil’s coming wedding. The end of My Best Friend’s
Wedding subverts the conventional dogma of romantic comedy, which is “love
conquers all,” by presenting an alternative “happy ending” for Julianne. Julianne finally realizes her true feelings for Michael. Her deeds and her intention of getting married to Michael are not out of love, but out of a sense of nostalgia. The film brings out the central themes of wedding comedy; the transformation and self-knowledge of the female protagonist. In the end, what Julianne gains in her quest is neither a lover nor a wedding, but a sense of enlightenment in womanhood.To conclude, the plots of running away to avoid confrontation or passive revolt widely appear in wedding comedy. Such reactions are viewed as the self-awakening of women who make their own choices instead of accepting this marriage with doubts or under social pressure. Relatively speaking, to hinder one’s wedding may be
considered to be a more progressive move for the women in wedding comedy.
Because once the women realize what they really want, they will start their journey, which is, the process of self-understanding. One can observe the transformation of heroines’ attitude toward love, relationship and marriage in wedding comedy of
23 The lyrics of “You will be His” by Ani DiFranco
Wishin', and hopin', and thinkin', and prayin', Planning and dreamin' each night of his charms. That won't get you into his arms
So if your're looking for love you can share All you gotta to is hold him, and kiss him, and love him, And show him that you care.
Show him that you care, just for him. Do the things that he likes to do. Wear your hair just for him, 'cause, You won't get him, thinkin' and a prayin',Wishin' and hopin'.
'Cause wishin', and hopin', and thinkin', and prayin', Planning and dreamin' his kisses will start. That won't get you into his heart!
So if you're thinking how great true love is All you gotta to is hold him, and kiss him, and squeeze him, and love him. Yeah, just do it! And after you do, you will be his.
So if you're thinking how great true love is!
All you gotta to is hold him, and kiss him, and squeeze him, and love him. Yeah, just do it! And after you do, you will be his.
You will be his. You will be his!
different eras. In It Happened One Night, Ellen tries to run away from her own wedding when she realizes the one she is about to marry is not her true love. In The
Graduate, Elaine is persuaded by Ben and decides to run away from her own wedding.
In the 1970s, the attitude of the heroine is getting tougher. Erica, in Moonstruck, is fully aware of her preference and actively quests for her demands. As it comes to the 1990s, in My Best Friend’s Wedding, Julianne takes over her fate and tries to stop her old friend’s wedding. Along the way, the process of women’s self-awakening,
self-understanding, and self-transformation can be observed in wedding comedy from 1930 to 2000. In chapter 3, I will first examine Sex and the City to demonstrate the runaway bride in the early 21st century Hollywood and then I will discuss the influence of family values in wedding comedy in the contemporary period.