Unit B321 - Comparative Analysis

1. 1
Unit
B321:
Foundation
Portfolio
–
Comparative
Analysis
Topic
two
–
Film
Genre’s
–
“Romantic-­‐Comedy”
Genre
Compare
the
representation
of
gender
in
the
romantic
comedy
genre
with
reference
to
‘Knocked
Up’
and
‘Forgetting
Sarah
Marshall’.
This
comparative
analysis
will
focus
on
how
the
two
romantic
comedy
texts
‘Knocked
Up’
(2007
–
Dir.
Judd
Apatow)
and
‘Forgetting
Sarah
Marshall’
(2008
–
Dir.
Nicholas
Stoller)
connote
similar
and
different
views
on
gender
representations.
‘Knocked
Up’s’
male
protagonist
Ben
(Seth
Rogen)
lives
a
‘carefree,
hedonistic’
(Mortimer-­‐2010)
lifestyle,
representing
the
‘New
Man’
(Corrigan-­‐2012)
that
is
now
common-­‐place
(much
to
the
frustration
of
the
female
gender)
in
society.
His
‘well
meaning,
but
immature’
(Gauntlett-­‐2008)
personality
is
where
the
‘laughter
[is]
generated’
(Mortimer-­‐2010),
however,
is
challenged
when
the
female
protagonist
Alison
(Katherine
Heigl)
breaks
the
news
of
pregnancy
to
him
after
their
disastrous
one
night
stand,
therefore
‘signifying’
(De
Saussure)
the
end
of
selfish
existence
as
he
begins
a
long,
amusing
battle
to
overcome
his
underdog,
unappealing
personal
demons.
‘Forgetting
Sarah
Marshall’s
Male
protagonist
is
presented
in
the
form
of
‘Peter’
(Jason
Segel).
This
metrosexual,
“successful
musician”
character
experiences
a
dramatic
break
up
with
the
love
of
his
life,
Sarah
(Kristen
Bell).
His
‘unrequited
love’
(Mortimer-­‐2010),
which
is
a
common
theme
in
the
rom-­‐com
genre
and
amongst
many
men
in
society,
falls
short
and
leads
to
a
series
of
unfortunate
events,
which
is
one
of
many
similarities
between
Ben
and
Peter.
This
essay
will
deconstruct
three
scenes
from
‘Knocked
Up’
and
three
scenes
from
‘Forgetting
Sarah
Marshall’
to
establish
these
similarities
and
differences
in
the
gender
roles,
as
well
as
consider
what
impact
this
will
have
on
an
active
rom-­‐com
consuming
audience.
The
two
male
protagonists,
Ben
and
Peter,
denote
similarities
in
the
representation
of
the
male
gender.
Both
characters
are
‘emasculated’
in
the
films,
for
example
in
‘Knocked
Up’
the
diegetic
verbal
code
of
“Do
you
have
a
real
job?”
connotes
Alison’s
confusion
towards
Ben’s
financial
capabilities,
and
backing
towards
their
newfound
relationship,
and
upcoming
family.
In
‘Forgetting
Sarah
Marshall’
the
non-­‐verbal
code
of
‘tears’
connotes
the
sudden
and
humorous
loss
of
masculinity
through
‘suffering
and
tears’
(Jeffers-­‐McDonald-­‐2007),
which
is
a
anti-­‐stereotype
of
what
is
usually
expected
in
this
genre
when
analyzing
the
male
gender.
These
two
examples
denote
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Number:
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Name:
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Number:
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2. 2
how
the
‘laughter
generated’
in
romantic
comedy
texts
is
usually
at
the
expense
of
the
male
genders
status
and
position
in
society
and
a
relationship
respectively.
The
male
gender
can
be
described
as
‘well
meaning,
but
immature’,
which
is
represented
in
Chapter
5
of
‘Knocked
Up’
through
the
verbal
code
of
diegetic
dialogue
“You
look
very
pretty”,
which
signifies
Ben
as
this
‘Loveable
loser’,
yet
this
is
the
only
obvious
positive
quality
he
seems
to
denote
to
the
audience.
The
non-­‐verbal
code
of
Ben
smirking
connotes
his
well-­‐meaning
attitude
towards
Alison,
and
his
charming,
yet
immature
qualities.
The
verbal
code
of:
“How’s
work,
how’s
‘E!’,
how’s
Vince
Vaughn?”
are
immature
questions
that
are
far
from
what
is
usually
said
at
a
formal
dinner.
Alison’s
non-­‐verbal,
un-­‐impressed
facial
expressions
connote
that
Alison
is
not
fond
of
this
male’s
immaturity,
resulting
in
his
emasculation
later
on
in
the
scene
when
she
says,
“Do
you
have
a
real
job?”,
with
verbal
code
real
intensifying
her
and
–
and
simultaneously
–
the
female
audiences
disliking
of
this
man.
Similarly
in
‘Forgetting
Sarah
Marshall’,
Peter
exhibits
his
‘immaturity’
when
his
naïve
attitude
towards
Sarah
sparks
an
argument.
This
is
represented
in
the
diegetic
dialogue
of:
“I’m
sitting
down
because
I
want
to”,
and
this
immaturity
is
supported
with
the
technical
code
of
a
low
angled-­‐
medium
close
up.
(See
image
right).
He
is
now
seen
as
small
and
invalid,
and
much
like
a
child,
where
it
is
can
be
determined
that
his
immaturity
lowers
his
significance
and
masculinity.
His
ignorance
is
where
the
‘Laughter
[is]
generated’
in
this
heated
and
honest
argument,
and
is
also
where
the
‘female’
(Hartley)
audience
can
side
with
Sarah’s
Misandry.
The
representation
of
the
male
gender
in
the
film
‘Forgetting
Sarah
Marshall’
supports
the
‘New
Man’
(Corrigan-­‐2012)
stereotype
that
now
exists
in
society.
This
is
represented
in
the
introduction
of
the
film.
The
protagonist
Peter
is
seen
on
his
sofa,
eating
cereal,
watching
TV,
and
not
doing
any
work.
This
stereotypical
‘lazy
man’
view
of
Peter
exposes
the
flaw
in
this
relationship,
when
he
is
seen
lying
to
Sarah
on
the
phone.
The
questions
that
Sarah
asks
imply
that
this
happens
every
day,
and
she
is
aware
of
his
unambitious
qualities.
He
is
a
drain
on
Sarah,
and
the
relationship.
Likewise
in
‘Knocked
Up’,
Ben
presents
his
lack
of
ambition
in
Chapter
3
of
the
text.
When
in
the
café,
Ben
reveals
his
unemployment
and
side-­‐project
with
much
disgust
from
the
female
gender
(Adult
website
that
is
later
proven
already
exists
much
to
the
hilarity
of
the
viewers!).
He
also
is
a
cannabis
smoker,
which
supports
his
‘hedonistic’
and
rebellious
lifestyle.
The
non-­‐verbal
codes
of
his,
careless,
content,
facial
expressions,
backup
this
behavior
in
the
film,
when
him
and
his
friends
are
smoking
together
in
Chapter
1.
This
is
supported
with
the
technical
code
of
a
close
up.
(See
image
right)
In
binary
opposition
(Strauss)
‘Forgetting
Sarah
Marshall’,
‘Peter’
is
represented
as
a
metrosexual
character.
In
Chapter
1,
the
non-­‐verbal
code
of
Peter
enjoying
looking
at
himself
in
the
mirror,
presents
his
fondness
of
himself
to
the
audience,
despite
not
really
being
that
physically
impressive
as
it
is
immediately
clear
he
is
–
like
many
men
in
the
genre
–
‘far
from
the
typical
rom-­‐com
hero’
(Mortimer
–
2010).
His
joyful
facial
expression
exhibits
his
positivity
towards
his
appearance.
(See
image
left)
However,
in
‘Knocked
Up’,
Ben
is
not
seen
caring
for
himself,
or
being
proud
of
his
body,
which
is
seen
through
Ben
going
out
with
casual
clothes,
and
not
doing
anything
to
his
appearance
for
the
day
ahead
in
contrast
to
the
glamorous
Alison
–
(See
image
right)

3. 3
To
denote
a
further
difference
between
the
male
characters,
in
the
scenes
deconstructed
from
‘Forgetting
Sarah
Marshall’,
machismo
is
present
between
Peter,
and
his
stepbrother.
This
connotes
an
anti-­‐stereotypical
view
that
the
male
gender
is
represented
as
both
needy,
but
also
helpful.
‘Bryan’
(Bill
Hader),
uses
a
sort
of
‘tough-­‐love’
relationship
to
make
Peter
feel
better.
Saying
things
like:
“You
gotta
get
your
sh*t
together
man”,
as
Peter
is
obviously
not
getting
over
the
relationship
which
is
established
through
the
technical
code
of
a
close-­‐up
of
his
devastated
facial
expression.
Later
on,
Bryan
deletes
all
the
pictures
of
Sarah
and
Peter.
The
verbal
code
of
non-­‐diegetic
music
at
the
start
of
the
scene;
‘Heaven
knows
I’m
miserable
now’
(The
Smiths)
implies
through
the
lyrics–
“In
my
life,
why
do
I
give
valuable
time
to
people
who
don’t
care
if
I
live
or
die”
That
there
is
a
connection
between
the
song
lyrics
and
Peters
thoughts
and
emotions.
Peter
is
extremely
miserable
at
the
start,
and
once
his
stepbrother
comes
into
the
house,
he
turns
the
music
off,
connoting
Peter’s
road
to
recovery
and
‘re-­‐marriage’
(Cavell
–
1981)
with
himself.
Acting
as
a
misogynistic
figure
of
authority,
Bryan
suggests
that
Peter
should
“go
on
a
vacation”
to
get
over
Sarah
after
he
is
clearly
not
fond
of
what
Sarah
has
done
to
Peter.
This
connotes
that
Bryan
is
acting
like
a
‘Prince’
(Propp)
towards
the
‘Princess’
(Propp)
Peter.
This
‘emotional
role
reversal’
(Morency
-­‐
2010)
between
Sarah
and
Peter,
creating
this
‘Binary
Opposite’
(Strauss)
to
what
is
normally
expected
of
the
male
gender,
is
also
common
throughout
the
text
and
many
other
rom-­‐coms.
On
the
other
hand,
in
‘Knocked
Up’,
no
machismo,
or
‘bro-­‐mance’
(Mortimer-­‐2010)
is
present
for
Ben.
In
contrast
to
‘Forgetting
Sarah
Marshall,
he
is
not
a
‘Princess’
(Propp),
and
does
not
need
saving
like
Peter
does.
This
means
that
the
male
representation
can
also
be
possibly
un-­‐loving
and
not
helpful,
especially
to
woman,
suggesting
the
Misogynistic
relationship
between
both
men
in
both
texts.
For
example,
Ben
displays
misogyny
in
Chapter
5,
with
his
non-­‐verbal
facial
expressions
and
body
languages.
The
look
of
anger
he
gives
to
Alison,
conveys
hatred,
and
antagonism.
(See
image
right)
In
both
media
texts,
the
female
gender
represents
similarities
and
differences,
which
is
displayed
to
the
audience.
For
example,
in
‘Knocked
Up’,
Alison
is
represented
as
‘superior
in
terms
of
looks,
prospects,
and
everything
else’
(Gauntlett-­‐2008),
for
example
in
Chapter
5,
the
diegetic
dialogue
of
Ben
saying:
“You
look
very
pretty”
connotes
that
Alison
(as
the
female
gender)
is
indeed
‘superior
in
terms
of
looks’
which
then
makes
the
male
gender
seem
insignificant,
and
in
Ben’s
case
a
loser
or
inferior
in
comparison.
Similarly,
in
‘Forgetting
Sarah
Marshall’,
Sarah
is
also
represented
as
‘superior
in
terms
of
looks,
prospects,
and
everything
else’.
In
Chapter
1,
Sarah
is
described
on
the
TV
as
a
“Sexy
crime
fighter”,
whereas
in
binary
opposition
Peter
is
described
as
“no
household
name”.
This
connotes
Peter’s
insignificance
compared
to
Sarah,
and
how
the
female
gender
is
represented
as
far
more
‘superior’,
which
serves
as
an
early
‘enigma
clue’
(Barthes)
to
the
suffering
the
female
gender
is
going
to
go
through
in
dealing
with
the
many
failures
of
the
male
gender,
which
ends
up
injecting
the
audience
with
the
same
level
of
resentment
as
the
female
protagonists
convey
towards
the
opposite
sex
in
both
films.
With
this
representation,
a
‘female’
(Hartley)
audience
can
actively
interact
with
and
join
in
with
the
female
genders
misandry
towards
the
opposite
sex.
For
example,
in
‘Knocked
Up’,
the
female
protagonist
has
to
‘suffer’
(Jeffers-­‐McDonald
-­‐
2007)
with
the
male
gender
in
chapter
3.
The
non-­‐verbal
code
of
Alison
waking
up
Ben
with
disgust
from
with
her
foot
connotes
–
(See
image
left),
a
kind
of
animal-­‐like
treatment.
This
gives
Alison
a
‘challenge
of
dealing
with
men
like
this’
(Gauntlett
-­‐
2008)
which
‘caregivers’
(Maslow)
could
sympathize
with.
In
‘Forgetting
Sarah
Marshall’
misandry
is
also
present
within
the
text
from
Sarah’s
point
of
view.
For
example,
In
chapter
14,
Sarah
couldn’t
“drown
with
[him]
any
more”.
The
technical
code
of
a
medium
close
up
shot,
(See
image
right)
while
the
diegetic
dialogue
“I
tried!”
is
spoken
connotes
Sarah’s

4. 4
significance
at
that
point
in
the
scene,
which
many
viewers
who
have
suffered
with
the
same
ineptitude
can
‘Personal
Identify’
(Katz)
with
and
will
view
Sarah
as
correct
and
the
male,
wrong.
In
‘Knocked
Up’,
Alison
is
seen
as
a
‘Princess’
(Propp).
This
is
evident
in
Chapter
5,
where
the
non-­‐verbal
facial
expression
and
tears
connotes
that
she
needs
saving.
(See
Image
left).
However
her
‘Prince’,
Ben,
the
one
who
created
the
‘Disequilibrium’
(Todorov),
is
revealed
to
be
incapable
with
saving
her,
and
becomes
a
‘Fake
Prince’
(Propp)
as
he
is
too
speechless
to
offer
any
support.
However,
In
‘Forgetting
Sarah
Marshall’,
Sarah
is
represented
as
a
‘Villain’
(Propp)
to
a
‘Male’
(Hartley)
audience
because
in
chapter
1,
she
embarrassingly
dumped
Peter.
This
presents
an
anti-­‐stereotype,
as
the
female
gender
is
stereotypically
represented
as
‘Princesses’
(Propp)
in
the
rom-­‐com
genre.
However,
to
a
‘Female’
(Hartley)
audience,
she
could
be
seen
as
a
‘Prince’
as
she
is
seen
doing
all
the
work,
with
her
life,
and
in
the
relationship.
This
is
contradicted
in
‘Forgetting
Sarah
Marshall’
with
the
non-­‐verbal
appearance
of
Sarah
given
in
a
bikini
She
encourages
a
‘Male
gaze’
(Mulvey)
view
for
the
character,
as
she
is
seen
to
promote
the
film
for
‘Male’
(Hartley)
audiences.
In
Chapter
14
Peter’s
diegetic
dialogue
of
“If
it
was
Sean
John
sweatpants
[Sarah
would
have
allowed
it]”.
This
connotes
Sarah’s
materialism,
supporting
the
‘men
act,
women
appear’
(Berger)
stereotype
of
women
only
caring
about
their
own
and
their
partners
appearance
in
public.
She
appears
in
the
film
not
working,
but
just
destroying.
On
the
other
hand,
in
‘Knocked
Up’
Alison
goes
against
John
Berger’s
theory,
as
she
is
seen
with
a
job,
working,
and
getting
paid
unlike
the
unemployed
Ben.
This
is
an
anti-­‐stereotype
as
the
male
in
a
relationship
is
stereotypically
employed,
and
receiving
money
to
support
him
and
his
family.
In
conclusion,
after
deconstructing
scenes
from
the
two
romantic
comedy
texts,
it
can
be
established
that;
the
representation
of
gender
roles
in
the
two
texts
are
predominantly
anti-­‐stereotypical,
of
which
the
male
gender
appears
to
be
living
the
new,
carefree,
mainstream
life,
and
the
female
gender,
living
an
anti-­‐stereotypical,
working
life.
The
‘unrequited
love’
in
both
films,
twists
the
representation
of
the
genders
to
the
audience,
changing
their
‘Character
roles’
(Propp),
and
strengthening
their
Misandry,
or
Misogyny
towards
one
another,
which
many
viewers
may
feel
the
same
way
as
well.
This
assures
that
the
genre
provides
‘mass
entertainment’
(Mortimer-­‐2010),
with
crossing
views
from
the
audience.
‘Male
gaze’
(Mulvey),
and
‘Female
Gaze’
(Saco),
also
help
promote
the
film
to
all
genders
and
provide
them
with
the
motivation
to
watch.