| Summary: | 碩士 === 國立交通大學 === 外國語文學系外國文學與語言學碩士班 === 101 === The wedding scene is one of the most significant plot elements in romantic comedy, or rom-com, especially the “key kiss” on the altar which serves as a paradigmatic indicator of a happy ending. The wedding scene used to be an iconic part at the end of romantic comedy. In the late 20th century and the early 21st century Hollywood, however, there are more and more romantic comedy focusing on the wedding preparation as the main plotline. I presume that a “different phrase” or even a new genre is derived from Hollywood romantic comedy in the contemporary period.
The first chapter is divided into two sections. The first section centers on the definition of wedding comedy. As for the second section, the differences between romantic comedy and wedding comedy are the main focuses. I compare these two genres in mainly four parts, the plot, the motivation, the ultimate goal, and the main purpose of both genres. The second chapter focuses on the reflections and reversions of wedding comedy. Additionally, the female’s self-transformation and self-liberation through wedding comedy has reached great progress in the order of time. In the final chapter, this thesis intends to point out what wedding comedy constantly reflects and reveres in the contemporary period. Moreover, the emerging number of wedding comedy and the high divorce rate share the similar curve in the charts. I intend to provide a possible answer to the representative of this tendency as well by using Chrys Ingraham’s “wedding-ideological complex.” Furthermore, I utilize Mary-Lou Galician’s “twelve myths” to demystify the concept of the pre-destined mate.
To conclude, wedding comedy reverses the conventional perspectives toward runaway bride and it re-interprets the conventional family values.
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