好萊塢婚禮電影的演變：真命天子與家庭價值之呈現與探討

Abstract

本文主要探討以婚禮為主題的電影在二十世紀末到二十一世紀初產量暴增的現象，針對此現象提出解釋，且進一步探討其中所代表的意義。此論文的貢獻在於將婚禮喜劇定義為由浪漫喜劇延伸出來的一種新的類型電影。 第一章主要分為兩個部分，第一部分是定義『婚禮喜劇』(wedding comedy)。第二部分是藉由情節、動機、最終目標與其意圖等四個方面來比較浪漫喜劇(romantic comedy)與婚禮喜劇相同與相異之處。 第二章從歷史背景作為切入點，將婚禮喜劇從1930年到2010年分為四個時期。探討各時期的社會氛圍與婚禮喜劇中女性腳色嘗試挑戰與顛覆當代社會觀點的精神。各時期的女性腳色刻畫反映當代女性渴望提升自主性與多元選擇。 第三章主要呈現婚禮喜劇在二十一世紀初所反應與顛覆的社會價值，並探討婚禮喜劇暴增與離婚率攀升之間的關係。將真命天子在浪漫喜劇中的設定去神秘化且給予新的解釋，並反轉落跑新娘在浪漫喜劇中所帶有的負面意義。 最後，針對家庭價值的部分，婚禮喜劇對於傳統家庭價值在二十一世紀初的概念做重新詮釋。

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.