This document outlines several key conventions of romantic comedy films. It notes that the main characters should be relatable to audiences in some way, such as through differences in race or nationality, so viewers can connect with at least one character. It also mentions that romantic comedies are typically set in recognizable large cities to make them more relatable. The narrative usually involves two people meeting, encountering an issue, and resolving it in a way that brings them back together. However, some films subvert expectations by not having the couple end up together or by exploring more adult themes like marriage and pregnancy. Bromantic comedies that showcase strong bonds between male friends have also become popular. General conventions include uplifting lighting and props that signify

1. Key Conventions
 The main charactersmust be relatable toviewersinawaythat twopeople come together
that have differencessuchasrace,nationalityetc.Inmostinstancesthe audience will havea
connectionwithatleastone of the main charactersand because of this the audience
supportthemthroughoutthe film.Theymustbe like the targetaudience toallow themto
put themselvesintheirshoesandconnectmore emotionallycomparedtoif theyhad
nothingtorelate to themwith.
 Theyare usuallysetinlarge citiesthatare recognisable tothe audience thusmakingthem
more relatable tothe audience.Also,thisallowsthe availabilityof lotsof differenttypesof
people tocome intothe filmanda varietyof issuesbeingabouttocome about.
 The narrative of a romanticcomedyusuallyincludestwopeople meeting,anissue occurring
and a resolutionhappeningthatbringsthembacktogether.Withoutthisstable and
traditional narrative,the audience maybecome disorientatedwhichisunlikelytoappeal as
commonlyrom-comsare knowntobe easyonthe mindandnot considermuchthinkingand
considerationintothe narrative.
 For instance,some romcomsflipthese conventionsandhave the couple notendingup
togetherinthe endwhethertheyare happyaboutit or distraught.The audience mustbe
preparedforthishoweverotherwise theymayfeel unsatisfiedwiththe result.
 Otherrom coms explore more adultthemessuchasmarriage and pregnancies.Thisisunlike
manystandard rom comsas oftenthese versionsdon’tinclude themmeetingandthe
beginningof theirjourneytogetherbutinsteadwe meetthempartwaythrough.Alsothisis
more likelytoappeal tothe olderendof the target audience astheyare more likelytobe in
thisstage or approachingthisstage in theirlives.The youngerendmayfindthisdauntingor
overwhelming.
 Bromanticcomedieshasalsobecome populartoshow the bondingbetweentwomengo
beyondfriends.These usuallylacksexualinterestbutshow the true bondingthattwomen
can have.Thisis likely toincrease targetaudience asmenare couldpossiblybe more willing
to watch somethingtheycanrelate towithone of theirmale friends.
 General there ishighkeylightingtorepresentthe upliftinglight-heartedgenre.Thiscreates
a natural lookandif veryflattering,increaseattractivenessof starsinthe film.When
problemsoccurinthe relationshipthe lightingtendstochange to a lowerkeytomirror the
mood.Thismakesit easyforthe audience todepictwhatmoodthe scene iscreatingand
makesthe filmeveneasiertounderstand.
 Propssuch as roses,engagementrings,lipstick/makeup,candlesandwine glassesare
regularlyseentoaddto stereotypical romanticscenesbetweentwopeople suchasdates
and meals.
Commonlyin the romantic comedygenre the openingincludes:
 Love Actually(2003) – Here we see people of all differentages,gendersandnationalities
reunitingatHeathrowAirport(conformingtothe conventionof busyrecognisable settings).
The title appearsat the endof the openingsequence firstappearingasthe tagline “Love
actuallyisall around” whichanchorswhatcan be seenonscreenwithmultipledisplaysof
love beingshownall aroundthe airport.The scene hasa verypositive andlight-heartedvibe
and containssmilesthatare contagious,instantlymakingthe audience feel comfortable.
Titlesdisplayingthe institutionsassociatedwiththe makingof the filmcome upduringthe
openingsequence butverysubtlytostopdistractingthe audience fromwhatishappening.

2. The main thingI have takenfromthisopeningisthe factthat the title of the filmcomesat
the veryendand linksdirectlytothe actionthe audience hasseeninthe openingsequence.
 BridgetJones’Dairy(2001) – Contrastingly,BridgetJones’DiaryopenswithBridget
embracingherlonelinessonhersofawatchingFrasier.Hercheckingof the answerphone
and the non-diegeticsoundof “nonew messages”alongwiththe non-diegeticmusic“All by
myself”byCeline Dion reinforcesthis.Intermof titles,the namesof the mainstarsare right
at the beginningtoshowthemtobe a mainassetto the film.Also,yetagainthe title of the
filmdoesn’tcome until the endof the openingsequence.Fade transitionsare usedtoshow
a passingof time and the continuationof her loneliness.The songalsobecome diegeticafter
thistransitionasBridgetbeginstosingalongshowingitisnow part of the actionin the
scene.