Abstract
Recent discussions of gender and screenwriting have largely focused on the perennial problem of the female character, and the continued need for writers to avoid clichés and stereotypical forms of characterisation (e.g. Seger (1996); Francke (1994); Jacey (2010); Silverstein (2013)). However, when the bromance and the bromedy/bromcom are flourishing as recognisable mainstream sub-genres in both film and television series, critical attention to the approaches screenwriters might take in the creation of the male character is remarkably lacking. This absence raises questions about male representation and the screenwriter’s role in developing characters that promote positive images of men and male identity.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Similar content being viewed by others
References
Alberti, J. (2013) ‘“I Love You, Man”: Bromances, the Construction of Masculinity, and the Continuing Evolution of the Romantic Comedy’ in Quarterly Review of Film and Video, 30(2), 159–172.
Band of Brothers (2001) Wrs. Various, Dirs. Various, UK/US.
Becker, R. (2006) Gay TV and Straight America, Piscataway: Rutgers University Press.
Bridesmaids (2011) Wrs. Kirsten Wiig and Annie Mumolo, Dir. Paul Feig, USA, 125 mins.
Caplan, E.A. (1983) Women and Film: Both sides of the Camera, London: Methuen.
Chen, E.J. (2011) ‘Caught in a Bad Bromance’ in Texas Journal of Women and the Law, 21(2), 241–266.
Dinner for Schmucks (2010) Wrs. David Guion and Michael Handelman, Dir. Jay Roach, USA, 114 mins.
Due Date (2010) Wrs. Alan R. Cohen, Alan Freedland, Adam Sztykiel and Todd Phillips, Dir. Todd Phillips, USA, 95 mins.
Entourage (2004–2011) Cr. Doug Ellin, Dir. Various, USA.
Francke, L. (1994) Script Girls: Women Screenwriters in Hollywood, London: British Film Institute.
Grodal, T. (2003) ‘Stories for Eye, Ear, and Muscles: Video Games, Media, and Embodied Experiences’ in Bernard Perron and Mark J. P Wolf (eds.) The Video Game Theory Reader, New York: Routledge, pp. 129–155.
Hannibal (2013-) Cr. Bryan Fuller, Dir. Various, USA.
House (2004–12) Cr. David Shore, Dir. Various, USA.
Hudson, K. (2009) The Virgin’s Promise: Writing Stories of Feminine Creative, Spiritual and Sexual Awakening, Studio City, CA: Michael Wiese Productions.
I Love You, Man (2009) Directed by John Hamburg. Written by John Hamburg and Larry Levin. US: Dreamworks SKG. 105 mins.
Indick, W. (2004) Psychology for Screenwriters, Studio City, CA: Michael Wiese Productions.
Jacey, H. (2010) The Woman in the Story: Writing Memorable Female Characters, Studio City, CA: Michael Wiese Productions.
Jacey, H. (2010) Journey to Nowhere: Christopher Vogler’s Screenwriting Paradigm and the Writing of Loy, Doctoral Thesis, University of the Arts London.
Knocked Up (2007) Wr./Dir. Judd Apatow, USA, 129 mins.
Marks, D. (2009) Inside Story: The Power of the Transformational Arc, London: A&C Black.
Master and Commander (2003) Wrs. Peter Weir and John Collee, Dir. Peter Weir, USA, 138 mins.
McDonald, I.W. (2010) ‘“… So It’s Not Surprising I’m Neurotic” the Screenwriter and the Screen Idea Work Group’ in Journal of Screenwriting, 1(1), 45–58.
McKee, R. (1999) Story: Substance, Structure, Style and the Principles of Screenwriting, London: Methuen.
Mernitt, B. (2000) Writing the Romantic Comedy, New York: Harper Collins.
Mortimer, C. (2010) Romantic Comedy, London: Routledge.
Parker, P. (1998) The Art and Science of Screenwriting, Exeter: Intellect Books.
Pineapple Express (2008) Wrs. Seth Rogen and Evan Goldberg, Dir. David Gordon Green, USA, 111 mins.
Seger, L. (1996) When Women Call the Shots: The Developing Power and Influence of Women in Film and Television, New York: Henry Holt.
Selbo, J. (2010) ‘The Constructive Use of Film Genre for the Screenwriter: Mental Space of Film Genre — First Exploration’ in Journal of Screenwriting 1(2), 273–289.
Sex and the City (1998–2004) Cr. Darren Star, Dir. Various, USA.
Sherlock (2010-) Crs. Mark Gatiss and Stephen Moffatt, Dir. Various, UK.
Sherlock Holmes (2009) Wrs. Michael Roberts Johnson, Anthony Peckham and Simon Kinberg, Dir. Guy Ritchie, USA, 128 mins.
Shoard, C. (2012) ‘Bafta Awards: British Women vie for Writing Prizes’ in The Guardian, online, available at http://www.theguardian.com/film/2012/feb/10/bafta-awards-british-women-writing [accessed 10 February 2012].
Sideways (2004) Wrs. Alexander Payne and Jim Taylor, Dir. Alexander Payne, USA, 126 mins.
Silverstein, M. (2013) In Her Voice: Women Directors Talk Directing, USA: Women and Hollywood.
Smith, S. (2010) ‘Female Directors, Writers and Producers in Film Matter’ in The Huffington Post [online], available from: http://www.huffingtonpost.com/stacy-smith/female-directors-writers_b_480848.html [accessed 1 March 2010].
Snyder, B. (2005) Save the Cat: The Last Book on Screenwriting that You’ll Ever Need, Studio City, CA: Michael Wiese Productions.
Steenberg, L. (2014) ‘“Get More Action” on Gladiatorial Television: Simulation and Masculinity on Deadliest Warrior’ in Brenda R. Weber (ed), Reality Gendervision: Sexuality & Gender on Transatlantic Reality Television, London: Duke University Press.
The Bucket List (2007) Wr. Justin Zackham, Dir. Rob Reiner, USA, 97 mins.
The Hangover (2009) Wrs. John Lucas and Scott Moore, Dir. Todd Phillips, USA, 100 mins.
The Hangover 2 (2011) Wrs. Craig Mazin, Scot Armstrong and Todd Phillips, Dir. Todd Phillips, USA, 102 mins.
The Inbetweeners (2008–2010) Wrs. Damon Beesley and Iain Morris, Dir. Various, UK.
The Soloist (2009) Wr. Susannah Grant, Dir. Joe Wright, USA, 117 mins.
Two and Half Men (2003-) Crs. Chuck Lorre and Lee Aronsohn, Dir. Various, USA.
Vogler, C. (2007) The Writer’s Journey: Mythic Structure for Writers (3rd ed.), Studio City, CA: Michael Wiese Productions.
Y Tu Mama Tambien (2001) Wrs. Alfonso Cuaron and Carlo Cuaron, Dir. Alfonso Cuaron, Mexico, 106 mins.
Editor information
Editors and Affiliations
Copyright information
© 2014 Helen Jacey
About this chapter
Cite this chapter
Jacey, H. (2014). And the Screenwriter Created Man: Male Characterisation in Bromance and Bromedy. In: Batty, C. (eds) Screenwriters and Screenwriting. Palgrave Macmillan, London. https://doi.org/10.1057/9781137338938_15
Download citation
DOI: https://doi.org/10.1057/9781137338938_15
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-46424-1
Online ISBN: 978-1-137-33893-8
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)