This blog post reexamines the happy ending of the film “Notting Hill” from a feminist perspective, exploring how traditional gender roles and romantic comedy conventions are reproduced, along with their significance and limitations.

A Theoretical Approach to Romantic Comedies

Why do we watch romantic comedies? Why do audiences go out of their way to see the almost predictable ending in theaters time and again? Before analyzing the romantic comedy genre, we first need to discuss the concept of ‘genre’ in more depth. Genre defines the realm of audience expectations. It informs viewers what to anticipate, and sometimes deliberately misleads them by offering expectations that cannot be fulfilled. Generally, genre functions to make films easier to understand while simultaneously providing audiences with a familiar experience. Even when a genre is parodied or critiqued, such attempts ultimately rely on the audience’s recognition and familiarity with that genre. Genres often carry expectations about specific narratives, and consequently, the ways conflicts are resolved within a film are also closely tied to genre conventions. Genre conventions help shape the ending. And genres operate by relying on the audience’s abilities and experiences.
Now, let’s take a step further. So, what exactly is the romantic comedy genre within film genres? The origins of this genre can likely be traced back to Hollywood’s screwball comedies of the 1930s and 1940s. These screwball comedies had a relatively progressive tendency in the sense that they reflected reality. This genre deals with the conflicts of love between men and women, primarily unfolding around three central differences. First is the fundamental gender difference between men and women; second is the clash of values stemming from the personality differences between the male and female protagonists; and third is the story of class differences that appear realistically contradictory. Film scholar Thomas Schatz explains in his book “The Structure of Hollywood Genres” that in 1934, Hollywood released two films critically and commercially acclaimed as the most successful romantic comedies in history: “The 20th Century Express” and “It Happened One Night.” At that time, Hollywood screwball comedies dominated comedy films during the Great Depression by innovatively reimagining fast-paced romantic films set against the backdrop of high society.
From the perspective of genre classification, since a significant number of Hollywood films contain elements of romantic comedy, scholars like Brian Henderson sometimes question whether romantic comedy can truly be separated into its own distinct film category. However, Henderson’s concept is somewhat overly strict. This is because no film can be 100 percent pure Western, mystery, or comedy. It is more useful to understand genre as a system formed by conventions of tendency and expectation circulating between industry, text, and subject matter. Furthermore, genre is also a cultural category formed within the process of texts becoming codified in specific forms. In this sense, romantic comedy can be considered a distinct category clearly recognized by the film industry, other related media (such as industry trade publications or critical journals), and audiences.
So what are the fundamental narratives and tendencies of romantic comedies? First, romantic comedies repeatedly feature a structure where, despite the arduous path of courtship, the characters ultimately progress toward the union of marriage. While melodrama focuses most of its energy on the union itself, romantic comedy pays greater attention to confronting the obstacles that threaten that union. Of course, some films deliberately twist or playfully vary the path to the happy ending, but the firm structural expectation centered on the courtship process remains intact. Furthermore, while melodrama often focuses on the central female protagonist’s desires and frustrations, romantic comedy, by fixating on the courtship plot itself, simultaneously focuses on the relationship between one woman and one man.
Returning to the initial question: multiple factors contribute to the audience’s confidence that the expectation of marriage will be fulfilled. One is the presence of well-known star actors; another is the familiarity inherent in the romantic comedy format. Typically, these films emphasize the harmony between the couple. Simultaneously, various obstacles arise to keep them apart and prevent them from recognizing their mutual harmony. In observing these situations, the audience occupies a unique position. Unlike the characters in the story, we are privileged with the insight to see through the truth of the situation. Therefore, even when events unfold in a way that seems completely opposite to the characters’ perspective, the audience can relatively accurately grasp what is actually happening. This is precisely why the audience, despite having no direct connection to the characters, remains confident that all problems will ultimately be resolved. We often hear that we ‘identify’ with characters on screen or see ourselves reflected in them. It’s also said that protagonists provide audiences with a kind of desire fulfillment. And our enthusiasm for them can be seen as an expression of our own desire to be fulfilled. Considering these points together, could this be the fundamental reason audiences seek out romantic comedies?
Traditionally, romantic comedies have functioned to reaffirm heterosexual unions and marriage through ideologically adept strategies. Yet genres are constantly evolving. Narratives change, and the ideologies that unconsciously permeate films inevitably shift with the times. In this regard, examining the trends in recent romantic comedies is a meaningful exercise not only for producers but also for the general audience watching the films. In an era like today, where divorce, non-marriage, and diverse relationship forms are widespread, a ‘rebellion’ against the traditional norm of heterosexual union exists, yet simultaneously, another ‘attraction’ to the stability inherent in such romance also emerges. Historically, certain periods emphasized progressive traits while others highlighted conservative tendencies, yet we often find ourselves reminded anew that we still stand within the tradition of the romantic comedy genre.
By its very nature as a cinematic medium, romantic comedy inherently possesses a degree of unreality and fantastical quality. Yet it is precisely at this point that its meaning as a reflection of reality also emerges. In this context, examining the works of the British production company “Working Title,” which has led the trend of the romantic comedy genre with notable recent successes, will provide useful texts for observing the tendencies of contemporary romantic comedies. Furthermore, analyzing the Korean film “Singles,” which received favorable reviews at the time, will provide an opportunity to identify new points of change exhibited by contemporary romantic comedies. This analysis will demonstrate how the genre inherits tradition while simultaneously reinventing itself through new variations amid changing times, reaffirming that romantic comedy continues to function as a valid cultural narrative.

Notting Hill: ‘A Working Title Classic Viewed Through Feminist Lenses’

Notting Hill, a globally successful box office hit and a signature work of Working Title. However, viewing this film through a feminist lens reveals that its box office success was achieved not by attempting to break free from conservative, patriarchal social structures, but rather by reusing conventions that romantic comedies have consistently repeated since the 1950s. Indeed, in the film’s opening, characters set up in ways somewhat different from typical romantic comedies drive the narrative. Borrowing concepts from Jungian analytical psychology, Anna Scott is portrayed as a character embodying the masculine aspect within a woman, the animus, while William Darcy is depicted as a character revealing the feminine aspect within a man, the anima. This setup gives the impression of attempting to differentiate itself from conventional romantic comedies.
Anna displays an active and assertive attitude as her love for Ducker grows, expressing her feelings honestly and without hesitation. She suddenly kisses Ducker, initiates phone calls, and generally expresses her romantic feelings in ways that seem quite different from the typical heroines of romantic comedies. In contrast, Daker, while loving Anna, fails to express his feelings confidently, instead adopting a passive and submissive attitude. This behavior resembles traits traditionally assigned to female characters, creating a stark contrast between the two characters within the film. This setup seems to align somewhat with the relatively progressive codes seen in 1930s-40s Hollywood romantic comedies.
However, as the film progresses into its latter half, these expectations gradually crumble. As the plot unfolds, the two characters who initially manifested animus and anima begin reverting to traditional female and male archetypes. Ironically, within this process, their love blossoms, and the film ultimately concludes with a typical happy ending. Initially, the audience anticipates that the two characters, who initially revealed their animus and anima, will overcome their differences through reconciliation and union, thereby transcending the traditional romantic comedy tropes of sexual differences, personality clashes, and class divides. However, audiences harboring these expectations are left with nothing but a bitter smile by the film’s latter half.
Furthermore, the social gaze and constraints surrounding the character Anna Scott are depicted with intense force. She becomes the target of public opinion due to nude photos she took in the past and various scandals, becoming a figure condemned like a victim of a witch hunt. In the process, she feels deep self-loathing, as if she were an unforgivable sinner. In other words, the psychological pain and trials she endures are all closely tied to sexuality. The film reveals, through its depiction of the media and public opinion, that women remain in a socially vulnerable position when it comes to issues of sexuality.
The reason this film leaves one feeling disappointed is that, despite the fresh character setups presented early on showing ample potential to differentiate itself from conventional romantic comedies, it ultimately reverts to following the genre’s established conventions and codes by the latter half. The film “Singles” maintains the novelty of the characters Nanam and Dongmi, crafting its own happy ending through a narrative that develops without undermining or distorting these characters. As a result, audiences become immersed in the lives and choices of these two characters, experiencing a sense of liberation from the shackles of the conservative conventions inherent in romantic comedies.
Conversely, ‘Notting Hill’ is a film that also brings back the sense of disappointment felt while watching “My Sassy Girl.” Both films initially present a novel structure where the female and male characters are set up as embodiments of animus and anima, respectively, seemingly reversing traditional gender roles. However, as the story progresses, this setup gradually fades, and the conclusion ultimately resolves by reverting to traditional male and female archetypes. Whereas “My Sassy Girl” attempts to justify its characters’ transformations in the latter half through explanations like “I wasn’t originally that kind of person, but I acted that way because of the wounds of love,” “Notting Hill” presents an ending that seems to assert that “men and women can only achieve the fruits of love when they ultimately return to their traditional roles.” This conclusion is also a difficult aspect for audiences to easily empathize with.
Therefore, re-examining Working Title’s signature film “Notting Hill” through a feminist lens and engaging in critical reflection holds significant value. This approach reveals how the romantic comedy genre has reproduced traditional gender roles and how these conventions persist in contemporary cinema. Simultaneously, this critical reading provides an opportunity to explore how romantic comedies might evolve and expand in the future, making it a meaningful endeavor.

The Establishment of Korean Romantic Comedy

Following the heyday of the melodrama genre in the 1980s, the romantic comedy genre gradually took root in Korea starting in the 1990s. Signs of the genre’s maturation became particularly evident around the time of the film “My Love, My Bride” (1990), which can be seen as an important starting point. Following this period, Korean romantic comedies actively utilized the narrative structures, genre conventions, and star systems established by Hollywood films, contributing to their establishment as an independent genre. Subsequently, in “Marriage Story” (1992), the characteristics of romantic comedy functioning as a distinct genre became more clearly evident in terms of production practices and industry structure. This was followed by “Mr. Mama” (1992), “That Woman, That Man” (1993), “Killing My Wife” (1994), and “Dr. Bong” (1995), the genre elements of romantic comedy already established in Hollywood were actively introduced, modified, and developed in terms of character composition, dialogue style, editing techniques, mise-en-scène, and narrative structure.
If the 1990s were a period of referencing or imitating Hollywood conventions to establish the romantic comedy genre within Korean cinema, the 2000s onwards can be seen as the period when a uniquely Korean romantic comedy genre began to take shape. After the 2000s, new attempts gradually began to emerge based on the genre devices accumulated during the 1990s. Particularly, films emphasizing a new perspective that broke away from existing frameworks in terms of genre conventions and narrative structure, reflecting the image of women in modern society, began to appear, forming a new trend. Within this wave of change, the film “Singles” (2003) exemplifies the new potential of Korean romantic comedies in the 2000s. This work is a significant case study, particularly in how it reveals the genre’s evolving nature through character transformation and narrative direction. Here, we will examine how Korean romantic comedies have changed, focusing on these characters.
Modern Korean romantic comedies exhibit two major genre-disrupting elements in their narratives. The first is the use of explicit and direct language. The second is the attempt to maintain the sentiment of a happy ending without necessarily adhering to the traditional romantic comedy structure centered on marriage as the conclusion. Early romantic comedies often progressed narratively by continuously amplifying and deepening the cause of a specific event or conflict. However, as seen in “Singles,” contemporary romantic comedies actively utilize verbal sparring, slang, and vulgar language between men and women to drive the story forward. The language in films functions as a crucial element that goes beyond simple dialogue to shape imagery and define character personalities. Particularly in recent romantic comedies, the use of suggestive, sexually charged language to prompt audiences to infer meaning themselves is frequently employed. The line “Don’t eat just anything because you’re hungry” from “Singles” is a prime example of this. By openly revealing this kind of suggestive language, once confined to private spaces like bedrooms or under blankets, these films provide audiences with linguistic playfulness and catharsis. This aims to foster intimacy and identification among viewers.
In many romantic comedies, the resolution of conflict between the male and female leads often culminates in the form of ‘marriage’. The male and female leads meet through a chance encounter, and their relationship begins not in harmony but rather by creating conflict. This conflict often manifests as constant bickering, akin to a rivalry, and the dialogue and actions that emerge during this process create the comedic elements unique to romantic comedies. This conflict stems less from actual mutual dislike and more from a fear that the growing attraction to the other might infringe upon one’s identity or threaten personal freedom.
However, “Singles” partially departs from this traditional narrative structure. In the film, Nan-nan proposes to Soo-heon that he support her studies abroad and marry her to leave together, but after deep contemplation, she rejects the proposal and chooses the path of a career woman, immersing herself in her work. Dong-mi, meanwhile, spends a night with her roommate Jung-joon and becomes pregnant, but she concludes the story by deciding to raise the child herself, never revealing the truth to Jung-joon. While this work also belongs to the romantic comedy genre and can be seen as having a happy ending in a certain sense, its conclusion is presented in a way rarely seen in past romantic comedies. This ending provides the audience with a fresh sense of liberation, allowing them to leave the theater with a lighter heart.
In romantic comedies, female characters always play crucial roles. The lives and choices of these women linger in the audience’s memory, sometimes subtly, sometimes intensely, within the emotions conveyed by the film. Some of these women are revered by men as ideal female archetypes, while in other cases, they are recognized by women themselves as models for self-realization. However, “Singles” rejects these traditional female characters—the female archetypes formed within male expectations—and instead portrays the image of women existing in contemporary reality more honestly. The film introduces three characters: Nan-nan, who is dumped by her lover and simultaneously demoted from a stable design office to the catering department at work; Dong-mi, who navigates life on her own terms after dozens of relationships; and Jung-joon, entangled in complex romantic entanglements. Each understands love in their own way and strives to find it anew through their unique paths.
The film also reveals the harsh reality where women face disregard at work and harsher treatment from customers simply because they are women. The film does not simply overlook this discrimination. Instead, it presents scenes where the characters respond in satisfying ways. Examples include Nan-nan publicly pulling down the pants of a male superior who steals her ideas and reveals physical desires, and Dong-mi retaliating against a pervert who kept slapping her buttocks. These scenes can be read as symbolically revealing women’s resistance and counterattack against a conservative, male-dominated society. These narrative and character shifts serve as crucial clues showing that Korean romantic comedies are moving beyond mere repetition of love stories, exploring new genre possibilities that reflect contemporary society and women’s lives.