Henderson, Austin: ). Indeed, there have been many alterations to our social structures since the classic Hollywood era, defined by Susan Hayward as 'the cinema tradition that dominated Hollywood production from the 1930´s to the 1960´s´ (Hayward, Routledge: 45). The feminist and gay movements of the 70´s, a rise in divorce rates and the subsequent increase in the number of single parent families, have all played a part in significantly changing the shape of our society and our outlook on life. However I would argue with hindsight that, rather than causing the genre to be obsolete in the present day, these changes within society have merely forced the romantic comedy to 'change tack´ somewhat, in order to conform to modern ideologies.

Claude Levi-Strauss studied many cultures and myths and, according to him, these stories help to solve key issues within a culture, offering an imaginary resolution to any social discordance, which mig

If we compare some of the 'set´ characters, using a similar table, which Karnick identifies as central to the plot of romantic comedies, we can see the essential similarities between 'Bringing Up Baby´ and 'Forces of Nature´.

'Bringing Up Baby´ (1938) and 'Forces of Nature´ (1999) are two films, which I think best show the model conventions of romantic comedy for their respective cinematic eras.

'Bringing Up Baby´ 'Forces of Nature´

The first and initial partners are revealed as unsuitable for each other (Miss Swallow has an unhealthy interest in David Huxley´s money and business, Bridget is seen as slightly paranoid and controlling). The first and second partners will then be introduced in some way (David Huxley and Susan Vance meet by chance on a golf course where he is trying to raise funds for his museum, Ben and Sarah meet by chance on an aeroplane). These two generally don´t like each other but will become involved, not necessarily romantically yet, by some event, which is beyond their control (in both films the first partner is trying to get to his respective wedding on time). The problems encountered by the first and second partners will serve to bring them closer together (Vance and Huxley looking for the bone stolen by the dog, and Ben and Sarah´s eventful road trip following the plane crash). This draws them together romantically (Vance and Huxley nearly kiss in the firelight, Ben and Sarah actually kiss in their motel room). It is at about this point that a difference between these two examples emerges. 'Bringing Up Baby´ is what Karnick would call a 'commitment comedy´ - at the denouement of the film there is the promise of marriage for Vance and Huxley whilst Miss Swallow is cast aside. 'Forces of Nature´ however is different because it ends with Ben and Bridget finally getting together once more and rescheduling their wedding, leaving Sarah to find her son. This type of romantic comedy is sometimes described as a 'reaffirmation comedy´ - the first and initial partners eventually realising their true love for each other.

Very often in a romantic comedy, the two protagonists, or the 'hero´ and 'heroine´, are portrayed as metaphors for two contradictory standards, almost as ambassadors for two feuding sides (which is what Ephron is referring to when she talks about the 'thing that keeps two people apart´). Tom Hanks in 'You´ve Got Mail´ represents a capitalist character because he is the heir to the multi-million dollar 'Fox´ empire. Around the corner is the small independent bookshop, owned by Meg Ryan´s character, which is threatened with closure due to the opening of the new Fox store. The hero is seen to be underhand and manipulative throughout the film, motivated solely by money whereas the heroine is portrayed in a much more sympathetic light, as hard-working and enthusiastic, displaying many characteristics which we naturally expect from a 'good´ person. With this in mind, it can be deduced that romantic comedies are not only about romantic relationships, but are also a place to explore key issues of a culture, whether they be social, political or economic.

In his study of 150 Russian myths: 'Morphology of the Folktale´, Vladimir Propp established that the functions and actions of char

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