Critical Theory, Explained Through Early 2000s Rom-Coms (Because I Mean Why Not?)
Here at Bad Ideas Book Club, we love literature. And there's no better way to appreciate literature than through critical theory! However, critical theory can also be incredibly confusing and a little intimidating, which is why we're here to bring it to a much more approachable setting: the colorful, carefree world of early 2000s rom-coms.
However, I think it's best to start with a definition: essentially, critical theory answers the hows and whats of studying literature-- how we approach text, what we bring to it, and what questions we can ask about it to gain a deeper understanding of a body of work. That's only scratching the surface, but I hope it gives you an idea.
So, here you go: an overview of two of the most popular critical frameworks for understanding literature, re-imagined through some of your fave chick-flicks (I could deconstruct that term, but I will refrain).
PS: Disclaimer-- take everything I am about to say with a grain of salt. I am by no means an expert and the following statements should not be taken too seriously! (we're just having fun out here).
Feminist Criticism
The gist: Feminist Theory is pretty much what you'd imagine it to be based on the name. It's all about how gender functions within a body of work-- how the piece handles gender stereotypes, which questions it raises about the patriarchy, and how it either perpetrates or disrupts the the marginalization of women in literature and media. Sometimes, the answers to these questions are not black and white, which is why I think Legally Blonde is a great film to use to explore this idea further.
Rom-Com: Legally Blonde (2001): Elle Woods. On the surface, the protagonist of Legally Blonde is a total stereotype: blonde, bubbly, sorority girl without a brain in her head. However, when Elle goes to law school to win back her ex-boyfriend, she discovers a sense of personal integrity and proves herself as an entirely capable, brilliant lawyer. The movie quickly shifts romance from the fore-front to a minor subplot, focusing instead of Elle's journey to self-acceptance and growth. Basically, Elle is a feminist queen.
If we were conducting a feminist criticism of Legally Blonde, we might explore questions like: "How does Elle disrupt the patriarchy through finding her place in the male-dominated legal field?" or "Can Legally Blonde be considered a feminist film if Elle's actions are motivated by chasing a man?" Personally, I believe Legally Blonde has a remarkable amount of nuance for a cheesy rom-com. Spoiler alert, but the best scene in the film is the end, when Elle is inspired to return to the court room despite being by her bad-ass female law professor, who essentially tells her not to let the pathetic, misogynist Professor Callahan ruin her life and career goals. Legally Blonde was truly a rom-com ahead of its time, providing insightful commentary on sexual violence and abuse before #MeToo.
Marxist Criticism
The gist: Pretty much all you need to know about Marxist criticism is it's all about the *Jessie J voice* money money money. Basically, Marxist theory argues that socioeconomic structures are the most important factor of society and define our human experience.
Rom-Com: Mamma Mia! (2008) and Mamma Mia! Here We Go Again (2018): I have a lot of thoughts and feelings about the Mamma Mia! franchise. I'm not one to destroy the joy of mindless ABBA karaoke. I adore these films with everything have. That being said, a Marxist critic would rip them to shreds.
The odd thing about Mamma Mia! is that while the characters are presented as just regular folk, things just financially... work out. In the original 2008 film, there is an entire musical number devoted to Meryl Streep and her fellow dynamos singing about how "money must be funny in a rich man's world" (an iconic ABBA bop). We start to sympathize with Meryl. She's just a single mom, running this run-down hotel, trying to fund her daughter's wedding, generally doing her best.
But then the prequel happened.
And I'm sorry but HOW does Donna just RECEIVE A GIANT HOUSE IN GREECE FREE OF CHARGE JUST BECAUSE THE LADY AT THE BAR DECIDES SHE DESERVES IT FOR BEING BLONDE AND SWEET AND GOOD AT SINGING AND STUFF.
If you haven't seen Mamma Mia 2, that probably didn't make any sense, but take my word for it: it's any college student's post-graduation socialist dream ride of a film. To get critical, Marxist critics would draw attention to how financial anxieties seem to be entirely absent in this film. To take that a step further, it's interesting to think about why this escapist film was released in summer 2018, making it a refuge from the political angst of the Trump era. Thank you for coming to my TED Talk.
Hope you enjoyed that (even if you didn't learn anything). Post in the comments below if you would be interested in seeing a New Historicism or Deconstruction criticism of more romantic comedies!
 |
| Photo Credit: Max Pixel |
So, here you go: an overview of two of the most popular critical frameworks for understanding literature, re-imagined through some of your fave chick-flicks (I could deconstruct that term, but I will refrain).
PS: Disclaimer-- take everything I am about to say with a grain of salt. I am by no means an expert and the following statements should not be taken too seriously! (we're just having fun out here).
Feminist Criticism
The gist: Feminist Theory is pretty much what you'd imagine it to be based on the name. It's all about how gender functions within a body of work-- how the piece handles gender stereotypes, which questions it raises about the patriarchy, and how it either perpetrates or disrupts the the marginalization of women in literature and media. Sometimes, the answers to these questions are not black and white, which is why I think Legally Blonde is a great film to use to explore this idea further.
 |
| Photo Credit: Eva Rinaldi |
Rom-Com: Legally Blonde (2001): Elle Woods. On the surface, the protagonist of Legally Blonde is a total stereotype: blonde, bubbly, sorority girl without a brain in her head. However, when Elle goes to law school to win back her ex-boyfriend, she discovers a sense of personal integrity and proves herself as an entirely capable, brilliant lawyer. The movie quickly shifts romance from the fore-front to a minor subplot, focusing instead of Elle's journey to self-acceptance and growth. Basically, Elle is a feminist queen.
If we were conducting a feminist criticism of Legally Blonde, we might explore questions like: "How does Elle disrupt the patriarchy through finding her place in the male-dominated legal field?" or "Can Legally Blonde be considered a feminist film if Elle's actions are motivated by chasing a man?" Personally, I believe Legally Blonde has a remarkable amount of nuance for a cheesy rom-com. Spoiler alert, but the best scene in the film is the end, when Elle is inspired to return to the court room despite being by her bad-ass female law professor, who essentially tells her not to let the pathetic, misogynist Professor Callahan ruin her life and career goals. Legally Blonde was truly a rom-com ahead of its time, providing insightful commentary on sexual violence and abuse before #MeToo.
Marxist Criticism
 |
| Photo Credit: Nick Grabowski |
Rom-Com: Mamma Mia! (2008) and Mamma Mia! Here We Go Again (2018): I have a lot of thoughts and feelings about the Mamma Mia! franchise. I'm not one to destroy the joy of mindless ABBA karaoke. I adore these films with everything have. That being said, a Marxist critic would rip them to shreds.
The odd thing about Mamma Mia! is that while the characters are presented as just regular folk, things just financially... work out. In the original 2008 film, there is an entire musical number devoted to Meryl Streep and her fellow dynamos singing about how "money must be funny in a rich man's world" (an iconic ABBA bop). We start to sympathize with Meryl. She's just a single mom, running this run-down hotel, trying to fund her daughter's wedding, generally doing her best.
But then the prequel happened.
And I'm sorry but HOW does Donna just RECEIVE A GIANT HOUSE IN GREECE FREE OF CHARGE JUST BECAUSE THE LADY AT THE BAR DECIDES SHE DESERVES IT FOR BEING BLONDE AND SWEET AND GOOD AT SINGING AND STUFF.
If you haven't seen Mamma Mia 2, that probably didn't make any sense, but take my word for it: it's any college student's post-graduation socialist dream ride of a film. To get critical, Marxist critics would draw attention to how financial anxieties seem to be entirely absent in this film. To take that a step further, it's interesting to think about why this escapist film was released in summer 2018, making it a refuge from the political angst of the Trump era. Thank you for coming to my TED Talk.
Hope you enjoyed that (even if you didn't learn anything). Post in the comments below if you would be interested in seeing a New Historicism or Deconstruction criticism of more romantic comedies!
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