As discussed within the first week of class, no film (or film genre, for that matter) is created in a vacuum; there are always external reasons—whether cultural or industry-related—for its existence. According to Wes D. Gehring and Tina Olsan Lent, what outside events/movements/sources prompted the screwball comedy's existence? Which of these most surprises you, and why?
According to "Cary Grant: The Picture of Archie Leach," what is Grant's background, and more significantly, when did Cary Grant become "Cary Grant"?
How much does the success of screwball comedy owe to Grant?
How does Bringing Up Baby's David (Cary Grant) fit the characteristics of the screwball comedy antihero?
How does the woman's role in screwball comedies differ from her role in romantic comedies?
Offer three ways Bringing Up Baby exemplifies Lent's point that heterosexual partners in screwball comedies perfectly complement one another and, furthermore, that they are incomplete without each other.
How are representations of social class and class politics generally represented in screwball comedies?
In "Professor-Heroes and Brides on Top," the author focuses on two motifs in Bringing Up Baby: David's bone and Susan's leopard. How many different meanings does she locate in these two symbols? Any you disagree with or think she's taking a bit too far?
Roughly how long does the heydey of the screwball comedy last?
What is your favorite modern-day screwball comedy (1990-present), and why? How does it adhere to the characteristics Gehring describes?