Resumen de Amor, parodia y tiramisú: Sleepless in Seattle y la comedia romántica contemporánea
This article attempts to place Nora Ephron’s film within the context of the evolution of the genre in the 1990s. In accordance with the film’s alternately male and female point of view, the paper explores the discourses it puts forward on contemporary masculinity and femininity and highlights the importance of Linda Williams’s classical concept of female double vision to understand the workings of the genre. While the men in the film appear to be trapped between traditional and (post)modern (and postfeminist) concepts of masculinity, the women, and the film’s sympathetic spectators, manage to combine identification and ironic separation, empathy and laughter, in their attitude to romantic love.
