The genre of romantic comedy films is a rare occasion where women shine and dominate in the media, but there is a glaring discrepancy in the representation of women of color. Intersectionality of gender and race grows increasingly crucial to the female identity, yet the film industry struggles to accurately depict these concepts and create substantial films without having proper representation or falling back on classic stereotypes. This thesis seeks to answer the question: How does film portrayal of the feminine character in the romantic comedy genre contribute to contemporary understandings of female sexuality and racial identity?

Current research contains a broad coverage on varying gender and racial stereotypes observed in movies. There are plenty of studies conducted on women in the romance genre, and women of color in the general film industry. A huge gap lies in a lack of how these concepts are so inescapably related and their corresponding ties in romance. Female sexuality and racial identity cannot be discussed without acknowledging the other - something that both the film industry and current research do not adequately examine. 

This thesis begins to bridge this gap by honing in on primary data from 100 major romantic comedy films, spanning a century since the genre’s induction in 1934. Films were curated based on factors including: mainstream popularity, diversity, and relevance. Further data provides analysis on demographics, statistics on audience perception, and qualitative information on plot patterns. Preliminary data review supports a significant divide between the representation of white women and women of color. Observed differences in actress typecasting, character arcs, and common relationship trends contribute to realized effects in awards won and box office statistics. Ultimately, this thesis strives to synthesize existing research and modern data to reveal the importance of feminine intersectionality and representation in romance and film.