Genre of Romance 1

Running head: THE GENRE OF ROMANCE IN MODERN FILM

The Genre of Romance in Modern Film:

A Critique of the Rhetorical Strategies in Fireproof

Tiffani Douglas

Grove City College

Genre of Romance 2

Running head: THE GENRE OF ROMANCE IN MODERN FILM

Abstract

Romance films as a genre depict a definition of love and narrate the process a couple

goes through as they fall in love. The film Fireproof is no different in this regard. However, a

close analysis using the rhetorical methods of generic criticism, pentadic criticism, and narrative

criticism reveals that the film’s true rhetorical power lies in its ability to fit the basic

characteristics of a romance film while drawing a sharp distinction from mainstream portrays of

romance and the true meaning of love.

Genre of Romance 3

The Genre of Romance in Modern Film:

A Critique of the Rhetorical Strategies in Fireproof

Introduction

The genre of romance in contemporary films has great appeal in mass media, especially

for women. By following an archetypal storyline, romance films create a specific narrative that

characterizes most—if not all—films in the genre. The thematic connections between films like

27 Dresses, The Notebook, and Ever After are undeniable, and they reinforce the umbrella

narrative that encompasses romance films as a genre. Although the rhetorical power of such

films is indisputable, the pattern of romance films quickly becomes predictable.

Alex Kendrick (2008), the director of the film Fireproof introduces a new spin on the

romance genre. The film maintains the classic elements necessary to every romance film, but he

also provides a new angle in the narrative of the film that redefines love. Kendrick (2008)

deliberately forms a connection between love and sacrifice in a way most modern films of the

same genre do not even approach.

The story of Fireproof is an excellent example of sacrifice as necessary in a loving

marriage, and it sheds a whole new light on a classic example of narrative in modern romance

films. Romance in film represents a vitally important aspect of American culture. The

interpretation of romance in film undoubtedly has a strong impact on how the American culture

defines love. The power of film to transform society is undeniable.

Rhetorical Biography

Aside from its rhetorical power, Fireproof is also captivating because of the film

director’s story. Alex Kendrick is the associate pastor at Sherwood Baptist Church in Albany,

Georgia. The story of Fireproof actually began five years before its release with the production

Genre of Romance 4

of Flywheel, a film that Kendrick (2008) and his brother, Stephen Kendrick (2008), produced

with an all-volunteer cast and crew as a media project for their church. Its popularity escalated,

and three years later, the brothers produced another film, Facing the Giants, which was even

more popular.

Although it was only the third film the brothers have directed, Fireproof was their

greatest success to date—it was the highest grossing independent film of 2008. When asked

about the source of his inspiration for the film, Alex Kendrick (2008) stated in an interview,

We focus our efforts and ask God to confirm the direction in all of us and that He will

turn all our hearts in the same direction. We use the platform of film to present Biblical

truth and tell a meaningful story to our audiences. (Writer, 2009)

Spreading the gospel is clearly the motivation behind all three of the films Sherwood Pictures

produced.

Kendrick (2008) also expressed specific goals for the film. In another interview, he

stated, “we just realized how devastating it is and that pornography has become one of the

primary reasons that couples get divorced” (Western, 2009). By including scenes in which the

main protagonist, Caleb Holt, realizes the damage pornography has done to his marriage and

repents, Alex Kendrick and his brother (2008) reinforce the Christian values rampant throughout

the rest of the film.

Review of Literature

In the past, several scholars have applied various methods of rhetorical criticism to film.

Sociology scholars James Dowd and Nicole Palotta (2000) analyze the development of romance

in American film. The scholars begin their study with a specific definition of the genre of

romance films. According to Dowd and Palotta (2000), the genre “has at its center the story of

Genre of Romance 5

the development of an intimate relationship between its two central characters” (p. 555). The

scholars go on to give a brief account of the development of romance in film.

Prior to the development of film, nineteenth century American culture defined romance

within the context of marriage; love always led to marriage. This mindset changed, however,

with the turn of the last century. Dowd and Palotta (2000) observe that “the typical twentieth-

century view of passionate love as a relationship that may just as well lead out of a marriage as

into one” (p. 551). In modern American culture, romance has been redefined in terms of feelings

—the emotion of love no longer necessitates a commitment to marriage, and its expiration is also

considered just reason to seek divorce.

In the discussion of their research, Dowd and Palotta make an interesting point. Most

films are produced as entertainment, so their goal is to appeal to audiences. Therefore, films must

reflect society’s understanding of romance and “retransmit them back into the culture reinforced”

(Dowd & Palotta, 2000, p. 565). Dowd and Palotta argue that a film’s success depends on its

ability to do this. Therefore the erosion of marriage in contemporary romance film is a reflection

of cultural expectations regarding the genre.

In his article, “Male Spectatorship and the Hollywood Love Story,” Kenneth MacKinnon

(2003) takes a different angle on portrayals of romance in contemporary film. He expresses the

fear that “as the narrative progresses, she falls in love with the main male protagonist and

becomes his property, losing her outward glamorous characteristics” (MacKinnon, 2003, p. 129).

MacKinnon analyzes film from the perspective of the audience, claiming that one of the greatest

challenges of contemporary romance films is their ability to strike a balance between

maintaining a powerful example of womanhood in a love narrative that simultaneously portrays

the masculinity of the male lead.

Genre of Romance 6

MacKinnon (2003) goes on to state that most contemporary films have failed this

challenge, feminizing men in favor of elevating the idea of an independent woman. He notes that

the portrayal of a male lover in film has transitioned over the past century from a narrative of

dominance in which the man “owns” the woman to a softer representation of love. MacKinnon

(2003) concludes that the male tendency to lower his defenses in modern film is a reflection of

the idealization of the contemporary man in love.

Rhetorical criticism in films is not limited to the romance genre, however. Michaela

Meyer (2003) analyzes the rhetorical impact of villainy in the film Spider-man, making the

argument that most scholars focus on the archetypal qualities of heroes in action films, while the

villain is considered a shallower character not worthy of analysis. Meyer makes the argument

that Spider-man stands unique within its genre because of the complex nature of the film’s

villain, the Green Goblin.

Meyer (2003) focuses on mythological narratives as a frame for the archetypal villain

represented by the Goblin. She claims that “by shadowing the hero, villains represent the

complex interplay between good and evil in self and society” (Meyer, 2003, p. 521). The

rhetorical impact of combining good and evil aspects in both the villain and the hero of Spider-

man is tremendous. This method reinforces the fidelity of the characters in the film, heightening

viewer identification. Spider-man is unique in its genre because the villain as well as the hero

experiences this internal conflict between good and evil.

Although previous studies on the genre of romance films and narrative criticism have

rarely been done in conjunction with each other, many scholars have studied the two subjects

sufficiently. The use of generic criticism, pentadic criticism, and narrative criticism is evident in

many romance films, including Fireproof. This film, however, stands apart from others in its

Genre of Romance 7

genre because its characters break through the façade of idealism to provide a more profound

answer to the question, what constitutes true love?

Method

As demonstrated in this review, critical literature can address film criticism in a variety of

ways. Generic criticism is an effective tools for analyzing the romantic narrative in the film. The

Kendrick brothers intentionally redefine the conventions of the romance genre in a way that

obligates the audience to adjust their own perspectives in life. Meant primarily as a teaching tool,

the film incorporates specific strategies to reach out to the audience and appeal to love as it is in

real life, not the idealistic portrayals of romance that characterize mainstream romance films.

In my analysis I will also utilize the pentadic criticism of Kenneth Burke to demonstrate

the effectiveness of the divergence of Fireproof from the conventions of the romance genre.

Major differences in the actors, agencies, and purposes in the film serve to highlight the film as

distinct from the typical romance film, accentuating the film as unique in its genre. The strongest

difference between Fireproof and conventional romance films lies in the category of agency—

Christianity plays a minimal role in most romantic films.

Although the differences between classical romance narratives and the story of Fireproof

are undeniable, the film also maintains some conventional narrative strategies used in most other

films of its genre. As a teaching tool, however, the film incorporates unique ideas into its

narrative. The importance of the “Love Dare” and presence of the couple’s parents as part of the

narrative are two such examples.

Analysis

Romance films demonstrate a wide variety of qualities that classify them as a genre. In

their analysis of romance as a genre, Dowd and Palotta (2000) present a list of characteristics

Genre of Romance 8

that qualify a film as a romance film. They maintain that romance films “manifest a common

interest in the specification, valorization, and reinforcement of certain romantic behaviors…the

movies, in other words, serve as a cultural resource, a repository of both older and contemporary

estimations of the rules of romance” (Dowd and Palotta, 2000, p. 553-554). A film in the

romance genre must make a statement concerning what constitutes love and demonstrate

behavior compatible with the cultural perception of romance.

Fireproof matches this criterion—the primary focus of the film is the spiritual and

emotional journey the protagonist goes through as he learns what constitutes real love. The film

demonstrates a philosophy concerning love. The main protagonist of the film, Caleb Holt,

receives a devotional from his father to help him win his wife back. In a voiceover, Caleb reads,

“It is difficult to demonstrate love when you feel little to no motivation. But love in its truest

sense is not based on feelings but a determination to show thoughtful actions even when there

seems to be no reward” (Kendrick, 2008). Although this observation concerning love contradicts

mainstream portrayals of romance, it is nevertheless a statement that addresses the question of

how to express love.

The second criterion Dowd and Palotta (2009) endorse is closely related to the first. The

narrative of a romance film typically follows a specific pattern and raises similar questions for

the audience to ponder. In addition to affirming a specific definition of love, the genre

has at its center the story of the development of an intimate relationship between its two

central characters. Whether the two central characters will meet, fall in love, and begin

what presumably will be a successful, long-term relationship are questions that are at the

very center of the romantic movie. (Dowd & Palotta, 2000, p. 555)

Genre of Romance 9

Fireproof does not fit this qualification as neatly. The main protagonist, Caleb Holt, is already

married to his wife, Catherine. The looming mystery in the film does not revolve around whether

or not the couple will enter into a relationship. Instead, the narrative in Fireproof is primarily

concerned with the preservation of the couple’s marriage.

Films in the romance genre also share certain plot points in common. Often, a couple

meets abruptly and in comedic circumstances, then develop a relationship in which the man

pursues the woman, who usually responds to his advances with scorn. This relationship usually

develops into a flirtation throughout the film, but this is cut short when the man makes a mistake

or a secret is revealed. The couple breaks up, but in the final plot point of a typical romance film,

the couple is reunited, providing the happy ending necessary for any successful romance film.

Fireproof follows this structure loosely. There is conflict between Caleb and Catherine,

but it is not the flirtatious beginnings of a promising relationship. Rather, both are filled with

bitterness and feel that they are being treated wrongfully. Far from the lighthearted nature of

most couples’ relationships in romance films, Caleb and Catherine experience frustration as their

marriage crumbles. Caleb and Catherine skip the meeting and flirting stages of a developing

relationship, and the film forges ahead to the conflict.

With the exception of this divergence from the conventional plot, Fireproof stays true

to the same story characteristic of all romance films. After Caleb and Catherine go through an

escalating crisis and arrive at the brink of divorce, they stay true to the archetype of romance,

and resolve their grievances, falling in love for a second time. In one of the most powerful scenes

in the film, Caleb and Catherine finally reconcile. Catherine affirms emotionally, “If l haven't

told you that you are a good man, you are. And if l haven't told you that I’ve forgiven you, I

have. And if I haven't told you that I love you, I do” (Kendrick, 2008). Like all other films in the

Genre of Romance 10

romance genre, Fireproof ends with an affirmation of the power of love and a heartwarming

renewal of the couple’s marriage vows.

In addition to employing rhetorical strategies that have proven effective in other films in

its genre, Fireproof is also a powerful film specifically because it does not follow the

conventions of the romance genre. This is evident in the film’s demonstration of Kenneth

Burke’s pentadic criticism. In her textbook on rhetorical criticism, Sonja Foss (2009) states that

“we use rhetoric to constitute and present a particular view of our situation, just as a play creates

and presents a certain world or situation inhabited by the characters in the play” (p. 356).

Fireproof is unique because the film’s “situation” or “view” introduces contextualizes love

within the bounds of Christianity. The introduction of Christianity and its influence on Caleb and

Catherine’s marriage is a pivotal point in the film.

Although the film demonstrates a variance of convention romance in all five of the basic

elements of Burke’s pentad, the elements of “agency” and “agent” are especially prominent. In

most romance films, the lead role usually belongs to the woman in the romantic relationship.

Fireproof, however, provides a different angle—Caleb is the main protagonist, and he therefore

fulfills the role of the agent in the pentad. Conventional romance films portray an idealistic male

lead. He is charming, gentle, and confident, possessing all the qualities that would appeal to a

female audience. Throughout most of Fireproof, Caleb lacks any resemblance of these traits.

As the “agent” dimension of the pentad, Caleb is far from idealized. Foss (2009) defines

the agent in pentadic criticism as “the group or individual who is the protagonist or main

character of the situation described in the artifact” (p. 358). One of the first scenes of the film,

which establishes the audience’s first impression of Caleb and Catherin’s marriage, demonstrates

Caleb as a realistic agent rather than a romantic one.

Genre of Romance 11

The couple gets into an argument, and in the climax of the fighting, Caleb bursts out,

“Shut up! I'm sick of you! You disrespectful, ungrateful, selfish woman…you constantly nag me

and you drain the life out of me! I'm tired of it!” (Kendrick, 2008). This caustic language in the

very beginning of the film establishes an emphasis on Caleb’s flaws and confrontational nature,

characteristics that are demonstrated throughout the rest of the film. Although men in other

romance films are flawed as well, most romance films minimize these qualities in favor of

expressing qualities female audiences would want to see in a man.

The role of agency in the film progresses even farther from conventional romance. The

influence of Christian beliefs in the film is very strong, and it is a presence that is lacking in

traditional renditions of the romance genre. According to Foss (2009), agency is “the means the

rhetor says are used to perform the act or the instruments used to accomplish it” (p. 358). True to

its genre, the act in Fireproof is the process of falling in love. The agency, however, is not the

romantic attraction between the man and the woman, as it is in customary romance films.

Instead, the agency in Fireproof is God.

One of the most pivotal scenes in the film occurs when Caleb begins to realize what it

truly means to love Catherine. In the scene, Caleb expresses aggravation to his father at

Catherine’s repeated rejection of his attempts to reconcile with her. He protests, “She does not

deserve this, Dad. I am not doing it anymore. How am I supposed to show love to somebody

over and over and over who constantly rejects me?” (Kendrick, 2008). Caleb is incapable of

understanding love, and the film’s explains this with the assertion that true love is only possible

when one demonstrates love in the same manner as God.

Genre of Romance 12

Caleb’s father responds to Caleb’s frustration with the profound wisdom of his personal

testimony, asserting that Caleb’s love for Catherine ought to be a reflection of the love Christ

showed to humanity. He explains,

You can't love her because you can't give her what you don't have. I couldn't truly love

your mother till I understood what love really was…the cross was offensive to me until

I came to it. But when I did Jesus Christ changed my life. That's when I truly began to

love your mom. (Kendrick, 2008)

Caleb comes to the realization he cannot repair his marriage without depending on God. This

insight is a turning point in Fireproof. Caleb’s attitude in the film subtly shifts from bitterness

and anger to hope and perseverance. For the first time in the film, Caleb makes a whole-hearted

attempt to win Catherine back and endure her lack of response to his attempts.

The film also incorporates elements of Water Fisher’s narrative criticism, which utilize

the ideas of coherence and fidelity in a story. Foss (2009) defines fidelity as “whether [the

artifact] represents accurate assertions about reality or rings true with what you know to be true”

(p. 316). Most romance films demonstrate fidelity by capturing the emotions a couple feels as

they first fall in love. Fireproof skips this traditionally vital step in a couple’s relationship,

implying instead that real love is not the result of chemistry or emotion, but action.

The fidelity in Fireproof is apparent in the film. When Caleb is considering giving up

on Catherine and pursuing divorce, his father gives him a booklet called the “Love Dare.” The

book challenged Caleb to demonstrate his love for Catherine through his actions. Caleb’s father

explains the concept of the book in a voiceover:

Genre of Romance 13

My son, this forty-day journey cannot be taken lightly. It is a challenging and often

difficult process but an incredibly fulfilling one. If you will commit to a day at a time for

forty days the results could change your life and your marriage. (Kendrick, 2008)

The fidelity of this tool far surpasses traditional romance films because the “love dare” book is

not just a tool used in the film. Released simultaneously with the film, the book provides viewers

with a way to incorporate the film’s concepts in their own marriages. The “love dare” book is the

ultimate example of fidelity at its strongest.

Fireproof employs rhetorical tactics that have proven to be effective in many other films

in the romance genre. However, the Kendrick brothers also stray from the traditional narrative of

romance in many ways. The result is a precarious yet powerful balance between typical

portrayals of couples in romance films and a more realistic rendition of the love narrative in

which God plays an enormous role.

Discussion

The film achieves the momentous accomplishment of presenting a compelling alternative

to culturally accepted ideas of what constitutes love and marriage. The film’s popularity suggests

that Americans are receptive to the Christian perspective of marriage. Regardless, Fireproof

struck a chord among both secular and Christian demographics as a film unique for its focus on

the difficulty of marriage rather than the seeming lack of effort involving falling in love. It

appears that Americans are not as fooled by the romanticized version of love portrayed in most

romance films as box office results seem to indicate.

As a distinctly Christian film that was written, directed, and produced by church pastors,

Fireproof a very specific agenda of providing married couples with the tools to understand why

marriages fail and resist those pitfalls. In a lengthy analysis assessing the reasons for the

Genre of Romance 14

overwhelming success of Fireproof, scholar Jacob Johnston (2009) suggests, “the film is a guide

for struggling couples and says that the answer to their problems is something bigger than them.

If they take the film’s “love dare” and trust in God to get them through it, their marriage is

almost assured to mend” (p. 49). Based on this interpretation, the film’s success could be

attributed to the hope it presents couples who are seeking to renew their floundering marriages.

The film’s impact on marriages was tremendous. In addition to the “Love Dare” book,

churches across the nation established Fireproof Marriage Retreats in which couples discuss the

principles introduced in Fireproof and strengthen their marriages. The film’s insightfulness in

addressing the most prominent issues that afflict marriages in contemporary society provided a

way for couples to reexamine their own relationships.

Conclusion

By addressing the cornerstone of societal progress, Fireproof establishes itself

simultaneously as a film within a specific category but also as a film that is truly independent.

Few other filmmakers are ambitious enough to wrestle with real, concrete issues that affect the

common American, and that is what makes Fireproof so special. The Kendrick brothers

assaulted pornography, atheism, and romanticized perceptions of love in one convicting and

emotionally gripping film.

Genre of Romance 15

Works Cited

Burton, A. V. (2008). Jesus in the movies: a rhetorical analysis of selected films from 1912-

2004. The Journal of American History, 95(4), 1-127. Retrieved from

http://www.etd.ohiolink.edu

Dowd, J. & Pallota, N. (2000). The end of romance: the demystification of love in the

postmodern age. Sociological Perspectives, 43(4), 549-580. Retrieved from

http://www.jstor.org

Foss, S. (2009). Rhetorical criticism. Long Grove, IL: Waveland Press, Inc.

Johnston, J. (2009). The Sherwood method: Creating an independent Christian feature film.

Liberty University. Retrieved from http://www.digitalcommons.liberty.edu.

Kendrick, S. (Producer/Writer) & Kendrick, A. (Director/Writer). (2008). Fireproof [Motion

Picture]. United States: Sherwood Pictures.

MacKinnon, K. (2003). Male spectatorship and the Hollywood love story. Journal of Gender

Studies, 12(2). 125-136. Retrieved from Communication and Mass Media Complete.

Meyer, M. (2003). Utilizing mythic criticism in contemporary narrative culture: examining the

“present-absence of shadow archetypes in Spider-man. Communication Quarterly, 51(4).

518-529. Retrieved from Communication and Mass Media Complete.

Western, J. (2009, February 20). Interview: writer/producer of “Fireproof” - father of six - has

revitalized thousands of marriages. Message posted to http://www.lifesitenews.com.

Writer, T. (2009, June 27). Interview with filmmaker Alex Kendrick of Fireproof. Message

posted to http://blogcritics.org.