Sarah Revilla

The Influence of Romantic Comedies in Peoples Perception of Love: Expectations

and Disappointments
The concept of romance has changed throughout the centuries. In the past, the ideal
of love was expressed through poetry. Love stories were commonly depicted in plays and
novels. People read Shakespeare or Jane Austen and formed a concept of love based on
chivalry, love at first sight, and damsels in distress saved by the knight in shining armor
(Lubomir, et al., 2009).
In the 20th century, media and movies took over. Now, love and romantic stories are
mostly depicted in films. Romantic comedies and chick flicks are the main genres which
include these themes. The intended audience is generally women and teenagers. The
popularity of these films leads to the thesis statement: Peoples perception of love is greatly
influenced by films, and this leads to false expectations about ideal romance.
Media is one of the most important sources where young people learn concepts and
behaviors about love. The problem is that the idea of romance portrayed in films may have
a negative impact on the viewers.
Compared with true friendship or patriotism or maternal love, romance is a joke of a
feeling. Yet this joke, our culture tells us, is now the secret to true and lasting
happiness (Sullivan, 2001).

In the magazine article, Sullivan (2001) gives a negative opinion regarding

romance. In the 21st century, it is all about consumption. Everywhere, especially in media,
there are messages about ever-lasting love, finding your soul mate, and the secret to
finding true love. The author claims that it is all false and the media just wants to sell. He
believes that Valentines Day is just an excuse to spend money and make single people feel
bad.
The values and ideas sold by the media may have a great impact on peoples beliefs.
Films and television programs typically rely on exaggerated and unrealistic portrayals of
romantic and sexual relationships to appeal to their audiences (Johnson and Holmes, 2009,
p.353). If this is true, the messages transmitted to young people may create false
expectations about romance and will lead to disappointment.
This occurs due to the cultivation theory and the social cognitive theory. The first
theory suggests that viewers exposed regularly to a high level of romantic films, will be
influenced by these portrayals in their real world perceptions and expectations about love
(Segrin and Nabi, 2002). The second theory suggests that young people observe and imitate
behaviors shown on films. They will probably act the same way in their own lives if they
see that these behaviors are rewarded (Johnson and Holmes, 2009). Viewers are more
likely to learn or imitate a behavior when it is rewarded than when it is punished (Hefner,
2011, p.38). If the characters actions lead to a happy ending, the viewer will adapt this
behavior more easily, and avoid those actions that have bad consequences. In her study,
she also concluded that viewers are more likely to imitate a character that is attractive and
similar in nature to the viewer.

Previous research reveals that these theories are true in some specific cases. There
seems to be an association between higher exposure to viewing sexual television programs
and earlier initiation of sexual behavior. Also, people show more intentions on getting
married when they are exposed to many romantic comedies (Johnson and Holmes, 2009).
Another research done by Segrin and Nabi (2002) revealed that there is a relation between
large consumption of romantic television programs and high expectations of marriage. This
occurs because films portray idealized images of marriage.
The high expectations about marriage could be an explanation for high divorce
rates. From the 1960s to 1980s, the divorce rate increased by well over 200% (Segrin and
Nabi, 2002, p.247). This may be a cause; however, the origin of these beliefs is not clear.
These expectations may be shaped by interpersonal experiences, but many authors point to
mass media as one of the most significant sources of romantic ideals about marriage.
This research paper starts form the idea that the modern concept of romance is
created by the feeling of infatuation and expectations sold by the media (Sullivan, 2001).
First, in order to prove this statement, the ideals of romance and values portrayed in
romantic comedies have to be clear. Then, young peoples perception of love is described
based on experiments done by different researchers. Then, theres an explanation about
how these concepts are developed and influenced by the media. Finally, adults
expectations about marriage and the relationship with exposure to romantic comedies are
discussed.

Bachen and Illouz (1996) state that the concept of romance has been shaped by the
markets value, languge, and symbols. Therefore, it is important to understand how movies
may distort young peoples imagination and provoke disappointment when theyre older.

Ideal Romance and Other Elements in Romantic Comedies

As Johnson and Holmes (2009) say, films generally rely on exaggerated and
unrealistic portrayals of romance. Romantic comedies have specific characteristics that
revolve around love.
According to Hefner (2011), each film features a main couple who are the center of
the story. Its generally about newly developing relationships, so the feelings of adoration
and infatuation are very recurrent (Johnson and Holmes, 2009). In these kinds of movies,
single people are normally depicted as lonely or miserable, and public affection such as
kissing or holding hands is rewarded because it represents couples in love (Johnson and
Holmes, 2009).
First dates are very common in romantic comedies because these films are usually
about a man and a woman who meet in ordinary or extraordinary circumstances, so theres
a great possibility that they will go out. The awkwardness and nervousness of first dates can
be seen. The courtship phase has to do with consumption and luxury because the couple
goes out to restaurants and the guy buys flowers for the woman (Bachen and Illouz, 1996).
In Along Came Polly, Reuben (Ben Stiller) takes Polly (Jennifer Aniston) to an Indian
restaurant. During another date, he takes her dancing.

Relationships are considered one-of-a-kind and special (Johnson and Holmes,

2009). The romantic ideals shown in these fictitious relationships are based on idealization
of a partner, the belief in soul mates, love at first sight, and love conquers all (Hefner,
2011).1
Other images appreciated in these films are: physical beauty, passion, happiness,
physical intimacy, empathy, and open communication between partners. Also, British films
generally show family roles as conflict-free relationships that express a lot of affection
(Segrin and Nabi, 2002).
Even though romantic comedies mainly portray romantic ideals, the plot includes
many kinds of challenges. The latter refers to any signs that contradict the ideals. They can
be expressed through dialogue or actions. It is most common that men express the ideals,
and women express the challenges (Hefner, 2011). In other words, men are usually the
romantic, nave ones, and women bring them down to earth by being realistic or
pessimistic. Compliments, which are very often featured in the dialogues, are normally said
by men (Johnson and Holmes, 2009).
Hefner (2011) argues that romantic comedies are popular for being idealistic
because of the happy endings. A typical ending in romantic comedies is marriage. In 27
Dresses, the main characters end up getting married. This is seen as the peak of the
relationship, and viewers are left to imagine the rest (Johnson and Holmes, 2009). So, even
if the plot involves many challenges, it is only an excuse to build up the story in an
interesting way.

Nearly 80% of animated Disney films are about love at first sight (Hefner, 2011)

Another characteristic about romantic comedies and other films is the way they
portray the Romantic utopia, which is based on nature or wilderness, and on elegance and
luxury. For example, these movies are over-flooding with visual images of walks on the
beach or romantic, expensive dinners (Bachen and Illouz, 1996).
The characters in romantic comedies are usually white, middle class, heterosexual
adults (Johnson and Holmes, 2009).
Finally, the romantic ideals and images portrayed have not really changed
throughout the last decade (Hefner, 2011).
Young Peoples Perception of Love and Romance
When people are young, they begin to form their own concepts, opinions, and beliefs
about life. These thoughts are influenced by many sources such as family, friends, media,
and personal experiences. Childrens romantic imagination is shaped by the content and
forms that romance assumes in the postmodern nexus of media and the market (Bachen
and Illouz, 1996, p.279). This statement suggests that children form their ideas based on the
values and false ideals of romance portrayed in films.
Perceptions and expectations of romantic love are developed long before the actual
experience of romance starts (Bachen and Illouz, 1996, p. 280). That is why their study
shows some differences between childrens and teenagers perceptions of love. Imagination
is the set of symbols and meanings used to communicate a possible, unexperienced
situation (Bachen and Illouz, 1996). Children imagine their ideal romance from what they
see in movies. Teenagers begin to have experience in romance or hear about it from friends
and family, so their perception is a bit deeper and realistic than younger children. The idea
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of love may also vary according to social class, race, gender, and family, but the following
characteristics only differ slightly by life cycle stage.
Bachen and Illouz (1996) interviewed 183 children with ages between 8 and 17 to
explore their vision of romance.
First, the group of children and teenagers were asked to select from seven photographs
which couple looked more in love. Each couple showed affection by smiling, looking into
each others eyes, holding hands or cuddling. However, the facial expression and physical
interaction varied in each. 88% chose the couple walking on the beach, 82% chose the
elegant couple in the restaurant, 72% chose the sailor reuniting with his girlfriend, 24%
chose the couple watching television at home, 16% chose the professional couple walking
in the street, and only 15% chose the couple sitting in a bar.
Older children chose the domestic and professional couple, which shows they have a
more realistic concept about love than younger children. They were able to identify what
looked false and too perfect (Bachen and Illouz, 1996).
Then, they were asked to select the most romantic picture from different settings such
as a rowboat on the lake, the streets, and a domestic environment. According to Bachen and
Illouz (1996), 92% picked the rowboat on the lake. Both groups agreed that it was and ideal
and exotic setting, but they gave different meanings to the photograph. Children chose this
picture because of the physical contact shown and the rowboat, which is seen as fun, nice,
and romantic. Teenagers chose it because it represents intimacy and seclusion. They cared
for the verbal and emotional communication that could be going on with the couple.

This study also shows that love is extraordinary. It is not only a feeling but a mood
created by an uncommon environment (Bachen and Illouz, 1996). The romantic utopia is
based on nature or wildness and on elegance and luxury.
Bachen and Illouz (1996) argue that Romantic love is identified more easily when there
are clear visual codes and when it is associated with unusual circumstances. Younger
childrens perception of romance has to do with wealth, nature, and adventure. Teenagers
rely on comfort and communication, which is present in everyday life. For older children,
love is perceived as a long-lasting feeling. According to all the results, romance depends on
the atmosphere.
The differences between these two groups suggest that children form their concepts
directly from the media, whereas, teenagers rely on personal experience and observation.
Then, they were asked to describe a romantic dinner. The results from Bachen and
Illouz (1996) show that 68% said the dinner would take place in a restaurant, 30% said it
would be at his or her house, and only 2% said the dinner would be outdoors.
It is curious that the answers refer to visual elements, not events. But it is not surprising,
since movies rely on visual images (Bachen and Illouz, 1996). The words used to describe
the romantic dinner are categorized in luxury, atmosphere, or specific relationship elements
and dialogues to make it clear. The luxurious elements are fancy restaurant, wine,
champagne, fancy food such as French, Italian, or lobster, flowers, elegant napkins,
tablecloths, and silverware. The atmosphere is composed by dim lights, candles, a secluded
table, and soft music. The other relationship elements refer to holding hands, kissing, nice

and long talks, slow dance, whispering, saying I love you, and looking at each others
eyes.
According to the results shown by Bachen and Illouz (1996), both children and
teenagers agreed in the idea about a fancy restaurant. Luxury is immediately associated
with the idea of a romantic dinner. Visual images prevailed; however, teenagers also
focused on the interaction between the couple.
The next part of the study was about describing the series of events that take place
during a first date. Most of the answers revolved around a similar sequence. First, the boy
picks the girl up in a car. Then they drive up to the cinema or a cheap restaurant. They
usually eat pizza. During the whole date, they talk about their interests and get to know
each other.2 Then, he takes her home. Finally, they kiss goodbye. Depending on the date, he
says hell call or just leaves.
Children emphasized on the common awkwardness and nervousness experienced on the
first date (Bachen and Illouz, 1996). Although it may seem like a contradiction that
childrens concept of a romantic dinner is luxurious and the date includes a cheap dinner,
the answer is perfectly normal. Two explanations are given to justify these answers. First, a
romantic dinner probably occurs when the couple is already in love, so a fancy restaurant
seems appropriate. It would be less acceptable if two young teenagers went to an expensive
restaurant on a first date. Second, they might think that romance and luxury are more
related with adulthood. The characters in romantic comedies are usually adults, so children
may automatically form this association. If this is the case, the ideal romantic dinner is seen
as an expectation for the future.
2

This answer was given mainly by teenagers (Bachen and Illouz, 1996).

In the final task, both groups had to tell a love story (Bachen and Illouz, 1996). The
childrens schema turned out to be quite simple. First, the couple meets in an ordinary way
such as school, job or at a party. Then, they go out on a few dates. They like each other.
After that, they get jobs and buy a house. Then, they have children and get a dog. In the
end, they live happily ever after.
Most of their choices are consistent with visual cues connoting luxury or the kind of
departure from everyday life that money can buy (Bachen and Illouz, 1996, p.304). The
teenagers schema was similar, but they added that the couple has to share interest.
These results show that children associate romance with money, adventure, and
extraordinary situations. For teenagers, romance has to do with communication, sharing,
and partnership. Even though it is clear that teenagers have deeper perceptions of love, they
still maintain some of the schemas portrayed in films. An example of this is the importance
they give to Valentines Day (Bachen and Illouz, 1996).

Romantic Comedies Influence on the development of the Concepts of Love and

Romance: Young peoples False Expectations and Perceptions of Reality
Bachen and Illouz (1996) state that children are constantly processing information.
It is at this stage of life when concepts and ideas begin to form. Children are bombarded
with visual images and specific values sold by the media. 90% of the children and teenagers
that took part in this study admitted that they saw love stories in films. This shows that
young people use movies as a source of romance and love. 65% responded that they also
heard love stories from friends, but it is not the main source.
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The website (Mass Communication Theory, 2014) explains the cultivation theory
and the fact that high frequency viewers of television are more exposed to the media
messages. Therefore, they may frequently believe that these messages are real and valid. A
survey done by Rotham (2013) revealed that children spend in average 35 hours a week
watching television; this also includes films. According to the cultivation theory, this is
enough time for the media to start influencing peoples thoughts. However, Segrin and
Nabi (2002) emphasize that it is not about how many hours of television people watch
every week; it is about the romantic themes they watch.
Bachen and Illouz (1996) argue that there is a relationship between romance
portrayed in mass media and the audiences response. In a way, movies help visualize
future behavior if they influence day-dreaming about romance. A cultural object, value, or
idea will shape peoples thoughts depending on the accessibility, connection to people,
degree of identification, and how it is embodied in social institutions.
Romantic comedies intend on portraying everyday situations or romances that
may occur in a common environment, so the viewers will feel identified. This has to do
with the social cognitive theory, which suggests that people are more likely to imitate a
behavior when it is done by someone similar to themselves (Johnson and Holmes, 2009).
Hefner (2013) also agrees that viewers are more likely to imitate a character that is
attractive and similar in nature to the viewer. Films evoke strong mechanisms of
identification, are intensely realistic, and are the privileged discourse of sexual and
romantic desire (Bachen and Illouz, 1996, p.285).

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The analysis of romantic comedies done by Hefner (2013) revealed that more than
half of the ideal themes such as the belief in soul mates and love conquers all were
reinforced or rewarded in many ways. The best example of this result is when movies have
happy endings. This has a big impact on learned behavior because it sends the message that
romantic ideals are positive. In Just Married, the couple is able to overcome their social,
economic, and education differences and save their marriage.
Young people tend to follow these concepts to gain insight (Johnson and Holmes,
2009). Therefore, if movies portray perfect and unrealistic romances, children may believe
that these ideals are normal in everyday relationships. The audience often leaves the
movie theatre yearning for a love similar to the one on the silver screen (Green, 2013, p.2).
This last statement reaffirms that romantic comedies influence young peoples
interpretation of love and they begin to expect similar qualities in their love lives.
Perceptions and expectations of romantic love are developed long before the actual
experience of romance starts (Bachen and Illouz, 1996, p. 280). However, teenagers are
able to incorporate information about love from other sources (Bachen and Illouz, 1996).
Children grow up with false expectations about love, but when they actually start
experiencing romance, they either adapt concepts from other sources or stick with the
previous ideas, which may lead to disappointment.
Childrens imagined vision of romance moves from one molded by the media,
associating romance with luxury and leisure consumption, to one characterized by a
tension between what media have promised them and their growing understanding
of the complexities of love (Bachen and Illouz, 1996, p. 279).

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Previous research shows that the belief in soul mates can be associated with longterm, satisfying relationships. If this is the case, romantic comedies may be considered a
positive source. Idealizing a partner can also be positive because people might project this
belief in their relationships and ignore the partners small imperfections. However,
following the concept of love conquers all might lead people to overlook dangerous flaws
in their partners such as verbal or physical abuse (Hefner, 2013, p.69). Adults rarely
believe in love at first sight.
Johnson and Holmes (2009) suggest that some expectations created by romantic
comedies are that men and women are different, and they must not change themselves
when they are involved in a relationship, sex must be perfect, and a partner must
understand and satisfy the others needs. The latter can also be related to mind-reading,
which means that someone expects the partner to know what he or she is thinking and
feeling without actually saying it. Ideal sex is generally targeted towards males, so they
may feel the pressure to achieve the ideal standards and expect to have a great experience
with their partners (Hefner, 2013).
According to Johnson and Holmes (2009), some previous research shows that there
is a positive association between viewing romantic films and relationship dissatisfaction.
In matters of romance and relationships, men usually take the lead. Even young,
unexperienced children believe this. Johnson and Holmes (2009) suggest that one reason
for this is that movies show men making a greater effort. Most of the compliments
portrayed in romantic comedies are said by men. Hefner (2013) agrees with the previous
notion by proving that most of the romantic ideals are shown by men, and women are the

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ones who express and create the challenges. In movies, guys are the ones who make the
first move, compliment the women, rescue them, and even fight for the girl (Green,
2013). All these images create higher expectations for girls, but also put more pressure on
the boys. While girls wait around for their prince charming, boys have to deal with
accomplishing their expected roles. The film How to Lose a Man in Ten Days portrays
these characteristics when the main male character goes after the female character in his
motorcycle to stop her from leaving the city and declares his love for her.
Cheating is also a common theme in romantic comedies. Whether the characters get
caught or not, these movies cultivate the viewers need to be cautious of the partners
sincerity and intentions (Johnson and Holmes, 2009). The characters negative behaviors
and attitudes do not receive terrible consequences in their love story, or they dont seem too
important as long as it all concludes in a happy ending. According to the cultivation theory
and the social cognitive theory, teenagers may underestimate their own behavior such as
cheating or acting violently. They may also take for granted that his or her partner will
forgive them. In Youve got mail, the two main characters develop a relationship via
internet, while still involved with other people. Their unfaithful actions do not get
punished, and the movie ends with both falling in love with each other.
In some romantic comedies, relationships end after the first big fight. The problems
seem big enough to cause a break-up. Johnson and Holmes (2009) suggest that this idea
sold by media may lead teenagers to associate arguments with a good reason to split up.
Instead of promoting dialogue to resolve problems and work out differences, these movies
send the message to children and teenagers that it alright to walk away when they confront
the first obstacle.
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Public affection is greatly appreciated in films because it is the most useful way to
show or represent love (Johnson and Holmes, 2009). However, in real-life relationships,
this depends directly on the couple. Some are shy, and some prefer to express their love by
holding hands or kissing in public. There is no right or wrong answer, but romantic
comedies create stereotypes and paradigms, which young people feel the pressure to follow.
Certainly, romantic comedies maintain their charm, as other movies in Hollywood.
Money is a greatly valued, as well as good looks. Children associate romance with luxury
because they are used to these images portrayed in films (Bachen and Illouz, 1996).
Therefore, these movies promote physical beauty, and young people may expect to find an
attractive partner or look like models themselves. In a more subconscious level, children
may automatically assume that pretty couples are determined to be happy with their love
life.
Being single is usually considered bad, especially for female characters. Single
characters are depicted as lonely, miserable, and desperate to find true love. An example of
this image is Bridget Jones Diary, which is about a single woman who worries about
ending up alone forever. This may send the wrong message to teenagers, who will feel
troubled and rush into any relationship for fear of staying alone. This may also be related to
Johnson and Holmes (2009) statement, which associates high exposure to sexual themes in
movies and an earlier initiation of sexual behavior.
In these kinds of films, the partners approval by family and friends is also
important (Johnson and Holmes, 2009). A very common situation portrayed in romantic
comedies is when someones partner meets their in-laws for the first time. Its normally

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represented as a tense and awkward moment. Usually, the family approves in the end. This
was the case in Just Married. Based on this, teenagers may negatively judge the political
family and feel pressured about making a good impression.
Since romantic comedies are normally about a man and a woman falling in love,
infatuation and the feelings experienced at the beginning of a relationship are the ones
depicted (Johnson and Holmes, 2009). In many cases, these movies end in marriage, and
the happy ending is implied. However, in real life, infatuation evolves into something more
mature, stable, and deep. Teenagers may expect to feel butterflies in their stomach all the
time, but eventually, these feelings fade away.
On the other hand, some romantic comedies can give the impression that someone
may suddenly develop strong feelings of love for another person (Green, 2013). It is a
contradiction shown in this genre. Strong feelings such as high levels of emotional support
or performing actions purely to promote their partners happiness develop when
relationships are more mature, not at the beginning (Johnson and Holmes, 2009). This
contradiction may confuse children and teenagers about what sort of feelings to expect.

Unrealistic or True Expectations about Marriage

Romantic ideals are defined as a set of expectations for how a model relationship
should form, develop, function, and be maintained (Hefner, 2013, p. 21).
Segrin and Nabi (2002) argue that watching romantic films can be associated with
idealistic expectations about marriage and suggest that this may be one explanation for the

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high divorce rate in the United States. There is a 20% chance that a first marriage will end
in divorce or separation during the first five years (Hefner, 2013). Even though they think
that one cause of divorce is attributed to the unrealistic expectations that lead to marriage,
the origin of these beliefs is not clear. Interpersonal experiences may shape peoples
thoughts and ideals, but mass media, as a source of romanticized views of marriage, can
also have an effect on false expectations. We suffer the permanent disappointment of
excessive expectations (Sullivan, 2001).
Segrin and Nabi (2002) intended on demonstrating that television viewing may
create idealistic expectations due to the cultivation theory. These expectations influence
peoples intentions to marry and may be a cause for divorce. A survey of 285 never-married
university students was done to prove this statement. Television provides a highly
distorted representation of personal relationships (Segrin and Nabi, 2002, p. 249). There
are three main expectations. The first one suggests that partners who really care for each
other should have complete understanding of the partners need and preferences. The
second one is the expectation that sexual relations will be perfect. Finally, women fantasize
about their ideal wedding and happily ever after.
According to the survey done by Segrin and Nabi (2002), some of the recurrent
fantasy themes about marriage are spending time together, successful conflict resolution,
good physical intimacy, understanding, honesty, trust, sharing, respect, friendship, and
partnership. The results also showed that females fantasized more, but men watched more
hours of television. Women feel more identified with the topics portrayed in these films
because chick flicks and romantic comedies are targeted for women and female teenagers.

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The survey showed that people who watch these types of movies spend more time daydreaming about marriage.
Expectations do not necessarily lead to disappointment. A previous study done on
100 couples revealed that endorsement of beliefs was associated with many positive
outcome variables (Hefner, 2013). It can happen because partners project these beliefs in
their relationship. Consequently, positive idealization of romance leads to higher levels of
satisfaction. The problem occurs when there is a conflict between ideals and the actual
partner.
Whether adults watch these movies to gain insight or whether they do it because
these films are already consistent with their previous beliefs has not been demonstrated yet.
Bachen and Illouz (1996) and Segrin and Nabi (2002) agree that older people tend to have a
more realistic view of love and romance because they have their own experience.
Even though, romantic comedies portray female characters as free and independent
women, they still focus their time and energy on trying to find a husband. For example, Sex
and the City is about four independent women with good jobs, who wish to find husbands
to fulfill their lives (Green, 2013). This may send the message that once women are
married, they will gain complete happiness.
Conclusion
Films have become part of everyday life, so it is impossible to ignore the values and
concepts expressed by the media. Movies may serve as a tool to form ideas and concepts
about love. Romantic comedies depict and ideal love, which is not easily found in real
life. Mass media creates higher expectations for young people, and this will lead to
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disappointment once they enter the complex world of romance. It is important to

understand that romantic comedies main objective is to entertain, not portray the reality
about love. If people use other sources such as friends, family, and personal experience to
form their beliefs, films will not create too many false expectations.
The difference between childrens and teenagers perception of romance is
significant in some ways because teenagers concept is based on communication and
partnership, and not just the exotic and luxurious love. However, some of the expectations
created by romantic comedies may remain until adulthood. Segrin and Nabi (2002) proved
that television viewing does contribute to the false expectations about marriage. However,
further research must be done to identify if these expectations come directly from the
media, or if they may come from familys beliefs.
The study done by Hefner (2013) demonstrates that adults rarely believe in love at
first sight. Further research should be done to discover childrens opinion about this and the
other romantic ideals such as love conquers all and idealization of a partner.
The previous authors agree that romantic films certainly influence peoples
perception of love and romance, but whether they have a positive or negative impact in
relationships is not quite clear yet. Further research should be done to demonstrate this.
Further research should also be done to demonstrate the influence of romantic
comedies on male/female friendships. Do people believe that every friendship can develop
into a romantic relationship? Can there be pure friendship between men and women?

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Green, C. (2013). The Effects of Romantic Comedies on Women and Female
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Hefner, V. (2013) From Love at First Sight to Soul Mate: The Influence of Romantic
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Johnson, K. R. and Holmes, B. M. (2009) Contradictory Messages: A Content Analysis of
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352-373.
Lubomir, L., Fischer- Lokou, J. and Guguen, N. (2009) Induced Reminiscence of Love
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Segrin, C. and Nabi, R. L. (2002) Does Television Viewing Cultivate Urealistic

Expectations About Marriage?. Journal of Communication, 52(2): 247- 263.
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