Screwball comedy is a film subgenre of the romantic comedy genre that became popular during the Great Depression, beginning in the early 1930s and thriving until the early 1940s, that satirizes the traditional love story. It has secondary characteristics similar to film noir, distinguished by a female character who dominates the relationship with the male central character, whose masculinity is challenged. The two engage in a humorous battle of the sexes, which was a new theme for Hollywood and audiences at the time. The genre also featured romantic attachments between members of different social classes, as in It Happened One Night (1934) and My Man Godfrey (1936). What sets the screwball comedy apart from the generic romantic comedy is that "screwball comedy puts the emphasis on a funny spoofing of love, while the more traditional romantic comedy ultimately accents love". Other elements of the screwball comedy include fast-paced, overlapping repartee, farcical situations, escapist themes, physical battle of the sexes, disguise and masquerade, and plot lines involving courtship and marriage. Some comic plays are also described as screwball comedies. History Screwball comedy has proved to be a popular and enduring film genre. It Happened One Night (1934) is often credited as the first true screwball, though Bombshell starring Jean Harlow preceded it by a year. Although many film scholars agree that its classic period had effectively ended by 1942, elements of the genre have persisted or have been paid homage to in later films. Other film scholars argue that the screwball comedy lives on. During the Great Depression, there was a general demand for films with a strong social class critique and hopeful, escapist-oriented themes. The screwball format arose largely as a result of the major film studios' desire to avoid censorship by the increasingly enforced Hays Code. In order to incorporate prohibited risqué elements into their plots, filmmakers resorted to handling these elements covertly. Verbal sparring between the sexes served as a stand-in for physical, sexual tension. Though some film scholars, such as William K. Everson, argue that "screwball comedies were not so much rebelling against the Production Code as they were attacking and ridiculing the dull, lifeless respectability that the Code insisted on for family viewing". The screwball comedy has close links with the theatrical genre of farce, and some comic plays are also described as screwball comedies. Other genres with which screwball comedy is associated include slapstick, situation