[darklinensuit]

I did a couple of papers on these subjects last year. Both genres are considered female-driven (lots written on this already - if you can find a fresh thesis in there at this point, submit it!). Screwball comedies typically focus on class differences (the woman is usually from the upper-class) as a source of comedy - especially laughing at the rich. As you noted, Godfrey is the famous example. Carole Lombard did it best. We see it again in Overboard.
I think of romantic comedies as finding laughs in the tension between the two leads, who (the audience knows from the start) will end up together. Again, When Harry Met Sally is a great example. One of my papers was on Crossing Delancey and Keeping the Faith, and I chose them (even when my prof wanted me to add a particular drama, I said no) because of the familiar romantic comedy formula (that makes it easier to analyze other parts of the films).

- Jake