Telecinematic Stylistics

Description

Over the last two decades, the study of discourse in film and television has become one of the most promising research avenues in stylistics and pragmatics due to the dazzling variety of source material and the huge pragmatic range within it. Meanwhile, with the advent of streaming and the box set, film and television themselves are becoming separated by an increasingly blurred line. This volume closes a long-standing gap in stylistics research, bringing together a book-level pragmastylistic showcase. It presents current developments from the field from two complementary perspectives, looking stylistically at the discourse in film and the discourse of and around film. This latter phrase comes to mean the approaches which try to account for the pragmatic effects induced by cinematography. This might be the camera work or the lighting, or the mise en scène or montage. The volume takes a multimodal approach, looking at word, movement and gesture, in keeping with modern stylistics. The volume shows how pragmatic themes and methods are adapted and applied to films, including speech acts, (im)politeness, implicature and context. In this way, it provides systematic insights into how meanings are displayed, enhanced, suppressed and negotiated in both film and televisual arts. Title Page Copyright Page Contents Illustrations Figures Tables Contributors Acknowledgements Television series Feature films Introduction 1 What is telecinematic discourse? 2 How to analyse telecinematic discourse 3 Previous research 4 Overview of the volume Notes References Online video sources Chapter 1: ‘I shouldn’t have let this happen’ 1 Introduction 2 A look at demonstrative deixis in English 3 A corpus-based study of demonstrative pronouns in film 4 Conclusions Notes References Chapter 2: On the usefulness of the Sydney Corpus of Television Dialogue as a reference point for corpus stylistic analyses of TV series 1 Introduction 2 Why study language in television series? 3 Existing corpora of US TV dialogue 4 The Sydney Corpus of Television Dialogue 5 Using SydTV 6 Conclusions Acknowledgements Notes References Chapter 3: ‘Drucilla, we need to talk’ 1 Introduction 2 Locating soap opera discourse within telecinematic discourse 3 Previous research on formulaic language in soap opera and other telecinematic discourse 4 Methodology 5 ‘We need to talk’: Problem-oriented talk in soap opera discourse 6 Conclusions Notes References Chapter 4: Repetition in sitcom humour 1 Introduction 2 The role of repetition in sitcom humour 3 Discussion 4 Conclusion Appendix. Transcription conventions (based on Jefferson 2004; Mondada 2014) Notes References Television series Chapter 5: Ideology in the multimodal discourse of television documentaries on Irish travellers’ and gypsies’ communities in the UK 1 Introduction 2 Context: The community of travellers and gypsies 3 Theoretical background: Ideological discourse and the documentary genre 4 Analytical framework 5 Analysis: Inside the documentaries 6 Conclusion Notes References Chapter 6: Voice-over and presenter narration in TV documentaries 1 Introduction 2 Narrator voices in telecinematic discourse 3 Characterization of the data 4 Analysing narrative voices in the documentary 5 Conclusions Notes References Transcription conventions Chapter 7: A mixed-method analysis of autism spectrum disorder representation in fictional television 1 Introduction 2 Representation of ASD in audiovisual media 3 Parenthood 4 Pragmatic competence as an index for ASD 5 ASD representation in Parenthood 6 Discussion 7 Conclusion References Chapter 8: The visual discourse of shots and cuts 1 Introduction 2 The communicative situation in cinematic discourse 3 The horror genre and the dataset 4 The cooperative principle applied to cinematography 5 The communicative maxims in the visual discourse of horror films 6 Conclusions Cinematic dataset (DVDs) References Chapter 9: Effectful advertising? 1 Introduction 2 Film trailers as telecinematic advertising 3 Relevance in trailer communication 4 The multimodal structure of the LotR trailer and its relevance for different audiences 5 Conclusion Notes References Chapter 10: Adapting scripture to (trans)script 1 Introduction 2 Research background and objectives of this chapter 3 The corpus composed for this study 4 Assessment of pseudo-archaic linguistic features in the corpus 5 Conclusion Notes References Movie transcripts (PPTSs) Chapter 11: How comics communicate on the screen 1 Introduction 2 Linguistic similarities and differences between comics and films 3 Taxonomy of language use in comics and possible equivalents in film 4 Qualitative study of speech (re-)presentation in Tintin comic-to-film adaptations 5 Conclusion 6 Acknowledgement Notes References Internet sources Comics Films Chapter 12: ‘Subtitles have to become my ears not my eyes’ 1 Introduction 2 Background of the study 3 The study’s cognitive approach 4 Breaking Bad 5 The study’s methodological approach 6 Discussing the data from Breaking Bad 7 Discussion 8 Conclusion Acknowledgements Notes References Legend of symbols Appendices Chapter 13: Metapragmatic awareness in cinematic discourse 1 Introduction 2 Metapragmatic awareness in cinematic discourse 3 Hitchcock’s Notorious (1946) 4 Conclusions Notes References Index