Suchergebnisse

Introduction -- Previous research -- What is tv dialogue like? -- What tv screenwriters know about dialogue -- What audiences know about dialogue -- Dialogue as social interaction -- Dialogue, character and social cognition -- Dialogue and dramatic meaning : life on Mars -- House and snark -- Conclusion

When we watch and listen to actors speaking lines that have been written by someone else the illusion of 'people talking' is strong. 'Television Dramatic Dialogue' examines, from an applied sociolinguistic perspective, and with reference to television, the particular kind of artificial talk that we know as dialogue.

Applying multimodal textual analysis to the languages and images of on-line communication forms, Kay Richardson shows, from an applied linguistic perspective, how the Internet is being used for global, interactive communication about public health risks. Detailed case studies of the possible risks posed by SARS, by mobile phones and by the vaccination of babies against childhood diseases are situated within the context of research on computer-mediated communication, as well as within the broader social context of globalization and discourses of risk and trust

AbstractBack in 2009, the Labour British Prime Minister Gordon Brown was attacked for "bad spelling" in a condolence letter written personally by him to the mother of a soldier who died in combat, and publicised by The Sun newspaper. "Spelling" here acts as a leveller of hierarchical differences in the national political culture, with ruler and subject both publicly disciplined by the same standard language ideology. Previous research on orthography as social practice has tended to focus on deliberate manipulation of fixed spellings; this article extends the approach to unconventional spellings that have come about 'by mistake', and also widens it, to consider aspects of orthography other than spelling, focusing on the look of the Prime Minister's handwriting. At issue, semiotically, are meanings such as 'the personal touch' and 'respect'.

AbstractBecause drama is so important to the television schedules, and because television remains a ubiquitous and pervasive medium, TV drama is a constant cultural presence. Some of its stories are about politics, featuring the work of government, the contestation of elections, party rivalry and negotiation, and so on, with a cast of characters including leaders, advisors, journalists, celebrities and citizens: they echo, refract, replay, model and feed into narratives about real‐world politics in a variety of ways. Dramatic stories of this kind are important for the sake of their potential contribution to what citizens believe ‐ and feel ‐ about politics itself. Dramatised political stories and characters appear in a wide range of genres, from factually based docudramas to situation comedy and soap opera, and have become the focus of international academic attention for a number of scholars in politics departments as well as those working from within media and cultural studies. This article looks at a range of approaches to studying political drama on television, raising questions about generic variety, the ideas and the kinds of analysis that have been applied and the varying assessments that have been put forward.

This article examines the figurative appropriations of Liberal Democrat leader Nick Clegg, drawing on a selective audit from newspapers, television, radio and blogs during the 2010 general election period. The flurry of excitement produced by Clegg's sudden visibility during the election campaign offers a unique opportunity to observe the hasty moulding of a new political persona. Across the mediascape, political commentators and humorists employed an expressive range of critique and humour to reflect on Clegg's new-found appeal. We present analysis of the various mediated attempts to ascribe to Clegg certain characteristics and values through the use of labelling, metaphor and other popular culture allusions. It is especially in the unpicking of the prevalent sexualised metaphor that our research prompts wider queries about the current mediation of British political culture.

International audience ; Recently, the study of politics has expanded its scope by recognizing the constitutive power of `political culture' at the same time as cultural studies has become more interested in formal political processes and their relationship to popular culture. This article is a case study of political culture in the United Kingdom, focusing on one example of fictional expression, a television drama series broadcast in 2006: . The premise of the article is that the imaginative work of political fiction provides an opportunity to explore the cultural mediation of uncertainties and tensions in contemporary politics and political values. The framing of the series involves a generic mixture of realism and fantasy unusual in the British context and the key themes, which include political trust and the limits of political action, are discussed in relation both to their fictional articulation and their wider reference.

"Recently, the study of politics has expanded its scope by recognizing the constitutive power of `political culture' at the same time as cultural studies has become more interested in formal political processes and their relationship to popular culture. This article is a case study of political culture in the United Kingdom, focusing on one example of fictional expression, a television drama series broadcast in 2006: The Amazing Mrs Pritchard . The premise of the article is that the imaginative work of political fiction provides an opportunity to explore the cultural mediation of uncertainties and tensions in contemporary politics and political values. The framing of the series involves a generic mixture of realism and fantasy unusual in the British context and the key themes, which include political trust and the limits of political action, are discussed in relation both to their fictional articulation and their wider reference." [author's abstract]

Worlds in Common? examines the newly emerging forms of language used in satellite television programmes, exploring a wide range of genres including twenty-four hour news broadcasting, culture channels, talk shows, local TV and European news. Focusing on the experiences of British and German viewers, the authors discuss these new forms of communication brought about by the technological and economic upheavals in Europe in the late 1990s. This interaction between media theories and media discourses, makes the book highly relevant for researchers in media and cultural studies as well as linguisti

The language of press and television news reportage is familiar territory for critical discourse analysis and other approaches to politics in the mass media (e.g., Kelly-Holmes and O'Regan, 2004, Chouliaraki 2005), as is that of newspaper editorials (e.g. Le 2003). But, in sympathy with, e.g., van Leeuwen and Jaworski (2003), we believe that a full understanding of mediated political culture needs to extend beyond this territory to consider a wider range of linguistic, visual and multimodal media genres. This article reviews the character of political sketchwriting in Britain as a basis for an assessment of its contribution to the national political mediascape. To do this, we draw on recent work in discourse analysis (Engebretson 2007) and sociolinguistics (Jaffe 2009) on the concept of 'stance'. First, we illustrate the history of sketchwriting as a newspaper genre, tracing it back to the earliest days of political reportage in Britain. We then explore, with reference to a corpus of materials assembled during the British General Election campaign of 2010, how the stance-work of this genre is prototypically managed. Following this, we demonstrate the extension of such work to a wider range of political column discourse, under the general heading of 'colour writing'.