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Chapter 10. The stability of the televisual character

A corpus stylistic case study
  • Monika Bednarek
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Telecinematic Discourse
This chapter is in the book Telecinematic Discourse

Abstract

This chapter analyses characterisation through television dialogue, using a corpus stylistic (Wynne 2006) approach, in particular using key word and cluster analysis (Scott and Tribble 2006). The focus is on exploring from a linguistic perspective the assumption made in Media/Television Studies that televisual characters are relatively stable, i.e. that they do not change drastically (Huisman 2005: 178; Pearson 2007: 56). In a case study of the “dramedy” Gilmore Girls (Warner Brothers 2000–2007), I analise the in/stability of the televisual character with respect to two main aspects: (1) How much does a character’s language vary diachronically (across seasons)? (2) How much does a character’s language vary according to who s/he is talking to? The corpus stylistic analysis thus explores the degree of diachronic and intersubjective stability in televisual characters. The findings are discussed in terms of characterisation in the analised series, the nature of televisual data and narrative, the mainstream nature of TV series, and audience engagement with TV characters.

Abstract

This chapter analyses characterisation through television dialogue, using a corpus stylistic (Wynne 2006) approach, in particular using key word and cluster analysis (Scott and Tribble 2006). The focus is on exploring from a linguistic perspective the assumption made in Media/Television Studies that televisual characters are relatively stable, i.e. that they do not change drastically (Huisman 2005: 178; Pearson 2007: 56). In a case study of the “dramedy” Gilmore Girls (Warner Brothers 2000–2007), I analise the in/stability of the televisual character with respect to two main aspects: (1) How much does a character’s language vary diachronically (across seasons)? (2) How much does a character’s language vary according to who s/he is talking to? The corpus stylistic analysis thus explores the degree of diachronic and intersubjective stability in televisual characters. The findings are discussed in terms of characterisation in the analised series, the nature of televisual data and narrative, the mainstream nature of TV series, and audience engagement with TV characters.

Chapters in this book

  1. Prelim pages i
  2. Table of contents v
  3. Contributors ix
  4. Chapter 1. Introduction 1
  5. Part I. Cinematic discourse
  6. Chapter 2. Discourse analysis of film dialogues 21
  7. Chapter 3. Using film as linguistic specimen 47
  8. Chapter 4. Multimodal realisations of mind style in Enduring Love 69
  9. Chapter 5. Pragmatic deviance in realist horror films 85
  10. Chapter 6. Emotion and empathy in Martin Scorsese’s Goodfellas 105
  11. Chapter 7. Quantifying the emotional tone of James Bond films 125
  12. Chapter 8. Structure and function in the generic staging of film trailers 141
  13. Part II. Televisual discourse
  14. Chapter 9. “I don’t know what they’re saying half the time, but I’m hooked on the series” 161
  15. Chapter 10. The stability of the televisual character 185
  16. Chapter 11. Star Trek: Voyager ’s Seven of Nine 205
  17. Chapter 12. Relationship impression formation 225
  18. Chapter 13. Genre, performance and Sex and the City 249
  19. Chapter 14. Bumcivilian 263
  20. References 281
  21. List of tables 303
  22. List of figures 305
  23. Index of films and TV series 307
  24. Index 311
https://doi.org/10.1075/pbns.211.13bed

Chapters in this book

  1. Prelim pages i
  2. Table of contents v
  3. Contributors ix
  4. Chapter 1. Introduction 1
  5. Part I. Cinematic discourse
  6. Chapter 2. Discourse analysis of film dialogues 21
  7. Chapter 3. Using film as linguistic specimen 47
  8. Chapter 4. Multimodal realisations of mind style in Enduring Love 69
  9. Chapter 5. Pragmatic deviance in realist horror films 85
  10. Chapter 6. Emotion and empathy in Martin Scorsese’s Goodfellas 105
  11. Chapter 7. Quantifying the emotional tone of James Bond films 125
  12. Chapter 8. Structure and function in the generic staging of film trailers 141
  13. Part II. Televisual discourse
  14. Chapter 9. “I don’t know what they’re saying half the time, but I’m hooked on the series” 161
  15. Chapter 10. The stability of the televisual character 185
  16. Chapter 11. Star Trek: Voyager ’s Seven of Nine 205
  17. Chapter 12. Relationship impression formation 225
  18. Chapter 13. Genre, performance and Sex and the City 249
  19. Chapter 14. Bumcivilian 263
  20. References 281
  21. List of tables 303
  22. List of figures 305
  23. Index of films and TV series 307
  24. Index 311
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