Building Narratives on Screen New Approaches in Telecinematic Stylistics

List of Contributors

Foreword

Christian R. Hoffmann

Introduction from the Book Editors

Paula Ghintuialǎ and Kimberley Pager-McClymont

Overview and advances in the field of telecinematic stylistics

Contents of this volume

References

Chapter 1. “What I means and what I says is two different things”: The deviating stylistic structures of Dahl’s The BFG and its adaptations on the big screen

Paul Flanagan

Introduction

Telecinematic stylistics and performed language

Multimodality and characterisation

Research design

Grammatical deviations

Lexical deviations

Analytical process for film language

Data analysis

Deviation in the 1982 novel

Deviation in the film adaptations

Analysis of film language

Discussion

Conclusion

References

Chapter 2. Characterizing Diana: Visual metaphors, symbols, and schemas in The Crown

Kimberley Pager-McClymont

Introduction

Literature review

Characterisation

Symbolism and multimodal metaphors

Diana's characterisation: An analysis

Hunters and prey

A fairytale?

Mental health spiral

The People's Princess

Iced-out outsider

Mapping fictional characters onto real figures: A discussion

Conclusion

References

Chapter 3. Multimodal complications of characterisation in modernised televisual adaptations: Parameter-pushing extrapolations and object-mediated linkages in Richard Eyre’s King Lear

Yi Fan

Introduction

Theoretical considerations of multimodal characterisation

Adaptation constraints for characterisation in Eyre's King Lear

Multimodal complications in Lear's characterisation

Analysis 1. Extrapolating one-sided ambiguity into two-sided ambiguity: Headlock of constraint vs. embrace of love

Analysis 2. Transforming discourse situations: Performative heckle vs. rallying cry

Analysis 3. Upstaging language: Inappropriate physicality vs. unusual detachment

Analysis 4. The thematic arc of Lear's voice: Animal-like growling vs. detached 'howl'

Object-mediated adaptation innovation

Conclusion

References

Chapter 4. Intertextuality and characterisation in The Mirror Crack’d

Clara Neary and Simon Statham

Introduction: Crime fiction and Agatha Christie

Adaptation of The Mirror Crack'd from Side to Side (1962)

Characterisation and intertextuality

Analysis: Characterisation of Marina Gregg

Conclusion

References

Chapter 5. “It’s every guy’s worst nightmare, getting accused like that", "Can you guess what every girl’s worst nightmare is?”: A telecinematic stylistic analysis of women’s portrayal in Promising Young Woman

Paula Ghintuialǎ and Kimberley Pager-McClymont

Introduction

Literature review

Men who hate women: Feminism and film studies

Characterisation: Schema, intertextuality, and metaphor

Analyses

Martyrs and sacrifices: The Bible and PYW

Down the rabbit hole: Alice in Wonderland in PYW

Discussion and conclusion

References

Chapter 6. Humour and impoliteness in comedy discourse: A pragma-stylistic analysis of the American TV series The Office

Urszula Kizelbach

Introduction

Characteristics of TV dialogue and comedy discourse

TV dialogue and characterisation

TV dialogue and the effect of realism

TV dialogue and humour

Impoliteness and fictional characterisation in comedy series

Analysis: Humour, impoliteness, and environmental awareness in The Office

Discussion and conclusions

References

Chapter 7. 'You’re a f**ing liar': Pragmastylistic approaches to (im)politeness, storytelling, and untruthfulness in Fargo (1996)

Aoife Beville

Introduction

Intersections between storytelling, (un)truthfulness, and (im)politeness

Analysis of (im)politeness, storytelling, and untruthfulness in Fargo (1996)

'True story' (00:00:19-00:00:40)

'Personal matters' (00:05:12-00:06:23)

'Lost a lot of money' (00:07:45-00:08:13)

'Yeah, but that TruCoat' (00:09:37-00:11:24)

'It's Jerry…' (00:24:39-00:25:19)

'Only he don't use the word 'jerk'' (1:13:58-1:15:44)

Conclusions

References

Chapter 8. ‘Bloody fucking amazing!’ – Re-evaluating emotionality in US hollywood screenplays

Christian R. Hoffmann

Introduction

Scoping emotionality

Previous research

Methodology

On film genres

Lexical dispersion of boosters and swear words in the ASC

Booster frequencies across release decades, film genres and character gender

Swear words across release decades, film genres and character gender

Aggregating expressive character identities

Conclusions

References

Chapter 9. Building fantasy worlds from page to screen: A corpus-stylistic approach to The Eye of the World and The Wheel of Time

Adrián Castro

Introduction

Worldbuilding and The Wheel of Time

Methodology

Results and discussion

Thematic cluster 1: Geography and spatial deixis

Thematic cluster 2: World completeness

Thematic cluster 3: Entity-referencing

Conclusion

References

Chapter 10. Show, don’t tell! A scheme for telecinematic glossopoesis

Israel A.C. Noletto

Introduction

Literature review

Presentational patterns and narrative functions

Evocation

Signalisation

Presence

Consecutive translation

Blending

Conclusion

References

Chapter 11. The art of restraint: Showing a tragedy in Aftersun (Wells, 2022)

Paula Ghintuialǎ

Introduction

The importance of The Last Dance Sequence

Suicide and ‘masculinity’

The script(ed) dimension

The aural dimension

The visual dimension

Conclusion

References

Concluding Remarks

Paula Ghintuialǎ and Kimberley Pager-McClymont

Impact of this volume

Limitations and future directions

Index

Biography

Paula Ghintuială is a teaching fellow in the English Department at Aston University, Birmingham.

Kimberley Pager-McClymont is a curriculum leader in English Language at the University of Aberdeen’s International Study Centre.