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The Film Dialogue in Bukowski's Barfly (Sociolinguistic Analysis)

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The Film Dialogue in Bukowski's Barfly (Sociolinguistic Analysis) Masaryk University in Brno Faculty of Arts Department of English and American Studies The Film Dialogue in Bukowski's Barfly (Sociolinguistic Analysis) JAN SVOBODA, Jr. Supervisor: doc. PhDr. Ludmila Urbanová, CSc. Brno 2004 Declaration: I declare that I have worked on this diploma thesis independently, using only the primary and secondary sources listed in the bibliography. •Jat^ py^é^^e Acknowledgements: I would like to thank doc. PhDr. Ludmila Urbanová, CSc. for her critical comments, valuable pieces of advice and kind help during the supervision of my diploma thesis. CONTENTS GLOSSARY OF TERMS 1 INTRODUCTION 4 CHAPTER ONE 10 Speech Behaviour in Social Context CHAPTER TWO 21 Screenplay Versus Soundtrack 2.1. Notes on Phonetic Features 23 2.1.1. Voice Intensity Indicative of Emotion 2.1.2. Intonation and Emphasis 2.1.3. Elusion 2.1.4. Repetition 2.2. Morphosyntactic Level 28 2.3. Lexical Choices 31 CHAPTER THREE 34 Film Discourse, Pragmatic Meaning, Style 3.1. Situation 37 3.2. Participants 42 3.3. Ends 43 3.4. Act Sequences, Key and Instruments 45 3.5. Preconclusion 61 CHAPTER FOUR 63 Conclusion APPENDIX 70 GLOSSARY OF TERMS ellipsis (elide, ellipt-ed, -ical) A term used in GRAMMATICAL analysis to refer to a SENTENCE where, for reasons of economy, emphasis or style, a part of the STRUCTURE has been omitted, which is recoverable from a scrutiny of the CONTEXT. TRADITIONAL grammars talk here of an ELEMENT being 'understood', but LINGUISTIC analyses tend to constrain the notion more, emphasising the need for the 'elided' (or 'ellipted') parts of the sentence to be unambiguously specifiable. For example, in the sentence A: Where are you going? B: To town, the 'full' FORM of B's sentence is predictable from A's sentence ('I am going to town'). But in such sentences as Thanks, Yes, etc., it is generally unclear what the full form of such sentences might be (e.g. Thanks is due to you'? 'O give you thanks'?), and in such circumstances the term 'ellipsis' would probably not be used. 'Elliptical' constructions are an essential feature of everyday conversation, but the rules governing their occurrence have received relatively little study. They are also sometimes referred to as REDUCED, CONTRACTED or 'abbreviated' constructions. [Crystal 1985. 107-108] exclamation (exclamatory) A term used in the classification of SENTENCE FUNCTIONS, and defined sometimes on GRAMMATICAL and sometimes on SEMANTIC or SOCIOLINGUISTIC grounds. Traditionally, an exclamation referred to any emotional UTTERANCE, usually lacking the grammatical structure of a full SENTENCE, and marked by strong INTONATION, e.g. Gosh!, Good grieß In some grammars, 'exclamatory sentences' have a more restricted definition, referring to constructions which begin with what or how without a following INVERSION of SUBJECT and VERB, e.g. What a fool he was!, How nice! Semantically, the function is primarily the expression of the speaker's feeling - a function which may also be expressed using other grammatical means, e.g. What on earth is he doing? (when it is obvious what is being done) The term is usually contrasted with three other major sentence functions: STATEMENT, QUESTION and COMMAND. [Crystal 1985. 113-114] command A term used in the classification of SENTENCE FUNCTIONS, and defined sometimes on GRAMMATICAL and sometimes on SEMANTIC or SOCIOLINGUISTIC grounds. SYNTACTICALLY, a command is a sentence which typically has no SUBJECT, and where the VERB is in the IMPERATIVE MOOD, e.g. Come here! Semantically it is primarily used to tell someone to do (or not do) something. From A SPEECH ACT point of view, the function of command may be expressed using other forms, e.g. that boy will stand up, or by a dominant INTONATION. The term is usually contrasted with three other major sentence functions: STATEMENT, QUESTION, 1 EXCLAMATION. In grammatical discussion, commands are usually referred to as 'imperative' in form. [Crystal 1985. 55] question A term used in the classification of SENTENCE FUNCTIONS, and defined sometimes on GRAMMATICAL and sometimes on SEMANTIC or SOCIOLINGUISTIC grounds. SYNTACTICALLY, in English, a question is a SENTENCE with INVERSION of the SUBJECT and first VERB in the verb PHRASE (yes-no questions', such as Is he coming?), commencing with a question word (WH-questions, such as Where is he?) or ending with a question TAG (e.g. He's coming, isn't he?) Some would include the use of sentences with a rising INTONATION to be a class of question. Semantically, question express a desire for more information, usually requesting a reply, from the listener (exception include 'rhetorical questions' (e.g. isn't that awful?)). The term is usually contrasted with three other major sentence functions: STATEMENT, COMMAND and EXCLAMATION. In grammatical discussion, questions are usually referred to as INTERROGATIVE in form. [Crystal 1985. 254] statement A term used in the classification of SENTENCE FUNCTIONS, and defined sometimes on GRAMMATICAL and sometimes on SEMANTIC or SOCIOLINGUISTIC grounds. SYNTACTICALLY, a statement is a sentence which contains a SUBJECT occurring before VERB, e.g. The man is coming. Semantically, it is used primarily to convey information. The term is usually contrasted with three other major sentence functions: QUESTION, COMMAND, EXCLAMATION. In grammatical discussion, statements are usually referred to as DECLARATIVE or INDICATIVE in form. [Crystal 1985. 286] continuity editing: The key concepts of continuity editing, as described by Bordwell & Thompson, can be listed like this: 1. Establishing shot (the room or other space of action is defined, including the position of characters). 2. Shot/reverse-shot (cutting back and forth, e.g., depicting dialogue). 3. Eye-line match (cut from one shot to another, motivated by direction of the character's gaze in the first shot). 4. Match on action (cut motivated by direction and continuity of action between two shots). 5. Match on sound (off-screen sound causes characters to turn in the direction of the sound, and a cut is made to a shot showing the source of the sound). 6. Analytical editing (this very method of choosing parts of what is shown within the established space of action and putting them together in the kind of puzzle described). Finally, we may list as a 7th element the possible cycle of establishing, breaking down, and re-establishing (the established scene is 2 broken down in parts, which are edited together as described, and as another person enters, the characters are redistributed/re-established in the room, whereupon a new breakdown with an editing series may begin). [See Bordwell 1986.211-220] 3 Waking From Drunkenness on a Spring Day "LIFE in the World is but a big dream; I will not spoil it by any labour or care." So saying, I was drunk all the day, Lying helpless at the porch in front of my door. When I woke up, I blinked at the garden-lawn; A lonely bird was singing amid the flowers. I asked myself, had the day been Wet or fine? The Spring wind was telling the mango-bird. Moved by its song I soon began to sigh, And as wine was there I filled my own cup. Wildly singing I waited for the moon to rise; When my song was over, all my senses had gone. -LiPo INTRODUCTION The reasons I have chosen to write a final thesis about the film dialogue in Barfly are multiple. I studied film in the Department of Film Studies in the Faculty of Arts at Masaryk University in Brno and I have been primarily engaged with the relationship between word and film image during my studies. My chief interest in the Department of English and American Studies has been linguistics. Most importantly; I have been concerned with the field of sociolinguistics. In the presented thesis I am going to make an attempt of bringing together the studies of English language and film studies. The reason I have chosen the original screenplay of Barßy written by Charles Bukowski is a result of conjuncture of themes. I belong to the generation of young people in Czech Republic which was highly influenced by the books of the author since the early 1990s. Since that time Bukowski and his books have become a great popular phenomenon. The fact that the academic community keeps overlooking this phenomenon is part of my motivation for writing about Bukowski's film screenplay. The writer is believed, among other things, to write extremely authentic and simple dialogues. When I started to think about the topic in linguistic terms, I became aware of the incongruities in language used in the screenplay in comparison with the soundtrack version of the film dialogue. 4 The film itself is a rare example of an American movie celebrating "experience of unreformed alcoholics"1 and is believed to be entropie in comparison with the classic representation of alcoholism dominating the history of American film.2 Barbet Schroeder is the director and producer of Barßy. He invited Bukowski to write the screenplay and worked on production for three years. During the time, the first version of the script underwent many changes. However, even the original screenplay of the movie published in 1987, after the film's release, does not precisely present the actual language used in the film soundtrack. My hypothesis lies exactly in the assumption that the language used in the film soundtrack is changed and stylized for the film narration purposes. The film discourse of the dialogue is supposed to be reflected in the film soundtrack version more than in the screenplay. To demonstrate the hypothesis, I have chosen two short dialogues between one dyad of characters that appear in the beginning of Barfly. The discourse analysis based on the comparison of the two versions of the dialogues will be undertaken.
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