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A Systemic Functional Multimodal Discourse Analysis of the Co-Constructed Multimodal Creativity-Power Relation in House M.D

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A Systemic Functional Multimodal Discourse Analysis of the Co-Constructed Multimodal Creativity-Power Relation in House M.D NARRATIVES / AESTHETICS / CRITICISM CREATIVITY AND POWER: A SYSTEMIC FUNCTIONAL MULTIMODAL DISCOURSE ANALYSIS OF THE CO-CONSTRUCTED MULTIMODAL CREATIVITY-POWER RELATION IN HOUSE M.D. LOCKY LAW Name Locky Law multimodal analysis and Law’s (2020a, 2020b, 2020d) Academic centre The University of Hong Kong analytical framework for creativity in multimodal texts E-mail address [email protected] (AFCMT), the dialogues and videos from two selected scenes were analysed. The analysis was conducted with KEYWORDS respect to the interpersonal meanings (i.e., tenor values Creativity; power; SFMDA; medical drama; House. and speech function), mise-en-scène, nonverbal behaviour and performance at moments of co-constructed verbal repetition/pattern-forming creativity production. This study ABSTRACT has found that power equality is construed verbally using Multimodal creativity in popular culture is an area with pattern-forming creativity and that interpersonal meanings great potentials for linguistics research, yet the number (denoted by tenor values consisting of power, contact and of analytical frameworks and demonstrations available affective involvement) are construed nonverbally through is very limited. This article adapted a systemic functional spatial movement and various combinations of facial multimodal discourse analysis approach to the investigation expression, head movement and body movement. It has of the co-constructed multimodal creativity-and-power also shown that hand/arm gestures and some mise-en- relation in the American TV medical ‘dramedy’ House scène elements (e.g., set design, lighting, space, costume, M.D. Using a combination of Halliday and Matthiessen’s or auditory soundtrack) are unlikely to be correlated to the (2014) systemic functional theory, Bednarek’s (2010) production of pattern-forming creativity in House M.D. 45 SERIES VOLUME VII, Nº 1, SUMMER 2021: 45-62 DOI https://doi.org/10.6092/issn.2421-454X/12425 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X NARRATIVES / AESTHETICS / CRITICISM > LOCKY LAW CREATIVITY AND POWER: A SYSTEMIC FUNCTIONAL MULTIMODAL DISCOURSE ANALYSIS OF THE CO-CONSTRUCTED MULTIMODAL CREATIVITY-POWER RELATION IN HOUSE M.D. 1. INTRODUCTION analysis tools, compares a corpus of the American situation comedy Friends (NBC, 1994-2004) with the American English Creativity, in applied linguistics, is the manipulation of semi- Conversation subcorpus of the Longman Grammar Corpus to otic resources to form or reform patterns and create mean- determine the sitcom’s suitability as a teaching resource for ing in the process (for a detailed description of creativity, the English as a second language learners. Bednarek (2010) see Carter 2004 and Law 2021). Multimodal creativity is a provides a comprehensive analysis of the fictional television mode of creativity that is realised “through configuring and series Gilmore Girls (The WB/The CW, 2000-2007) and offers reconfiguring relationships between words, images, sound, an insightful identity characterisation through corpus linguis- and movement in original and recycled texts” (Maybin 2015: tics and multimodal discourse analysis in parallel. Richardson 37). This mode of creativity in TV drama (and other forms of (2010b), Culpeper (2005) and Culpeper et al. (2003) discuss popular media as a matter of fact) is a research scope that has the impoliteness of Dr. Gregory House in House M.D. (Fox, often been overlooked by linguists. Some possible reasons 2004-2012) in qualitative terms. However, it is not until re- include: cent years that the study of creative language in TV drama 1.− the−traditional−preference−towards−literary−texts−(Law− makes a significant methodological advancement. Working 2015,−Vo−and−Carter−2010);− with House M.D. dialogues and videos, Law (2018) establishes 2.− the−lack−of−interest−in−exploring−non-literary−texts−and− statistical cut-off values for the semi-automatic extraction genres−in−popular−culture−(Law−2020a;−Norton−and− of linguistic creativity using corpus linguistics methods (Law Vanderheyden−2004;−Pennycook−2007;−Richardson− 2015, 2019a, 2020c) and proposes frameworks for the anal- 2010b); ysis of multimodal creativity based on a systemic functional 3.− the−belief−that−spoken−discourse−as−data−is−more−‘real’− linguistics (SFL) approach (Law 2019b, 2020b, 2020d, 2021). than−scripted−telecinematic−discourse−(Bednarek−2010,− By adopting a range of qualitative and quantitative ap- Bignell−and−Lacey−2005); proaches, these researchers have successfully produced sig- 4.− the−absence−of−agreement−on−a−universal−definition−of− nificant linguistic insights. Their attempts have demonstrat- creativity−(Carter−2004,−Sawyer−2006); ed that TV drama is not only a rich resource waiting to be 5.− the−paucity−of−(multimodal)−frameworks−for−the−anal- explored, but also a unique form of “mediated” text rich in ysis−of−linguistic−creativity−(Law−2019b,−2020d,−2021);− language and culture (Richardson 2010a: 177), or what liter- 6.− the−scarcity−of−methodological−guidelines−and−reliable− ary agent Steven Axelrod considers as “the true heir to great statistical−values−(e.g.,−cut-off−values)−for−automatic− literature” (Lavery 2012). extraction−of−linguistic−creativity−from−big−data−(Law− The present study aims to provide qualitative evidence to 2019a,−2020c);− support Law’s (2021) quantitative findings of a possible neg- 7.− and−as−a−result−of−all−these,−low−impact−from−related− ative correlation between co-constructed/pattern-forming publications,−which−leads−to−further−decrease−in−relat- creativity production and power difference among charac- ed−output.− ters of House M.D. Using a systemic functional multimodal Realising “the urgent need […] for a treatment of fictional discourse analysis (SFMDA) approach, this study analyses the cinema and television from various linguistic perspectives” multimodal creativity in dialogues and videos to reveal the (Piazza et al. 2011: 2), several linguists have carried out vari- construal of power by actors/characters. ous investigations on some well-known TV dramas. Chamber The multimodal creativity emphasised in this study oc- (2003) looks at the political discourse through close analysis curs at the moments of repetition in co-constructed common of the dialogues in one particular episode of The West Wing talk (Tannen 2007, Carter 2004). In popular TV dramas such (NBC, 1999-2006). Brock (2004) analyses humorous commu- as House M.D., the consistent use of verbal repetition by a nications in the Monty Python’s Flying Circus (BBC1, 1969- character is a character trait – also known as a motif – and is 1973; BBC1, 1974) scripts and suggests the viability of du- central to the viewers’ familiarisation and identification of al-script analysis. Bubel (2006) performs a conversation analy- characters (Bordwell and Thompson 2008). Verbal repetition/ sis of dialogues of the American television drama Sex and the co-constructed creative language belongs to the category of City (HBO, 1998-2004) to understand the characters’ relation- pattern-forming creativity, which is one of the two types of ship perceived by the audience. Quaglio (2008), using Biber’s linguistic creativity in everyday common talk hypothesised by multidimensional methodology (Biber 1988) and functional Carter (2004). Pattern-forming creativity refers to “creativity 46 SERIES VOLUME VII, Nº 1, SUMMER 2021: 45-62 DOI https://doi.org/10.6092/issn.2421-454X/12425 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X NARRATIVES / AESTHETICS / CRITICISM > LOCKY LAW CREATIVITY AND POWER: A SYSTEMIC FUNCTIONAL MULTIMODAL DISCOURSE ANALYSIS OF THE CO-CONSTRUCTED MULTIMODAL CREATIVITY-POWER RELATION IN HOUSE M.D. via conformity to language rules rather than breaking them, a highly linguistically-creative negotiated process, ranging creating convergence, symmetry and greater mutuality be- from the use of false pretences to striking deals with former tween interlocutors”, whereas pattern-reforming creativity is university classmate/House’s boss/hospital administrator/ the “creativity by displacement of fixedness, reforming and re- Dean of Medicine, Dr. Lisa Cuddy (Lisa Edelstein). Supporting shaping patterns of language” (Vo and Carter 2010: 303). The House is a team of “overqualified doctors” consisting of Dr. former type is the focus of this multimodal creativity study. Robert Chase (Jesse Spencer), Dr. Allison Cameron (Jennifer This article is structured as follows. Section two briefly Morrison), and the new hire Dr. Eric Foreman (Omar Epps) introduces the TV drama House M.D. and provides reasons (1.01). House’s team is mainly responsible for giving House to support a linguistic study of the series. Section three creative ideas to solve his medical puzzles (Gibson 2008) describes the theories involved in the methods of analysis. during differential diagnosis (also known as DDX in the se- Section four analyses two selected scenes using the proposed ries) and treating his patients with mysterious illnesses. analytical frameworks and discusses findings. Finally, section House M.D. is a TV drama that offers benefits in mul- five concludes this article by summarising the results and sug- tiple dimensions. Firstly, it is written with creativity and gesting directions for future research. language quality very much worth exploring and exploit- ing. Gale Tattersall, director of photography of House M.D. and the series’ twice-nominee of the American Society of 2. THE ‘DRAMEDY’ HOUSE M.D. Cinematographers Award’s Outstanding Achievement in Cinematography
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