Discourse in a Scripted Dialogue From the Movie Scent of a Woman - Assignment Example

Dis Analysis By Due The text chosen for dis analysis is a scripted dialogue from the movie Scent of a Woman. This dialogue is dominated by Al Pacino’s character Lieutenant Colonel Frank Slade. Field Field refers to the subject matter or the topic of a discourse. It answers the questions as to what is happening, what is the activity and what the text is about (Gee, 2005). The field of this discourse can be broken into parts: it is a criticism on Charlie’s (Chris ODonnell’s character) school for their unfair treatment of Charlie; and it discusses the qualities a leader should possess. It is very important to notice the register of Slade’s discourse. Being an ex-army officer, his language clearly shows his background as he uses war-related analogies and does not hesitate from using expletives despite being in a school. So much is his language influenced by his background in the army that Trask (James Rebhorn’s Character) has to tell him that he is “in the Baird School not a barracks.” Tenor Tenor refers to the roles of participants in a discourse. It tells about the participants and their relative status and power (Gee, 2005). Charlie is being questioned for his involvement in a prank that has been pulled on the schools headmaster, Mr. Trask. Charlie and his colleague, George Willis, Jr., know about the boys who pulled this prank because they see them setting it up on the night before the prank. Mr. Trask knows of this and he offers a bribe to Charlie and George so that they give up the name of the pranksters. The bribe is a letter of recommendation that would virtually guarantee their acceptance in Harvard. Charlie rejects this bribe but George accepts it. Charlie has helped Slade earlier for a few days in return for remuneration. Their company has made them close and they have affinity for each other. Slade unexpectedly comes to Charlie’s school to support him during the proceedings. While Charlie and George are being questioned, George divulges the names of the pranksters but also adds that his vision is impaired and he cannot be sure about what he saw. Mr. Trask presses him further which makes him pass the burden on Charlie by saying that Charlie would have been sure as to the identity of the pranksters as he has a clear vision. Charlie does not give the names of the perpetrators which leads Mr. Trask to recommend to the disciplinary committee that they should expel Charlie. At this moment, Colonel Slade is unable to contain himself and interrupts the proceedings. Mode Mode refers to the channel in which a communication takes place. Channel includes the language in which a discourse takes place (Gee, 2005). The selected text is in spoken form and in English. It can be called a dialogue but it also has traits of a speech delivered to a mass audience. Discourse Analysis Slade starts off by interjecting a comment when Trask calls Charlie a “cover-up artist” and a “liar”. Slade says, “But not a snitch.” Trask responds by saying, “Excuse me?” Here, Trask is not actually asking Slade to excuse him. This is actually a rhetorical question. He is asking Slade to watch his language, be quite and maybe apologize for being impolite. However, Slade answers this rhetorical question like he would answer a normal question by rudely saying, “No, I dont think I will.” This shows that Slade is a very straightforward person who normally does not use language with subtleties. What he says is direct and clear in meaning. Trask responds by just saying, “Mr. Slade” in a condescending voice. This shows not only his protest to Slade’s rudeness but also indicates that Trask is in a dominating position and is likely to direct the whole discourse according to his own will. However, Slade does not allow him to do that and acts in an extraordinary way. This is why his speech is regarded as one of the most memorable speeches in movie history. In addition to being an ex-army officer, which automatically begets him a lot of respect, Slade is immensely respected by Charlie. It is certain that if these two are involved in a discourse, that discourse would be dominated by Slade. When Trask awards Charlie with a final opportunity to speak up, Slade says, “Mr. Sims doesnt want it.” He says this before Charlie can speak anything. Hence, while Slade is apparently addressing Trask, he is indirectly saying to Charlie that he should not speak anymore. Also, the fact that Slade continues to talk afterwards suggests that he would do the talking instead of Charlie. These elements of Slade’s discourse can be called speech acts. Speech acts analysis does not ask what form an utterance takes but ponders on what it actually does (Jorgenson, 2005). Aforementioned sentences by Slade are speech acts as they actually prevent Charlie from speaking. But these sentences have a dual function. Apart from being speech acts, these sentences also communicate a strong statement to Trask that the “opportunity” that Trask has presented to Charlie is not worth utilizing. Slade mocks an earlier statement made by Trask by saying, “He (Charlie) doesnt need to be labeled: "Still worthy of being a Baird Man." What the hell is that?” This can also be regarded as a speech act as it achieves the purpose of mocking Trask and the disciplinary committee. He then asks them a question, “What is your motto here?” But he proceeds to answer this question himself by saying, “Boys, inform on your classmates, save your hide -- anything short of that were gonna burn you at the stake?” It is interesting to notice that Slade answers his own question in the form of a rhetorical question. Also, he does not stop speaking here but continues his speech. This shows that he is not expecting Trask or the committee to answer him but to listen to him with their heads bowed in shame as he passes his judgment on them. Slade goes on to say, “…when shit hits the fan some guys run and some guys stay. Heres Charlie facing the fire; and theres George hidin in big Daddys pocket. And what are you doin? Youre gonna reward George and destroy Charlie.” At this point, his speech partly segues into the description of leadership qualities. In a single speech act, Slade not only highlights the courage shown by Charlie in harsh circumstances, but also shows Trask and the committee how wrong their decision would be if they expel Charlie. This can be called a speech act because it also serves the purpose of holding up a mirror to Trask and the committee. Slade breaks up his speech into different parts by using discourse markers like “Well, gentlemen” and “And what are you doin’?” These discourse markers show a shift in Slade’s speech as he jumps from explaining leadership qualities to the committee’s folly. Slade’s speech is such that it is very difficult for other possible participants to interrupt him or detect the signal that it is now their turn to speak. Turn-taking has a very interesting role in this discourse. When the participants in a discourse have different assumptions regarding the signals, interruption is likely to occur (Jorgenson, 2005). As Slade criticizes Trask and the committee, it is very natural for Trask to feel insulted which prompts him to interrupt Slade. However, he is the headmaster of the school and he is standing in front of all the students. This is why he cannot be as rude, impolite and direct as Slade is. He tries to maintain his stout composure and says, “Are you finished, Mr. Slade?” This is yet another rhetorical question. This is also a speech act because it also carries the purpose of reiterating Trask’s authority and his power to control the discourse. However, Slade again counters with a direct answer to Trask’s rhetorical question by saying, “No, I’m just getting warmed up.” This sentence is so aggressive that it snatches the power in discourse away from Trask. Slade denies Trask’s authority to control the discourse. Therefore, this sentence is also a speech act. At the same time, Trask’s rhetorical question also provides Slade with an automatic discourse marker. The last thing that Slade says before Trask’s interruption relates to the unfair treatment of Charlie. After, Trask’s question, Slade shifts his focus on what the school’s role should be by referring to its history through his limited knowledge about the same. This is reframing of the continued criticism of the disciplinary committee. Moving ahead, consider the following sentences: “Youre building a rat ship here. A vessel for sea goin snitches…” Frame analysis of these sentences reveals that Slade is highlighting the fact that the school is promoting cowardly attitude. They are promoting a culture in which everyone pulls each other’s leg to move ahead. According to Slade, Charlie’s soul is “intact” with the school and is “non-negotiable”. Here, Slade points to a very important context of the speech. While talking about the non-negotiability of Charlie’s soul, Slade says, “You know how I know? Someone here -- and Im not gonna say who -- offered to buy it. Only Charlie here wasnt sellin.” This refers to Trask’s offer to Charlie of giving him a letter of recommendation that would ensure his admission in Harvard. The words ‘buy’ and ‘sell’ are used very cleverly by Slade as they help in vilifying Trask’s offer even more. Further, the fact that Slade specifically says that he would not say the name of the ‘buyer’ helps him get into Trask’s head and reinforces his power in discourse. This is because now Trask has to be very circumspect as the revelation of his offer to Charlie in front of the whole school would surely create great problems for him. Fearing this, Trask makes a frail attempt to keep Slade from speaking further by saying, “Sir, you are out of order!” While saying this, he also hits his gavel on the table to provide strength to his speech. However, it just fuels Slade further. It is partly because Trask is on the wrong side of the argument and also because Trask lacks the perceived authority to talk to Slade in this manner. Perceived authority is an automatic respect between the participants in a discourse. It means that the submissive participant tacitly accepts the authority of the dominant participant to control the discourse. For instance, teachers have a perceived authority to dominate a discourse in a class. In the selected discourse, Trask does not have a perceived authority as far as Slade is concerned. Also, Slade does not any secret of it as he says to Trask, “Who the hell you think youre talkin to?” Once again, Trask provides Slade with a discourse marker. As mentioned above, Trask bangs his table on the gavel as he tells Slade that he is out of order. In order to counter this, Slade stands up and says, “Ill show you outta order!” For a moment, it seems like it might turn into a back and forth banter but Trask listens to Slade as he speaks. Slade reinforces his disgust for the whole scenario when he says, “If I were the man I was five years ago Id take a FLAME-THROWER to this place!” While saying the words “Flame-thrower”, he bangs his stick on the table in a more forceful manner than that of Trask. It can easily be construed as Slade’s loud and clear denial of Trask’s authority to have power in the discourse. He then goes on to explain that he has spent a very practical life as a soldier. Mentioning his past, albeit very briefly, is very important because it provides more strength and weight to his argument. He says, “Ive been around, you know? There was a time I could see. And I have seen boys like these, younger than these, their arms torn out, their legs ripped off. But there isnt nothin like the sight of an amputated spirit; there is no prosthetic for that.” These lines also help in analyzing the sociolinguistic factors of his speech. Slade’s use of language is quite informal due to his background in the army. It can easily be seen that /g/ sound is rarely uttered in his speech when he says the words that end in ‘ing’. He also uses double negatives like “isnt nothin” which is normally a characteristic of informal speech. Despite his speech being informal, the content is very mature and apt. He knows how to construct his argument and what references or analogies should be used. All these traits are magnified in the following, “Well, when the bow breaks, the cradle will fall. And it has fallen here; it has fallen. Makers of men; creators of leaders; be careful what kind of leaders youre producin here.” These lines show that although using informal language, Slade is very eloquent. This, of course, is achieved due to his age and experience. He also holds a position of great prestige in the society as a retired army officer. His social position is further strengthened by the fact that he arrives in a limousine which, unbeknownst to many, is rented. Overall, his speech shows that he is a learned man who spent a lot of time in barracks. This is why there is a possibility that his speech may not seem offensive to himself but it might appall many others. Another very interesting aspect of this discourse is the fact that it falls both into the categories of dialogue and a speech. It is a dialogue because it has three participants. Turn-taking is very less as the participants have different assumptions about turn-taking signals. Slade’s speech starts with an interruption and then every time Trask says something, it is considered an interruption by Slade. The final time that Trask asks Slade to “stand down”, Slade very definitively says, “I’m not finished.” Turn-taking can be found in other discourses in which something is being discussed and is less one-sided. Slade’s dialogue also qualifies as a speech because the whole school is sitting there listening to him. Therefore, it is a mass communication as well. Textuality in Slade’s speech is created by cohesion and coherence in his speech. He never strays far from the topic and there are almost no digressions. As he says that he has “been around”, he does not start about himself. The mere mention of his being “around” is enough for the audience to deduce the rest. He keeps his focus on the topic of leadership and the fact that the school is prioritizing wrong qualities. The text type is fictional as it is based on fictional events. However, the qualities that Slade talks about are equally applicable to real life. The principles of life, as explained by Slade, can help every person in leading a life of integrity in reality. But general significance aside, the text is fictional as it contains references to Trask’s offer to Charlie. Also, it has direct references to what Charlie is going through at the moment and the objective of this speech is to persuade the disciplinary committee to excuse Charlie; an objective which it achieves. References Scent of a Woman. Dir. Martin Brest. Perf. Al Pacino, Chris ODonnell, James Rebhorn, Philip Seymour Hoffman, Gabrielle Anwar. Universal Pictures, 1992. Jorgensen, Marianne. Discourse Analysis as Theory and Analysis. Sage Publications: London, 2002. Print. J. P. Gee. An Introduction to Discourse Analysis. Routledge, 2005. Print. Read More