Telecinematic Discourse -- Editorial page -- Title page -- LCC data -- Table of contents -- Contributors -- 1. Introduction -- Part I. Cinematic discourse -- 2. Discourse analysis of film dialogues -- 1. Introduction -- 2. Film dialogue and dubbing -- 3. Film analysis -- 3.1 Fluency -- 3.2 Discourse markers and verbal tenses -- 3.3 Allocution -- 3.4 Repetition and other discourse and rhetorical strategies -- 3.5 Glosses -- 3.6 The telephone -- 3.7 Avoided overlapping -- 4. A contemporary example -- 5. Conclusions -- 3. Using film as linguistic specimen -- 1. Introduction -- 2. Films as "artifacts" and "specimens" -- 2.1 The status of films as linguistic artifacts -- 2.2 The status of film dialogues as linguistic artifacts -- 3. The problems of "incorporating" film dialogue -- 3.1 Scope of the problem -- 3.2 Films as social artifacts -- 3.3 Films as artistic artifacts -- 3.4 Filmmaking and its impact on filmspeak -- 4. Using film as linguistic specimen: The advantages -- 4.1 Production as imprimatur -- 4.2 The heuristic value of language dramatisation -- 4.3 A workbench for quantitative hypotheses? -- 4.4 The good, the bad and the ugly specimen -- 5. Conclusions -- 4. Multimodal realisations of mind style in Enduring Love -- 1. Introduction -- 2. Mind style: Verbal realisations -- 3. Mind style: Multimodal realisations -- 4. Conclusion -- 5. Pragmatic deviance in realist horror films -- 1. Introduction -- 2. The context of the study. The notion of deviance in killers' discourse -- 3. Methodological framework and choice of data -- 4. The analysis of linguistic and visual deviance -- 4.1 The opening of horror films -- 4.2 Later stages in the narrative -- 4.3 Beyond Italian cinema -- 5. Conclusions -- 6. Emotion and empathy in Martin Scorsese's Goodfellas -- 1. Introduction -- 2. Goodfellas -- 2.1 The "funny guy" scene.

3. A multimodal analysis of the "funny guy" scene -- 3.1 Discoursal interaction -- 3.2 Paralinguistic and non-linguistic elements of the scene -- 4. Audio-visual transcript of "funny guy" scene -- 5. Conclusions -- 7. Quantifying the emotional tone of James Bond films -- 1. Introduction -- 2. Quantifying emotion -- 3. The James Bond film series -- 4. DAL analysis -- 5. Summary and future directions -- 8. Structure and function in the generic staging of film trailers -- 1. Introduction -- 2. The interdisciplinary methodological framework and data -- 3. Types of generic stages -- 3.1 Types of implicit promotional stages -- 3.2 Types of explicit promotional stages -- 4. Conclusions -- Part II. Televisual discourse -- 9. "I don't know what they're saying half the time, but I'm hooked on the series" -- 1. Introduction -- 2. The Wire: An overview -- 3. Measuring comprehensibility -- 4. Test materials -- 4.1 State of Play -- 5. Scripted repetition as aid to comprehension -- 6. The multimodal integration of the dialogue -- 7. Conclusions -- Appendix -- 10. The stability of the televisual character -- 1. Introduction -- 2. The "stable" televisual character -- 3. A corpus stylistic study of characterisation -- 3.1 Corpora used in this study -- 3.2 Key word/cluster analysis -- 4. Characterisation in Gilmore Girls: A corpus stylistic case study -- 4.1 Lorelai: An example of a "stable" televisual character? -- 4.2 Diachronic character stability re-visited -- 4.3 Intersubjective stability re-visited -- 5. Conclusions -- 11. Star Trek: Voyager's Seven of nine -- 1. Introduction -- 2. Negative politeness -- 3. Positive politeness -- 4. Repairing interpersonal rifts -- 5. Conclusions -- 12. Relationship impression formation -- 1. Introduction -- 2. Friendship -- 3. Relationship impression formation -- 4. Recognising friendship through talk -- 4.1 Alignment.

4.2 Shifting and diverging alignments in Sex and the City -- 5. Conclusions -- 13. Genre, performance and Sex and the City -- 1. Introduction -- 2. Sex and the City: A description of the series -- 3. Gender, performance, performativity -- 4. The genre of casual conversation and its use in Sex and the City -- 5. The performance of gender in Sex and the City -- 6. Sex and the City and the creation and mediation of femininity -- 7. Conclusions -- 14. Bumcivilian -- 1. Introduction -- 2. Manipulating the language system for humour - examples -- 2.1 Phonetics/phonology -- 2.2 Morphology/lexicon -- 2.3 Syntax -- 2.4 Semantics -- 2.5 Varieties -- 2.6 Text/discourse -- 3. Systemic or non-systemic use - levels and carriers -- 4. When comedy enters our language system -- 5. Conclusions -- References -- List of tables -- List of figures -- Index of films and TV series -- Index.