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Thank you very much. The first component consists of ten British and US films released between and and set in the present.
The genres range from romantic comedies to dramatic films, where conversation is granted much space and language varies diatopically — characters speak different varieties of English as well as accents — thus providing the opportunity to explore a wide range of conversational routines. The second component consists of ten Italian films released approximately in the same period and sharing the same basic features as to genre, time setting and linguistic variation.
More specifically, characters speak with different Italian accents and there are also cases of characters speaking Italian with a foreign accent, like in Oggi Sposi, with Indian characters, and in Lezioni di cioccolato, with Egyptian characters. With respect to the pilot corpus of Italian films used in our previous works, it is worth noticing that it has been substantially expanded in order to build up a comparable set of data.
Finally, the English component also comprises the Italian dubbed version of the films chosen for this study. Functions and categories As we have dealt with the topic quite extensively in two previous articles Bonsignori et al. With a view to better account for both the position and the function of these routine expressions, we have kept macro-functions and linguistic categories apart.
The former represent the position of conversational routines in an exchange: a openings and closings, which quite evidently tend to correlate with initial and final turns; b wishes, which may appear anywhere; and c introductions, which more typically occur at the beginning of an exchange. Each of these functions can be fulfilled by different linguistic means. For instance, it is possible to find an opening sequence with a greeting like hello, but it is also possible to find a vocative — i.
Those that are now labelled with p — i. The purpose in choosing expressions of this type is essentially to interact, without any other more specific aims. On the contrary, the expressions now grouped under x have very specific functions and aim to affect a change in the state of affairs.
In fact, they include the whole class of directives, ranging from the more polite requests and questions to orders and threats, as well as statements and offences.
Let us consider a few examples from the films in the English and dub component:2 1. Man, that was a long day! And may I say, so are you. In 1 Smith comes home, so his statement is quite obvious and evident from his appearance, hence it is classified as p — i.
The second exchange 2 takes place on the phone, as signalled by the label T ; the first utterance counts as an introduction, because Samantha lets the interlocutor know who she is. Carrie, without further delay, immediately plunges into the matter and announces a decision that somehow will affect Samantha as well. So it is a statement that announces a real action having taken place.
Example 3 is an encounter between Arthur and Iris, in which the first turn by Arthur is a very typical form of opening the conversation — i. She replies in the same line, thanking for the compliment and reciprocating it. Overall, these utterances serve the purpose of making the interaction friendly and sociable, and, however deeply felt the compliments might be, they are neither particularly informative nor very dynamic for the development of the plot.
The quite significant presence of p and x in the corpus — see section 4 for the analysis — can be linked to three main causes. First of all, film writers might decide to portray an interaction in the middle of its happening, thus economising on the first greeting expressions and passing straightaway to something more relevant to the plot.
In example 5 below Miranda welcomes her friend Samantha.
The two are so close that a kiss, an instance of mimicry m , is enough to start the interaction and to elude a proper verbal formula. Miranda then proceeds to make fun of the little dog Samantha is carrying in her purse. Example 6 features Miranda Hobbs as she arrives at a resort in Mexico.
Instead of addressing a waiter with a conventional greeting formula, she avoids phatic talk altogether, as she nearly always does, and asks him a real question, whether they have a wifi web connection, essential for her job.
Analysis In the present section, the conversational routines that are object of this study will be analysed mainly quantitatively comparing the frequency of occurrences. Special attention is paid to greetings and leave-takings proper, in original filmic speech — i. English versus Italian — and then in an attempt to find a trend as regards the use of the various translating options in Italian dubbing compared to the expressions actually employed in Italian films.
Macro-functions in original film language Comparing English and Italian original film language, the analysis of the four macro-categories of the functions performed by conversational routines has lead to interesting results. Figures 1 and 2 show that if on the one hand the frequency per type is similar as regards wishes and introductions, on the other the difference is quite striking as to openings and closings.
More specifically, in the Italian component the relation between the number of occurrences of the two types is quite balanced, with opening versus closing sequences, while in the English component openings are definitely more frequent than closings — opening versus closing sequences.
Figure 1. English films Figure 2. Linguistic categories Because of the striking difference in the number of occurrences of the macro-functions in English filmic speech, it is worth investigating what are the linguistic categories within the two macro-functions of openings and closings, still focusing on the English films.