LIST OF FIGURESi Fairclough’s Framework of Critical Discourse Analysis 2001 7 1 List of Mia's times of rising intonation in the first video 16 2 List of Mia's times of rising intonation
Introduction
Rationale for the study
"La La Land" serves as a compelling subject for Critical Discourse Analysis (CDA) because of its cultural importance and the intricate discourse woven into its narrative The film is rich in linguistic elements and speech patterns that illuminate various themes Through its dialogues and speech cues, "La La Land" effectively conveys and reinforces specific ideologies, societal norms, and power dynamics.
"La La Land" was chosen for CDA due to its complex depiction of romance, ambition, and the quest for dreams in modern Hollywood The film offers a deep analysis of the discourse that reveals significant insights into gender roles and societal expectations associated with each character.
The film "La La Land" offers a rich narrative structure and character interactions that reveal various discursive strategies in its dialogues This analysis will focus on the micro-level discourse within two specific scenes, examining how gender dynamics, social norms, and hegemonic ideologies are reinforced throughout the film.
"La La Land," celebrated for its critical acclaim and commercial success, serves as a significant cultural reflection of contemporary societal trends, values, and ideologies, highlighting its broader implications in modern discourse.
Through a Critical Discourse Analysis (CDA) of "La La Land," we delve into the intricate portrayals of romance and passion The film showcases Sebastian and Mia, two aspiring artists in Los Angeles, a city symbolizing dreams and ambition Their journey provides profound insights into the narratives of ambition, the quest for fulfillment, and the relentless pursuit of happiness.
Analyzing "La La Land" from various perspectives reveals the interplay of text, context, and the author's ideology within the film This research enhances our understanding of Critical Discourse Analysis (CDA) and its role in shaping dialogues between genders, while also reflecting and influencing societal norms, values, and power dynamics.
This research study aims to systematically analyze the unique linguistic features that enhance communication between men and women in "La La Land." By examining elements like turn-taking, interruptions, and back-channeling, the researchers uncover the subtle conversational differences between the male and female protagonists.
This study provides insights into the interplay of gender, language, and cinematic portrayal in films, specifically through an analysis of speech patterns in "La La Land." By examining how filmmakers and writers constructed the communication between Mia and Sebastian, we can better understand the linguistic behaviors of men and women This understanding is crucial for defining how these elements shape audience perceptions and can inform future research in the field.
Research Questions
This study aims to address 3 key questions:
Research question 1 How do men and women communicate in the movie "La La Land"?
Research question 2 What are the distinctions between the speech patterns of men and women in "La La Land"?
Research question 3 Why do these differences in the speech patterns of men and women occur?
Research Methodology
This study utilized a mixed-methods approach, blending qualitative and quantitative techniques to explore the speech characteristics of male and female characters in "La La Land." By integrating these methods, the research offered a thorough analysis of speech patterns, enhancing the understanding of communication dynamics between genders in the film.
Literature Review
CDA Conceptual Framework
This study utilizes Norman Fairclough's Critical Discourse Analysis (CDA) framework to explore the interplay between language, power dynamics, and gender ideologies as depicted in the speech patterns of the film "La La Land." CDA is a multidisciplinary method that investigates how discourse influences and is influenced by social structures, power relations, and ideological representations.
Fairclough's Critical Discourse Analysis (CDA) model encompasses three interconnected dimensions: text, discursive practice, and social practice The textual dimension focuses on linguistic features like vocabulary and grammar, while the discursive practice dimension investigates how texts are produced, distributed, consumed, and interpreted by various social actors Lastly, the social practice perspective situates discourse within its broader socio-cultural context, analyzing its relationship with and impact on existing power structures and ideologies.
Figure i Fairclough’s Framework of Critical Discourse Analysis (2001)
Critical Discourse Analysis (CDA) offers analytical tools to investigate the ideologies, assumptions, and power dynamics inherent in discourse By analyzing the interplay between language, context, and social structures, CDA serves as a critical framework to examine and confront dominant narratives, power imbalances, and social inequalities (Fairclough, 2001).
Fairclough's Critical Discourse Analysis (CDA) framework, particularly its focus on social practices, provides valuable insights into the construction and reinforcement of gender ideologies and power dynamics in films like "La La Land." This study utilizes CDA's analytical tools to investigate how speech patterns—such as turn-taking, interruptions, and backchanneling—play a significant role in shaping gender representations within the film.
Turn-taking
Turn-taking refers to the basic conversational rule in which speakers take turns speaking, with one speaker talking at a time before the next speaker initiates (Sacks et al.,
Lakoff (1975) argues that women's speech promotes turn-taking through the use of tag questions, rising intonation, and hedging, encouraging input and agreement from others Conversely, Tannen (1995) contends that men's speech often emphasizes dominance, prioritizing negotiation, status, and power, characterized by assertive language, direct speech acts, and longer conversational turns.
In addition, Turn-taking, according to Strenstrom (1994), can be classified into three types below:
In conversations, participants need strategies for using the turn to chance to speak This can involve two key steps:
Starting Up: Refers to when speakers begin their turn without proper planning.
There are two primary types of conversation starters: hesitant starts and clean starts Hesitant starts often utilize filled pauses, such as "uh" or "um," to signal uncertainty In contrast, clean starts may incorporate phrases like "well," "I mean," or "you know," allowing speakers to transition into their turn even when they are unprepared.
Taking Over: One speaker directly responds and replaces the first speaker This
'taking over' strategy is signaled by responses like yes, no, but, etc., according to Stenstrom (1994).
According to Stenstrom's (1994) research, speakers often face challenges in managing their speech and formulating their thoughts To address these difficulties, they can utilize strategies such as filled pauses (e.g., "uh" or "um"), silent pauses, lexical repetition, and new starts Filled pauses serve as verbal placeholders, while silent pauses create brief moments of silence during conversation Lexical repetition involves reiterating specific words, and new starts require the immediate repetition of phrases to maintain clarity and coherence in dialogue, thereby preventing breakdowns and interruptions.
The previous speakers create opportunities for a new speaker to take their turn in the conversation According to Strenstrom (1994), the speaker can shift the listener's role to actively engage with their responses This interaction can be categorized into three distinct types.
Prompting involves the speaker responding quickly to others in conversation This interaction often includes elements such as greetings, inquiries, apologies, and invitations, which help facilitate smooth communication.
Appealing: This encourages others to join the conversation by signaling This involves using certain words or phrases like 'question tag,' 'all right,' 'you know,' and so on,
In conversations, giving up can be observed when one speaker has nothing to contribute, particularly when another speaker raises their voice This phenomenon is marked by a noticeable silence at the completion of a turn, where speakers may yield their turn A common expression of this is the extended pause accompanied by phrases like "I will – e:m," indicating a reluctance to continue the dialogue.
Interruption
Interruption is defined as cases in which a speaker penetrates the internal structure and syntactic boundaries of the current speaker's pronunciation (West & Zimmerman,
1977) Research indicates that men are more likely to interrupt women while speaking, accounting for 96% of interruptions compared to 4% of women (West & Zimmerman,
Gender disparities in interruption patterns can highlight power imbalances and the reinforcement or challenge of gender norms Li, H.Z et al (2005) categorize interruptions into intrusive and cooperative types, a framework this research will utilize to examine the interruption dynamics in the film "La La Land."
Competitive interruptions are behaviors that disrupt conversations and challenge the speaker's authority According to Goldberg (1990), these interruptions can be classified into four distinct subtypes.
Disagreement Interruption: This occurs when the listener interrupts to express a differing opinion from the current speaker.
Floor-taking interruption occurs when an interrupter seeks to enhance or explore the existing topic rather than shift the conversation elsewhere This type of interruption involves taking over the speaking turn to provide additional insights or perspectives related to the ongoing discussion.
Topic-change Interruption (Murata, 1994): This interruption involves shifting the conversation to a different subject.
Tangentialization Interruption (Kennedy & Camden, 1983): The interrupter believes the presented information is already known to them, so they interrupt to prevent themselves from hearing redundant information
Cooperative interruptions, highlighted by linguists such as James and Clarke (1994) and Murata (1994), enhance communication by allowing listeners to actively participate in shaping the dialogue and supporting the speaker This type of interruption reflects the listener's engagement and interest in the conversation According to Kennedy and Camden (1983) and Li (2001), these interruptions can be categorized into three distinct subgroups.
Assistance Interruption: The interrupter perceives that the speaker needs help and provides assistance, such as offering a word or phrase to aid the speaker (Moerman, 1988).
Agreement Interruption: Agreement interruptions are used to express the interrupter's interest and involvement with the speaker (Kennedy & Camden, 1983).
Listeners may interrupt to request clarification on points made by the current speaker, aiming for a clearer understanding of the conveyed information (Kennedy & Camden, 1983).
Back-channel
Back-channeling involves brief verbal or nonverbal cues, such as sounds, words, or gestures like nodding, that demonstrate a listener's engagement with the speaker (Yngve, 1998) Research by Feke (2003) indicates that women tend to use back-channeling more frequently than men, highlighting differing attentiveness priorities in communication styles.
According to Pipek (2007), reactions from the receiver can be categorized into two types: vocal and silent Vocal responses include verbal expressions such as "well yes" and sounds like "mhm" or laughter, while silent reactions are conveyed through non-verbal cues like head nods, smiles, facial expressions, and gestures.
In "Pragmatics," Yule (1998) explores back-channels, which are vocal cues like "uh-huh" or "hmm" that indicate a listener's attention during a conversation He highlights the importance of these cues, as speakers expect acknowledgment from their listeners to demonstrate active engagement, even in lengthy discussions Acknowledgment can manifest through various means, including head nods, smiles, facial expressions, gestures, and particularly back-channel signals, which serve as the most prevalent vocal indicators of involvement.
Carter (1997) defines back-channels as short verbal or non-verbal cues from listeners that indicate their engagement in the conversation These responses serve to acknowledge the speaker without interrupting or taking over the dialogue.
Pipek (2007) examined back channels in English conversation, highlighting their role in supporting the current speaker without taking turns, thus facilitating smooth communication These back channels, which do not introduce new information, often overlap with the speaker's closing remarks and can indicate the listener's reluctance to take the floor Additionally, Pipek (2005) proposed a classification system for back channels based on their roles and complexity, dividing them into three subclasses: simple (e.g., "mhm"), complex (e.g., "yes, I know"), and double back channels (e.g., "hmm hmm") He also identified four primary discourse functions of back channels: 'continuer,' 'captured interest token,' 'consonance token,' and 'information confirmation token.' This research will utilize Pipek's classification system to analyze back channels according to their discourse functions.
Backchannels play a crucial role in maintaining conversational flow by signaling to the speaker that the listener wants them to continue While they do not express a specific attitude towards the content, these cues encourage ongoing dialogue Furthermore, backchannels serve as floor-yielding devices, indicating the conclusion of the speaker's turn and demonstrating the listener's attentiveness to the conversation.
2.4.2 Backchannel as a 'captured interest token'
Captured interest tokens indicate that the listener finds the speaker's information valuable and important These tokens reflect the listener's engagement and attentiveness during the conversation, highlighting the significance they place on the discussed content (Pipek, 2007, p 49).
Consonance tokens indicate agreement or alignment with the speaker's viewpoint, enhancing the conversational bond between participants These tokens often manifest through the repetition of key phrases from earlier statements, as demonstrated by Participant B’s echo of Participant A's words (Pipek, 2007, p 49).
2.4.4 Backchannel as an 'information confirmation token'
Information confirmation tokens serve to acknowledge conveyed information while expressing agreement or disagreement These tokens play a crucial role in signaling the listener's acceptance or rejection of the information, all while maintaining support for the current speaker However, this type of backchannel can easily be misinterpreted as a turn in conversation, leading to differing opinions among researchers on its function.
This study employs Critical Discourse Analysis (CDA) to explore the use of language in "La La Land," focusing on how it shapes and reinforces gendered speech patterns, power imbalances, and representations of masculinity and femininity By examining aspects such as turn-taking, interruptions, and backchanneling, the research highlights how discourse either upholds or contests existing gender ideologies and power dynamics within the film.
Related studies
Current literature lacks research on the characteristics of male and female speech in "La La Land," with no studies examining the differences in speech patterns between genders in the film This gap presents a unique opportunity to analyze and compare gendered speech patterns in "La La Land."
Methodology
Research Questions
Research question 1 How do men and women communicate in the movie "La La Land"?
Research question 2 What are the distinctions between the speech patterns of men and women in "La La Land"?
Research question 3 Why do these differences in the speech patterns of men and women occur?
Methodology
This research employed a combination of qualitative and quantitative methods to thoroughly investigate speech patterns and the nuanced differences in communication styles between men and women The qualitative aspect involved analyzing video data from "La ".
La Land." The sample collection involves selecting scenes from "La La Land" that feature interactions between the leading male and female characters, Mia and Sebastian.
The selected scenes effectively illustrate diverse contexts of communication among characters, highlighting the nuances of their interactions By analyzing visual and auditory elements, the authors detail how characters convey meaning through facial expressions, non-verbal gestures, conversational turn-taking, and tone of voice.
The authors transcribed dialogues from selected scenes to enable quantitative analysis, identifying and counting speech turns and targeted features produced by the characters By combining this data with previous visual and auditory analyses, the researchers gathered insights into the frequency, distribution, and structure of the characters' communication patterns They then examined and highlighted the differences in the speech patterns of the two main characters.
The study utilizes Fairclough's Critical Discourse Analysis (CDA) framework to analyze and interpret the data related to male and female speech patterns This methodology allows the authors to explore the power dynamics, social structures, and cultural influences that shape how characters communicate.
The authors' analytical claims are supported by excerpts drawn from the data and draw on the existing literature to further back up the findings.
Instruments
This research uses 4 videos that feature interactions between the two main characters, Mia and Sebastian, in " La La Land " as significant documents to be analyzed and interpreted.
Findings and Discussion
Turn-taking element in 4 scenes
In the context of Fairclough's Critical Discourse Analysis, the analyzed videos reveal distinct patterns in men's and women's speech Notably, women generally anticipate turn-taking during conversations, whereas men often seek the opportunity to dominate the discussion.
4.1.1 Turn-taking element in scene 1
In the opening scene, Sebastian's aggressive demeanor and forceful speech reveal his attempt to assert dominance during his conversation with Mia He emphasizes the importance of a crucial audition by pointing at her and slapping the car hood When Mia declines, his reaction escalates as he shouts "WHAT" and "NO," demanding an explanation while repeatedly questioning her with "WHY." The conversation culminates in Sebastian insulting Mia by calling her a "baby" and dismissing her feelings, ultimately ignoring her explanation and reiterating the audition time of "5:30."
In their conversation, Mia patiently waits for Sebastian to finish his turn before she speaks, demonstrating a clear pattern of raising her voice to indicate the completion of her turn Throughout the interaction, Mia raises her voice four times to signal to Sebastian that she is concluding her part of the dialogue.
Figure 1 List of Mia's times of rising intonation in the first video
I often find myself interrupted by others seeking a sandwich or laughing when I'm upset In the waiting room, I notice people who seem more attractive and skilled than I am, leading me to question my own worth and abilities.
2 no, no maybe i’m not (raised intonation)
After taking a six-year break from my education, I've realized it's time to go back to school and explore new opportunities I've come to understand that my previous path no longer fulfills me, and I'm eager to find a direction that aligns with my current aspirations.
4 How did you find me here? (raised intonation)
Sebastian's aggressive behavior in the first video stems from his frustration with Mia, who consistently avoids opportunities Deep down, he desires for Mia to seize these chances, prompting him to use assertive language to encourage her to participate in the audition.
In this video, Mia has 19 turns; her total speech time is around 1 minute 2 seconds, while that of Sebastian is 21 turns and around 1 minute 9 seconds
4.1.2 Turn-taking element in scene 2
In the second scene, Mia initially appears to dominate the conversation with Sebastian, questioning his commitment to his dreams by asking, "You're gonna be on tour for what? Months now? Years?" Her inquiry reflects her concern about his passion for music Sebastian struggles to articulate his feelings, mumbling, "Yeah, well " and expressing uncertainty about why it matters As the dialogue unfolds, he attempts to regain control by becoming aggressive, raising his voice to confront Mia's concerns, stating, "If you had these problems, I wish you would've said them earlier before I signed on the goddamn dotted lines." He insists it's time to grow up and highlights his newfound stability, asserting, "THIS IS THE."
cus it makes you feel better about yourself," highlighting the emotional turmoil and complexities of their relationship.
In the initial stages of their conversation, Mia consistently waits for Sebastian to respond to her inquiries before she proceeds To indicate the conclusion of her turn, she raises her voice, doing so four times to ensure Sebastian understands she is finished speaking.
Figure 2 List of Mia's times of rising intonation in the second video
1 “You’re gonna be on tour for what? Months now? Years?”, (raised intonation)
2 “Do you like the music you’re playing?”(raised intonation)
3 “To be in this band?”(raised intonation)
4 “Why aren’t you starting your club?”(raised intonation)
The conversation begins with Mia in control, setting the agenda and posing questions, but as it progresses, Sebastian gradually takes charge by expressing his grievances and frustrations, ultimately leading to him concluding the dialogue.
In this video, Mia and Sebastian both have 15 turns Mia's total speech time in this video is around 1 minute 10 seconds, while Sebastian's is around 1 minute 15 seconds
4.1.3 Turn-taking element in scene 3
In the third scene, Mia has limited dialogue, allowing Sebastian to dominate the conversation He employs assertive communication to persuade Mia of jazz's beauty Conversely, Mia frequently raises her voice at the end of her statements, prompting Sebastian to elaborate further.
Figure 3 List of Mia's times of rising intonation in the third video
1 What about Kenny G (raised intonation)
2 You know, jazz music that I know (raised intonation)
3 And everyone would kinda talk over it (raised intonation)
In the video, Mia has a limited understanding of Jazz, perceiving it merely as background elevator music To broaden her perspective, Sebastian takes the initiative to help Mia appreciate the true essence of Jazz.
In this video, Mia speaks in 4 turns while Sebastian says in 5 turns Mia's total speech time is around 20 seconds, while Sebastian's is 40 seconds.
4.1.4 Turn-taking element in scene 4
In the fourth scene, Mia actively listens as she seeks reassurance about her audition and offers Sebastian suggestions for his club Meanwhile, Sebastian demonstrates assertiveness by comforting Mia, affirming her performance with encouraging words about her audition's conclusion.
“Genius” while dismissing all of her concern about it being too nostalgic by saying:
'em." During their conversation, Mia raises her intonation to convey her concerns and ideas to him, highlighting the tension in their communication.
Figure 4 List of Mia's times of rising intonation in the fourth video
1 Are people gonna like it? (raised intonation)
2 I made you something (raised intonation)
3 You could maybe do it somewhere else (raised intonation)
In this video, Mia and Sebastian discuss their career aspirations, with Mia showing strong support for Sebastian's dreams by suggesting names for his club In contrast, Sebastian appears indifferent to Mia's ambitions, responding with brief and immature replies.
In this video, Mia has 14 turns and her total time of speech is around 32 seconds while that of Sebastian is 17 turns and around 37 seconds.
Interruption element in 4 scenes
Applying Fairclough's Critical Discourse Analysis framework, we identified a significant aspect of the dialogue between Sebastian and Mia in the two oral texts: the tendency of men to interrupt women.
In the opening scene, Sebastian's loud exclamation of "WHAT?" is met with Mia's urgent plea for silence, but before she can elaborate, he interrupts her, insisting that for her to ask him to be quiet, she must make sense Their overlapping dialogue highlights the tension between them, as Sebastian's assertive interruption underscores his frustration with Mia's lack of clarity This dynamic continues until Mia asserts her maturity by stating, "I'm not a baby I'm trying to grow up," to which Sebastian responds simply, "You are," further emphasizing the conflict in their communication and the struggle for understanding in their relationship.
"baby" without letting Mia finish her turn This is a disagreement interruption
Figure 5 List of Mia’s and Sebastian’s times of interruption in the first video
Shh, you have to be quiet You
If you want me to - you have to make sense You want me to be quite, you have to make some godda** sense
Sebastian) I'm trying to grow up.
In the video, Sebastian interrupts Mia twice to assert his viewpoint, while Mia does not interrupt him at all This pattern highlights Sebastian's attempt to dominate the conversation and defend his position.
In the second scene, interruption is a prevalent theme as Sebastian attempts to dominate the conversation by frequently interrupting Mia When Mia voices her worries about his decision to go on tour, Sebastian defensively interjects, asking, “I don’t know what you are doing right now Why are you doing this?” This represents a topic-changing interruption, as he seeks to shift the focus of the discussion The dialogue devolves into chaos as both characters begin to speak over one another.
Well, no one likes jazz Not even you.
I do like jazz now, because of you–
And this is what I thought you wanted me to do What am I supposed to do? Go back to playing "Jingle Bells"
I’m not saying that Take what you made and start a club
scrapping pennies to start a club no one wants to go to?
People will want to go to it! People love what other people are passionate about You remind people of .
The overlapping dialogue between Sebastian and Mia creates a chaotic tension, emphasizing their struggle to communicate effectively Their passionate perspectives lead to them talking over each other, showcasing the disconnect in their viewpoints As Mia highlights Sebastian's pursuit of his dream, he passionately asserts, "THIS IS THE DREAM," interrupting her attempts to clarify that it may not be his true aspiration This dynamic illustrates the urgency of their conversation and the challenges in achieving a cohesive dialogue.
“Guys like me work their whole lives to be in something successful….” assuring her of the reality that he had to give up his dream to be successful
Figure 6 List of Mia’s and Sebastian’s times of interruption in the second video
And now you’re gonna be on tour with him for years so I didn’t
“I don’t know what you are doing right now Why are you doing this?”
I do like jazz now, because of you–.
And this is what I thought you wanted me to do What am I supposed to do? Go back to playing
"Jingle Bells" (Interrupted by Mia)
I’m not saying that Take what you made and start a club
scrapping pennies to start a club no one wants to go to?
People will want to go to it! People love what other people are passionate about You remind people of .
5 I’m pointing out that you had a THIS IS THE DREAM THIS IS dream that you’ve followed
6 This is not your (Interrupted by
Guys like me work their whole lives to be in something successful
In a heated exchange, Sebastian interrupts Mia six times, while she only interrupts him twice, highlighting the tension in their conversation about his career choices and their relationship As Mia tries to express her concerns, Sebastian's defensiveness and frustration lead him to repeatedly cut her off, preventing a constructive dialogue.
In the third scene, Mia shares her perspective on jazz, describing it as "relaxing," but is interrupted by Sebastian, who disagrees with her view When Mia attempts to discuss jazz music from her hometown, she is again cut off by Sebastian, indicating a floor-taking interruption as he seeks to elaborate on his own understanding of jazz.
Figure 7 List of Mia’s and Sebastian’s times of interruption in the third video
I just find it relaxing (interrupted by
It’s not relaxing It’s not, it’s not.
2 Cause it was… (interrupted by
That's the prob… Okay okay So I think that’s part of the problem.
In total, Sebastian interrupts Mia 2 times while none of the times Mia does that to Sebastian.
In the fourth scene, Sebastian asserts his dominance in the conversation by frequently interrupting Mia, whether she seeks support or offers suggestions For instance, after Mia expresses nostalgia about her audition ending, Sebastian preemptively responds, "That's the point," before she can ask if it's too nostalgic When Mia suggests changes to his club's concept, he cuts her off, insisting, "I'm not dropping the chicken." Additionally, when she proposes a different location for his club, he interrupts her twice to emphasize that it must remain at the Van Beek These interruptions highlight Sebastian's need to control the dialogue, in stark contrast to Mia, who only interjects to share her knowledge about Charlie Parker's nickname.
It’s gotta be “Chicken on a Stick” because Charlie Parker got his nickname…
I know, because he loved chicken.
Mia enhances the conversation by quickly clarifying that Charlie Parker was nicknamed "Bird" because of his love for chicken This interjection not only shows her engagement but also helps maintain the coherence of the discussion about the club concept that Sebastian is addressing By providing this relevant information, Mia fosters mutual understanding between herself and Sebastian.
Figure 8 List of Mia’s and Sebastian’s times of interruption in the fourth video
It feels really nostalgic to me
(interrupted by Sebastian) Is it too nostalgic?
2 I know, because he loved chicken because Charlie Parker got his nickname… (interrupted by Mia)
I know, you should drop the chicken and just have drinks and jazz, and also… (interrupted by Sebastian)
You could do it somewhere else Find a new spot (interrupted by
It’s gotta be the Van Beek.
5 Well it doesn’t have to be
I can’t let them Samba all over its history.
In their conversation, Sebastian interrupts Mia four times, while she only interrupts him once This pattern highlights Sebastian's tendency to dominate the dialogue, restricting Mia's ability to express herself fully Conversely, Mia's single interruption serves to demonstrate her active engagement in the discussion.
In an analysis of four videos, Sebastian interrupts Mia 14 times, nearly five times more than her three interruptions These interruptions primarily occur when the characters aim to express emotions or take control of the conversation Sebastian's frequent interruptions are indicative of his desire to assert dominance, while Mia's interruptions are more about showing concern and engagement in the dialogue.
Backchannel element in 4 scenes
In the initial scene, Sebastian informs Mia about an audition, mentioning the name Amy Brandt, to which Mia responds with a hesitant "Yeah," indicating her interest However, when Sebastian reveals that Amy wants Mia to audition for a major film, she subtly shakes her head, expressing her reluctance This exchange highlights Mia's mixed feelings about the opportunity presented to her.
In a conversation where emotions run high, Mia expresses disbelief at Sebastian's behavior, stating, "Oh my god," while shaking her head Her head shakes serve as non-verbal cues, confirming her rejection of Sebastian's claims Throughout the exchange, Mia employs backchannel responses three times, contrasting with Sebastian, who does not utilize any, highlighting the dynamics of their communication.
Figure 9 List of Mia’s and Sebastian’s times of using backchannel in the first video
1 Amy Brandt, the casting director? Yeah
2 She loved it, and she loved it so much that she wants you to come in tomorrow for an audition for this
(Slightly shakes her head) huge movie that she's got.
3 You’re crying like a baby (Shakes her head) “Oh my god”
In the context of the video, Mia uses the backchannel to express herself when Sebastian is talking
In the second scene, Mia actively reassures Sebastian about his career choice, demonstrating her support through back-channel communication When Sebastian inquires if she enjoys his music, Mia responds affirmatively, indicating her surprise at his uncertainty Similarly, when Sebastian expresses concern about his career path, Mia quickly affirms her desire for him to have a steady job Throughout their conversation, Mia employs back-channel responses twice, serving as both a 'continuer' to show agreement and an 'information confirmation token' to validate her understanding of Sebastian's feelings, while Sebastian does not use any back-channel communication.
Figure 10 List of Mia’s and Sebastian’s times of using backchannel in the second video
Do you like the music I’m playing? Yeah, I do I just didn’t think that you did
I thought you wanted me to be in a band and have a steady job to to be you know.
Of course, I want you to have a steady job.
In the context of this video, Mia uses backchannels to provide feedback, express agreement, and show empathy without necessarily taking the floor or initiating a new topic of conversation.
In the third scene, Mia and Sebastian engage in backchannel communication, highlighting their interaction dynamics Mia first nods to affirm Sebastian's explanation of Jazz's origins, particularly when he mentions, "They couldn't talk to each other." She then shows confusion by wincing when he tries to explain Jazz theory using the band on stage Conversely, Sebastian employs backchannel by responding with "Mmm-hmm" during Mia's recount of her Jazz knowledge, encouraging her to elaborate However, he later displays frustration at her interpretation of Jazz as relaxing, touching his face in disappointment and saying, "Right." Overall, their exchanges include backchannel tokens that serve to confirm information while allowing each to express their reactions without interruption, with a total of two backchannel instances noted in their conversation.
Figure 11 List of Mia’s and Sebastian’s times of using backchannel in the third video
1 They couldn’t talk to each other (Nods her head)
2 I mean, look at these fellas (Slightly wince her face)
3 “Hmm-mm” From my life
4 (Touching his face in disappointment) “Right”
And people would just put on that station when they had a cocktail party.
In the context of this video, Mia uses backchannel to avoid interrupting the flow of Sebastian's speech and hurting his enthusiasm.
In the fourth scene, both characters demonstrate a balanced use of backchannel communication while discussing their plans Sebastian's repetitive "Yes Yes" and Mia's enthusiastic "Yes! Yeah" serve as 'continuer' tokens, indicating their understanding and encouraging uninterrupted dialogue Sebastian's puzzled "What?" and Mia's nonverbal cues, such as nodding and shrugging in response to comments about Charlie Parker's nickname, act as 'captured interest tokens,' reflecting their engagement Additionally, Mia's nodding in agreement to Sebastian's question about a music note as an apostrophe highlights an 'information confirmation token.' Finally, Mia's sigh at the conversation's conclusion signals her frustration and disagreement with Sebastian's insistence on keeping his club at the Van Beek.
Figure 12 List of Mia’s and Sebastian’s times of using backchannel in the fourth video
2 What? ‘Cause I think you should call it “Seb’s”.
3 Is that a music note as an apostrophe?
5 That’s why they called him “Bird” (Mia shrugs and nods)
6 “I can’t let them Samba all over its history.
(sighs in frustration and disappointment)
In the video, Mia employs backchannel communication four times, while Sebastian utilizes it only twice Mia's use of backchannel serves to maintain the flow of Sebastian's speech, indicating her intention to respect his viewpoint despite her own disregard for it.
In the analyzed videos, Mia utilizes the backchannel feature 13 times, significantly more than Sebastian, who uses it only four times This communication technique serves to maintain the flow of conversation without interrupting the speaker's turn.
The reasons for differences between men's and women's speech
Communication transcends simple word exchange, playing a crucial role in shaping relationships, understandings, and social dynamics Notably, men and women often communicate in distinctly different ways, influenced by social conditioning and cultural norms By analyzing four key scenes from the movie La La Land, we will examine how gender roles and societal expectations impact communication practices.
Julia Wood (2009) explores the concept of gendered speech communities, drawing on Langer's "discourse communities" and Labov's "speech communities." She posits that men and women utilize language differently, influenced by their historical experiences and socialization In feminine communities, communication serves as a means to express identity and foster relationships, with women often taking on supportive roles Wood identifies seven key features of feminine communication: maintaining relationships, promoting equality, showing support, engaging in conversational maintenance, being responsive, adopting a personal and concrete style, and exhibiting tentativeness.
Masculine speech communities prioritize goals, assertion, and status enhancement, often employing competitive verbal tactics that assert dominance, such as interrupting and raising their volume (Wood, 2009) In contrast, women tend to prioritize harmony in conversation, often using backchanneling techniques like non-verbal cues to support male speakers This dynamic is evident in the film La La Land, where women are expected to wait for men to finish speaking, reflecting their supportive roles Men frequently interrupt, reinforcing their dominance and control over the dialogue, which highlights the power imbalances in communication and silences women's voices.
This analysis of the discourse in La La Land reveals the pervasive gender stereotypes that influence social interactions However, it's important to note that gendered communication practices are not static; they have the potential to evolve Challenging and recognizing these norms is crucial for fostering more equitable communication practices.
Conclusion
The research on speech patterns in La La Land reveals significant differences in communication styles between men and women, particularly in areas such as turn-taking, interruptions, and backchannels These findings emphasize how gender influences communication dynamics, shaped by both contextual and social factors For instance, specific conversational settings, like Sebastian's frustration prompting him to dominate the conversation or Mia's use of backchannels to convey empathy, illustrate the variations in speech behaviors.
Social influences, including cultural norms and gender roles, significantly shape verbal interactions between men and women Women are often socialized to foster supportive conversations, highlighting their nurturing and empathetic qualities, which reflects the underlying gender inequality in society This socialization reinforces stereotypes that expect women to be gentle, polite, and elegant Conversely, men are typically encouraged to assert their dominance and leadership in discussions, reinforcing their right to control the conversation.
The research highlights the significance of understanding gendered communication in romantic and social contexts, which can enhance mutual understanding and collaboration between men and women By acknowledging these differences, we can foster more inclusive and effective communication Furthermore, this study adds to the ongoing discussion about gender and communication, underscoring the necessity for additional exploration into the complexities of gendered speech across various cultural settings.
Future research should investigate the evolution of speech patterns across diverse demographics in La La Land Additionally, studying interventions that foster balanced and equitable communication styles could provide crucial insights for improving gender relations and minimizing misunderstandings By recognizing and addressing these differences, we can strive for a more harmonious and effective communication environment in various contexts.
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Transcriptions of 4 segments from the movie La La Land for analysis
Sebastian: Because I have good news.
Sebastian: Amy Brandt, the casting director
Sebastian received exciting news that a prominent figure attended his play and was thoroughly impressed She enjoyed it to the extent that she is inviting him to audition for a major movie project the following day.
Mia: I'm not going to that.
Mia: I'm not going to that.
Mia: That one's gonna be
Mia: No That one's gonna be
Mia: That will kill me.
Mia: You have to be quiet We're in a neighborhood.
Sebastian: If you want me to - you have to make sense You want me to be quite, you have to make some godda** sense.
Sebastian: Tell me why you're not going.
Mia: They'll call the police.
Mia shares her frustrations about the audition process, highlighting her experiences of being interrupted during performances for trivial reasons, such as someone wanting a sandwich She expresses her vulnerability, feeling disheartened when her emotional moments are met with laughter Additionally, she compares herself to others in the waiting room, often feeling overshadowed by their beauty and talent, leading her to question her own abilities.
Mia: No No, maybe I'm not.
Mia reflects on her long-held aspirations, acknowledging that they may have turned into unattainable dreams as she grew older She considers the possibility of returning to school and exploring new paths, expressing a sense of disillusionment with her current pursuits after six years Ultimately, Mia recognizes the need for change and the opportunity to redefine her purpose.
Sebastian: Why don't you want to do it anymore?
Mia: 'Cause I think it hurts a little bit too much.
Mia: I'm not a baby I'm trying to grow up.
Sebastian: You're crying like a baby.
Sebastian: You have an audition tomorrow at 5:30 I'll be out front at 8:00 A.M You'll be out front or not, I don't know.
Mia: How'd you find me here?
Sebastian: The house in front of the library.
Mia: You’re gonna be on tour for what? Months now? Years?
Sebastian: Yeah I don’t be…This is it I mean this could feasibly be…I could be on tour with this for a couple years, at least Just this record.
Mia: Do you like the music you’re playing?
Sebastian: I don’t…I don’t know what it matters.
Mia: Well, it matters, because if you’re gonna give up your dreams, I think it matters that you like what you’re playing on the road for years.
Sebastian: Do you like the music I’m playing.
Mia: Yeah, I do I just didn’t think that you did
Mia: You said Keith is the worst and now you’re gonna be on tour with him for years so
I just didn’t know if you were happy.
Sebastian: What are you doing right now? Why are you doing this?
Mia: What do you mean why am I doing this?
Sebastian: I thought you wanted me to do this It just sounds now you don’t want me to do it.
Mia: What do you mean I wanted you to do this?
Sebastian: This is what you wanted for me.
Mia: To be in this band?
Sebastian dreams of being in a band while also seeking a stable job to support himself Mia emphasizes the importance of having a reliable job, as it would enable him to take care of his life and pursue his passion for starting a club.
Sebastian: So I’m doing that, so I don’t understand Why aren’t we celebrating? Mia: Why aren’t you starting your club?
Sebastian: You said yourself no one wants to go to that club No one wants to go to a club called “Chicken on a stick”.
Mia: So change the name!
Sebastian: Well, no one like jazz Not even you!
Mia: I do like jazz now, because of you
Sebastian: And this is what I thought you wanted me to do What am I supposed to do?
Go back to playing "Jingle Bells"
Mia: I’m not saying that Take what you made and start a club
Sebastian: scrapping pennies to start a club no one wants to go to?
Mia: People will want to go to it! People love what other people are passionate about.
Sebastian expresses his frustration, stating that he hasn't encountered similar issues before He emphasizes the importance of maturity and responsibility, highlighting his commitment to his steady job He wishes that any problems had been communicated to him before he made his decision, indicating that he feels blindsided by the situation.
Mia: I’m pointing out that you had a dream, that you followed, that you were sticking to…
Sebastian: This is the dream! This is the dream.
Mia: This is not your dream!
Sebastian reflects on the dedication of individuals who strive for success in their careers, emphasizing that achieving a project that resonates with the audience is a significant milestone He acknowledges that even if he personally does not find joy in the work, the enjoyment it brings to others is what truly matters.
Mia: Since when do you care about being liked? Why do you care so much about being liked?
Sebastian: You’re an actress! What are you talking about?
Sebastian believes that those who claim to hate jazz often lack context and understanding of its origins He emphasizes that jazz emerged in a small flophouse in New Orleans, where diverse individuals, speaking multiple languages, found common ground through music, using jazz as their sole means of communication.
Mia: Yeah, but what about Kenny G?
Mia: What about Kenny G? I mean, what about elevator music? You know, jazz music that I know?
Mia: I just find it relaxing.
Sebastian: It's not relaxing It's not It's not Sidney bechet shot somebody because they told him he played a wrong note That's hardly relaxing.
Mia: Yeah, but where i grew up there was this station called K-Jazz 103 And people would just put on that station when they had a cocktail party
Mia: And everyone would kinda just talk over it.
Sebastian highlights a key issue: the importance of visualizing the situation to truly understand the stakes involved He emphasizes that merely hearing about it is insufficient; one must witness the reality to grasp the seriousness of the matter, as illustrated by the individuals present.
Mia: It feels really nostalgic to me Is it to nostalgic?
Sebastian: That’s the point That’s…
Mia: Are people gonna like it?
Mia: You always say that.
Sebastian: Well, I truly believe it.
Sebastian: Why does it says “Seb’s”?
Mia: ‘Cause I think you should call it “Seb’s”.
Mia: ‘Cause no one gonna come to “Chicken on a stick”.
Sebastian: Is that a music note as an apostrophe?
Sebastian: It’s gotta be “Chicken on a stick”, because Charlie Parker got his nickname… Mia: I know, because he loved chicken.
Sebastian: That’s why they called him “Bird” So I’m gonna have chicken, beer, jazz.
Mia: I know I think you should drop the chicken and just have the drink and jazz, and also…
Sebastian: I’m not dropping the chicken,
Mia: You could maybe do it somewhere else
Sebastian: What are you talkin’ about?