General index
A
- Aboriginal English(see Australian Aboriginal English)
- Aboriginal and Torres Strait Islander characters(see Indigenous characters)
- Aboriginal ways of using English137
- affect (see also expressive character identity; surge features)
54, 111
- African American Vernacular English (AAVE)
20, 113, 139, 168–175
- American English
85, 113, 123, 147–148, 168
- audience(see fans; target audience)
- audience design
7–9, 18, 60, 75, 139, 175
- audio-visual translation208
- Australian Aboriginal English (AAE)
134–138, 149–165, 175–200
- Australian Corpus of English152
- Australian English
147–148, 151
- Australian Radio Talkback corpus152
- authenticity
8, 102, 138–139, 165, 178
- authorial cues
16–17, 185
- autism
76, 80, 89, 94–95, 97, 102
B
- British English
112, 113, 147
- broadcast television(see network television)
C
- cable television
39, 109–111
- catchphrases
8, 56, 103, 112
- censorship
110, 121–122, 125, 129
- character-based analysis
41–43
- character biographies
11, 95
- character consistency
9–10, 48, 58–71, 204–205
- character differentiation
12, 47–58
- character impressions
13–15, 110–111
- character relationships
11–12
- character stability(see character consistency)
- character traits
11–12, 20–21
- characterisation, definition
1–3
- cinematic indexicalities
18–21
- closed-captions(see subtitles)
- colonisation
135–136, 149
- communicative plane
7, 14, 16, 178, 208–209
- comprehensibility
8, 163–164, 175
- concordance analysis
36–37
- consumption(see reception; audience)
- Corpus of Contemporary American English
75, 85, 127
- curse words(see swear words)
D
- deviation(see foregrounding)
- dialect
8, 12, 16, 19, 128, 136, 171, 178, 206–207
- dialogue(see TV dialogue)
- dialogue functions
2–3, 111
- discourse markers
50, 62, 64, 66, 69–71
- dispersion (see also distribution; range)33
- dispreferred language
196–198, 161
- distribution (see also dispersion; range)
30–31, 32–35
- double articulation
7, 21
- double negation(see negative concord)
E
- emotion(see affect; expressive character identity)
- enregisterment
19, 191, 207
- ethnicity
4, 112, 128, 145, 160, 163–164, 167, 169, 191–199
- ethnolinguistic repertoire136
- expletives(see swear words)
- explicit cues
15–17, 77, 78, 83, 97–102, 192–195, 209
- expressive character identity
11–12, 53–58, 111
F
- family roles (see also kinship terms)
59, 61–62, 64, 65–66
- fan transcripts
38–40, 46–47, 74
- Federal Communications Commission
109, 119
- fillers(see discourse markers)
- First Nations characters(see Indigenous characters)
- flat vs. round characters
10, 15, 102
- formal vs. informal language
50–52, 56, 57, 60, 68, 85–86, 147, 169
G
- gender
28, 57, 76, 106–109, 173
- Global Web-Based English corpus
148, 159
H
- Hollywood Injun English139
I
- identity labels
97–102, 192–194
- ideology (see also language ideology)
11, 106, 108, 114, 210
- idiolect
32, 47, 56, 100, 155
- implicit cues
15–17, 54, 77, 79, 89, 192, 194, 200, 207
- impoliteness
22–23, 78–70, 90–95, 103
- incomprehensibility(see comprehensibility)
- Indigenous characters
134–138, 140–142, 149–165, 176–194
- Indigenous languages
155, 180, 184–185
- indexicality(see cinematic indexicalities)
- indexical package
21, 36, 171, 190–191
- informal language(see formal vs. informal language)
- [In] (alveolar form)
168, 173
- interjections
53–58, 97, 107
- International Corpus of English, Australia152
- interpersonal markers
62, 64, 66–68
- intertextual vs. intratextual analysis
24, 207–208
K
- key words analysis, definition
30–32
- kinship terms (see also family roles)
65–66, 154–160, 165, 181
L
- language awareness
6, 51, 135, 195
- language ownership
179, 187
- language ideology (see also standard language ideology)
19, 134, 139, 195
- linguistic bundles
21, 171
- linguistic stereotypes (see also stereotypes; Othering)
168, 171, 175, 195–196, 207
M
- marginalised Englishes
134–140
- membership categorisation devices (see also identity labels)
78, 97
- metalanguage
53, 126, 195
- mob
149, 157–159, 186–188, 190, 196
- multilingualism
135, 139, 184–185
- multimodality
2, 23–24, 103, 122, 203
N
- names
11, 17, 59, 62–63, 65, 67, 185
- narration(see narrator; voice-over)
- network television
39, 109–111, 118
- Ngara corpus
158–159, 182–185
- non-standard language
138–140, 163, 168–175
O
- Othering
134, 163–164, 173
- other-presentation
16–17, 77, 192–193
P
- paralinguistic features
16–17, 103
- parasocial interaction
8, 10, 103
- participation structure (see also audience design)
7–9, 163–164
- performativity108(see also gender)
- personae(see social personae)
- pilot episodes
5, 41, 118
- plot development (see also storylines)
1, 33, 41, 111, 147
- politeness(see impoliteness)
- profanity(see swear words)
- pronouns
50, 62–63, 66, 128, 148, 157
R
- range (see also dispersion; distribution)32
- racism
135, 138–139, 176, 197–198
- Received Pronunciation (RP)21
- relationship impression formation23
- repertoire analysis
41–42
S
- scene-based analysis
40–42
- screenwriters
3–6, 52, 110, 114, 140, 168
- screenwriting (see also screenwriters; script; writers’ room; writing workshops)
5, 210
- screenwriting manuals
5, 6, 47–48, 58, 110, 118, 139–140, 210
- scriptwriting(see screenwriting)
- self-presentation
17, 77, 80–82, 192–193
- social personae
19–20, 73, 75, 105, 112, 196
- Southern American English173
- standard language ideology138
- statistics(see effect size; log likelihood; log ratio; MI3 score)
- stereotypes (see also linguistic stereotypes; Othering)
15, 20–21, 29, 57, 73–74, 75–77, 80–104, 107–109, 114–115, 129–130, 138–140, 173, 176, 192, 198, 207
- stigmatised language
148, 159, 168–175
- storylines (see also plot development)
146–147
- streaming
6, 110, 118, 203–204
- style
19, 31, 53, 68, 70, 102, 138, 139, 174, 190–191, 205
- subtitles
38–39, 40, 47, 110, 184, 208
- swear words
54, 57, 109–115, 119–131, 148, 170–171
- Sydney Corpus of Television Dialogue39
T
- taboo words(see swear words)
- target audience
2, 7–9, 75, 125, 150, 155, 164
- telecinematic discourse13
- telecinematic indexicalities (see cinematic indexicalities)
- telecinematic stylistics23
- television landscape
39–40, 42, 167
- terms of address
64, 65–68, 156
- terms of endearment(see terms of address)
- transcription (see also fan transcripts)
38–39, 48, 59, 96, 118, 142, 151, 174, 184
- trait and type indexicality
20–21
- TV corpus, The
40, 144, 159
- TV series, units of analysis
40–43
U
- unscripted language (see also authenticity)
165, 171, 199
V
- viewers(see audience; fans; target audience)
W
- writers(see screenwriters)
- writing workshops
3–4, 140
Y
- you mob
149, 157–159, 187–188