In broadcast news interviews, interviewees will occasionally address the interviewer by name. As a method of establishing the directionality of talk, address terms are redundant in this institutional context because the normative question/answer activity structure and associated participation framework make the direction of address transparent and knowable in advance. But address terms can be deployed in the service of a variety of actions beyond addressing per se. Some of these involve disaligning actions such as topic shifts, non-conforming responses, and disagreements. (...) Others involve the presentation of views as particularly significant or sincere. Address terms are thus a resource for managing certain expressive properties of talk, as well as its disalignment from prior talk. (shrink)

Within the genres of news and current affairs television, it is the generic logic of the ‘feelgood’ genre of the talk show that legitimizes personalized discourse between famous hosts and politicians. The article presents a case study of such an interview, focusing on the ways in which the interaction between the verbal, the visual and the rhythmic modalities of the interview is employed by the multiple authors of the text to construct a variety of interpersonal footings for interviewer and interviewee (...) on the one hand and a series of preferred interpretations for the audience on the other. The method is deviant case analysis, using tools from semantics and pragmatics, discourse and conversation analysis, and visual analysis of news images. To explore the manner of interaction between the verbal and visual channel, the concept of rhythm is developed for dialogic audiovisual texts. Dialogic audiovisual rhythm is defined as arising from the interaction of speaker or addressee change with onset of new shot, and with frequency of shots per turn/ generic unit of the interview. Rhythmic sequences can then be segmented which make up the textual structure of the interview, delineating its semantic units and areas of strategic positioning between the private, the personal and the political. Three types of the personalization of politics can be discerned in the text: that of the private domain, that of political relations as private ones, and that of politics as history being made by great men. A forth type of personalization is that of the relations between the media and politics. Different combinations of verbal, visual and rhythmic means are used to realize these types discursively. (shrink)

Packaging messages from different times and places, combining cognitive stimuli that would not otherwise be found together, journalists work discursively on various dimensions of distance to make the reality they construct and present more relevant and emotionally engaging for the audience. The present article makes a claim that such journalistic ‘work on distance’ and the resulting impression of ‘co-presence’ are central to the potential of television news discourse to affect cognitive–affective attitudes of the audience. The process of reducing the distance (...) is discussed under the term proximization and linked to the semiotic properties of the medium itself and to the news, understood both as a process and as a product. The data analysed come from the CNN news coverage of the Horn of Africa crisis in 2011. (shrink)

Although the past plays a large part in election campaigns, predictions and promises are its lifeblood, with the various parties promising great things if elected and predicting doom if not. Indeed the `manifestos' usually published at the beginning of an election campaign are a study in pledges, promises and wishes that parties use to entice the electorate to vote for them. Whilst talk of the future often dominates election discourse, one aspect of the future that is largely passed over without (...) comment is the actual make up of the result, despite the relentless publication of opinion polls results. However, towards the end of the general election campaign in the UK in 2001, the Conservative Party began to warn of the dangers of the Labour Party winning the election by a large majority. The media gave wide prominence to this event, seen as tantamount to conceding defeat to the Labour Party, though the reaction of all the main political parties was to downplay its significance. In this article, we explore the discursive manipulation of temporal relations in the 2001 election campaign, and the politicians' work in gaining political capital out of the Conservative Party `breach' in the routine election prediction structure. (shrink)

Existing studies have extensively explored audience engagement in TV news, but not enough attention has been paid to the discursive presentation of this phenomenon in the discourse of TV news kernels. Based on a pool of news items collected from BBC News at Ten, this article aims to investigate how the discourse of news kernels is constructed and presented to engage the audience. The analysis shows that news values and journalist–audience interaction are two main ways employed by the journalists to (...) achieve audience engagement in presenting TV news kernels. On one hand, a news kernel tends to cover the most newsworthy information of the news story, and the news text; on the other hand, it is often styled as newsworthy, too. In the meanwhile, the presentation of the news kernel tends to create a sense of interaction between the journalist and the audience by practices such as pre-opening remarks, introducing the reporter and alerting the audience, among others. The findings reflect quite different journalistic practice of TV news kernels from that of print news leads. (shrink)

Recent discussion of some user-generated material on the Internet has argued that its ‘freshness’ and ‘spontaneity’ offers a new form of ‘authenticity’ in mediated communication. With a focus on YouTube, particularly where extensive use is made of the facility to post text comments on vlogs, it has been suggested that such activities reproduce the feel of ‘face-to-face communication’. Interestingly such accounts echo previous debates about broadcast talk, although YouTube is defined as a species of ‘post-television’. This article assesses these claims (...) through a case study of one practice of user-generated communication on YouTube, the so-called ‘make-up tutorial’. It takes an approach to spoken discourse analysis previously developed in the study of broadcast talk, but it also makes some observations about the structure of the YouTube site, by comparison with the discursive ‘regime’ of television. This analysis finds that there are indeed some distinctive communicative practices on YouTube, but rather than assessing these in terms of their ‘authenticity’, it is more useful to consider their ‘communicative entitlements’, which throw new light on the constraints of traditional forms of broadcasting. (shrink)