INTRODUCTION
Statement of the problem and the rationale for the research
The interconnectedness of identity and ideology is evident in real life, as highlighted by Malesevic (2013), who emphasizes ideology's crucial role in shaping social identities In film discourse, the portrayal of characters is intentional, reflecting contemporary social issues and the production crew's beliefs, while also conveying underlying solutions to the audience Main characters serve as representations of ideology, capable of influencing viewers through their on-screen presence To effectively construct these identities, filmmakers utilize various discourse strategies, with linguistic devices playing a vital role As noted by Hall (2013), language usage is a means of representing identity Therefore, analyzing the discursive identity construction of characters is essential for understanding the strategies employed and the impact of social context on film production This study focuses on the linguistic techniques used to shape the identity of the main character, Andrea, and interprets these constructions in light of the hidden ideologies influenced by contemporary societal factors.
"The Devil Wears Prada" has garnered significant attention not only from audiences but also from researchers exploring its deeper implications on various life aspects Numerous studies have emerged across diverse fields, highlighting the film's impact For instance, Hudders (2012) examined marketing strategies, using the film to illustrate consumer motivations for purchasing luxury brands Additionally, research by Gick and Gick (2007) delved into the fashion formation process, analyzing the interaction between designers and media, further emphasizing the film's relevance in media-related discussions.
Research on the portrayal of female fashion editors in media, such as studies by Spiker (2012) and Erliska (2017) focusing on female power, and Gelogullari (2015) examining female friendship in the fashion industry, highlights important social themes Additionally, Hartini (2011) analyzed specific linguistic elements within the film's script However, there remains a scarcity of studies exploring the discursive construction of character identities in "The Devil Wears Prada."
This study serves as a valuable reference for future research on "The Devil Wears Prada" and contributes to the broader discourse surrounding film analysis.
Research aims and objectives
In general, the study aims at exploring the relationship between discourse and the construction of a film character’s identities
This study aims to achieve two key objectives: first, to examine the linguistic devices used to shape the identity of the main character, Andrea, in "The Devil Wears Prada"; and second, to analyze the social context of the film to better understand how these identities are constructed within that framework.
Research questions
This study aims to address two key questions: the first focuses on how the main character's gender and professional identity are discursively constructed, which will be analyzed using Fairclough’s three-dimensional model (2010) The second question examines the influence of the contemporary social context on the formation of identities.
For this question, the researcher will present her own interpretations to shed light on the factors determining such construction of identities for the main character- Andrea
All in all, the two targeted research questions are as follows:
1 How are Andrea Sachs’ gender and professional identities discursively constructed?
2 How is the discursive construction of those identities possibly influenced by the contemporary social context?
Research methods
To address the research questions, the researcher will utilize a qualitative approach to analyze conversations between Andrea Sachs and other characters in the film This analysis will be grounded in Fairclough’s three-dimensional framework (2010), which encompasses text, discourse practice, and social practice as its core components The discourse analysis will follow three essential steps: text analysis, interpretation, and explanation, as outlined in Fairclough's earlier work (1989).
The formal properties of text, including vocabulary, grammar, and structure, play a crucial role in understanding discourse Interpretation focuses on the relationship between the text and its interaction, viewing the text as a product of a production process This perspective emphasizes that discourse encompasses not only the text itself but also the discursive practices involved in its production and the ways in which it is comprehended and interpreted by others Lastly, the explanation step examines how social contexts mutually influence the processes of production and interpretation.
The researcher will carefully analyze the film's script, focusing on the lines of Andrea Sachs, to identify linguistic elements that reveal deeper insights into her identity Additionally, the researcher will explore the social context of the film, considering its release year and uncovering the hidden messages present within the narrative.
The study's findings reveal specific linguistic aspects through quotes from Andrea's conversations in response to the first research question, while the second question will showcase the researcher's interpretations.
Scope of the research
Multimodality, which encompasses the use of various modes such as linguistic, aural, spatial, and visual resources to convey messages, has become a significant focus in discourse analysis research This study will primarily examine linguistic aspects, including lexical choices, grammatical structures, and communication styles, as they are most relevant to the research questions While some visual elements may be included in the data analysis to provide context, they will not be the primary focus of the analysis.
The film prominently showcases gender and professional identities, prompting the researcher to concentrate on their analysis rather than exploring other identity facets like sexual, ethnic, or national identities Gender identity encompasses an individual's self-concept as male, female, a blend, or neither, while professional identity pertains to how one perceives themselves within the workplace and communicates that perception to others.
The significance of the research
Recent studies in discourse analysis have explored the intricate relationship between language, identity, and society Research indicates that language plays a crucial role in representing and constructing identities, highlighting that our choices in self-creation are influenced by social contexts (Hall, 2013:35) This paper aims to analyze film discourse to illustrate how character identities are shaped by social contexts and language use, contributing valuable insights to the existing literature on this topic.
This paper serves as a valuable resource for researchers exploring multiple identities and identity construction in film discourse Additionally, it offers insights for general readers interested in the intricate relationship between language, identity, and society.
The structure of the study
The study includes the following chapters:
Chapter 1 – Introduction – presents information on the statement of the problem and the rationale for the research, research aims and objectives, research questions, scope and the significance of the study
Chapter 2 – Theoretical background and literature review – provides the background knowledge of the subject matter as well as a review on related studies
Chapter 3 – Methodology – describes the theoretical frameworks as the basis of the research as well as the data analysis method and procedure
Chapter 4 – Results and discussion –analyzes, demonstrates and discusses the results that the researcher obtained from the data collected with reference to the two research questions
Chapter 5 – Conclusion – summarizes the main findings of the research and presents the limitations of the research as well as some suggestions for further studies Following this chapter are References and Appendix.
THEORETICAL BACKGROUND & LITERATURE REVIEW
Discourse and discursive construction of identities
Although the word “discourse” originally comes from the Latin word
The term "discursus," meaning conversation or speech, has sparked ongoing debate regarding its true definition Researchers have proposed various interpretations of discourse, with Foucault (1972) offering a notable perspective that contributes to this complex discussion.
Discourse can be understood in various ways, encompassing both a broad domain of meaningful texts that influence the real world and more specific groups of coherent utterances, such as those related to femininity or imperialism This comprehensive definition aligns with Foucault’s perspective and is supported by Fairclough (2010), who emphasizes the importance of historical and social contexts, such as the 19th and 20th centuries, as well as various specialized discourses like legal, medical, scientific, and media discourse While the first interpretation of discourse is the most expansive, focusing on the overall impact of texts, the second offers a more detailed characterization that still emphasizes the significance of content in communication.
Foucault's third definition emphasizes the linguistic rules governing discourse production, viewing it not merely as the meaning of statements but as the interplay of language with social practices and the intentions of its producers towards their audience This perspective aligns with Jaworski and Coupland (1999), who argue that discourse reflects social hierarchy, making it essential for understanding society Widdowson (1984) further elaborates, defining discourse as a "communicative process" that conveys information and intentions, resulting in a textual product Similarly, Brown and Yule (1983) assert that discourse analysis must consider language in use, focusing on the purposes and functions these linguistic forms serve in human interactions.
Meanwhile, expanding from the view of discourse as the use of language, Fairclough, N (2003) contended discourse can also be presented through pictures, dispositions or spatial arrangements
In this study, the researcher defines discourse as the use of language to convey messages and shape social realities, including individual identities The analysis focuses on how language is utilized within specific contexts to contribute to the formation of these identities.
Researchers agree that identities are constructed through discourse According to Judith Butler (1990), identities are not inherent traits but are created and expressed through language and social interactions While this perspective may overlook the innate aspects of identity, it highlights how many identities are shaped over time within specific social contexts Similarly, Robin Lakoff (1990) emphasized that "the way people talk tells us the truth about them," suggesting that discourse serves as a vital tool for individuals to convey their identities.
Numerous studies highlight the connection between discourse and identity construction, emphasizing the role of language in this process Kroskrity (1999) asserts that identities are closely linked to linguistic construction, with language serving as a vital tool in shaping these identities This idea is reinforced by Beltz (2002), who describes the intimate and mutually constitutive relationship between identities and language, noting that language's symbolic functions play a crucial role in defining one’s societal role Expanding on these perspectives, Ros i Solé (2004) and Shi (2006) introduce discursive strategies as additional components essential for identity construction.
This study explores the construction of the main character's identities in the film "The Devil Wears Prada." It specifically investigates the linguistic devices used in Andrea's dialogue, revealing how these elements contribute to the producers' discursive portrayal of her character This analysis aims to uncover the messages conveyed to the audience through Andrea's lines, highlighting the film's narrative techniques.
Film discourse
Film discourse is a vital aspect of media discourse, encompassing the communication of fictional characters through both verbal and non-verbal elements (Dynel, M., 2011) Unlike cinematic discourse, which focuses on audiovisual techniques like cinematography and sound design that filmmakers use to engage viewers, film discourse is characterized by its scripted nature (Chovanec, J., 2011).
“constructed” conversations held by fictional characters
Compared with non-fictional or everyday discourse, film discourse has different characteristics For example, it is not spontaneous, but prepared or
“scripted” beforehand Another difference is that film discourse is permanent but
“must appear to be as ephemeral as the speech it imitates” as stated in Chothia, J
In film discourse, a key distinction lies in the actor's reproduction of scripted dialogue rather than engaging in genuine, intentional communication This unique characteristic has been explored in various studies, including those by Schegloff (1988) and Emmison.
In 1993, objections were raised against incorporating film discourse into linguistic analysis However, subsequent studies by researchers such as Herman (1995), Berliner (1999), Kozloff (2000), and Richardson (2010) argued that film discourse mirrors everyday language and the communicative patterns linked to the "reality code."
Cultural realism plays a crucial role in film scriptwriting, as it utilizes real-life language and principles that facilitate meaningful communication in everyday contexts (Herman, 1995) According to Kozloff (2000), film scripts reflect what a culture accepts as plausible and authentic at a specific time Consequently, film discourse is an integral aspect of linguistic analysis, highlighting the connection between language and cultural representation in cinema.
Within the scope of this study, the researcher chose to focus mainly on analyzing verbal elements in the film “the Devil wears Prada”.
Multiple Identities
Identity, in Oxford Advanced Learner’s Dictionary (8 th edition), is defined as
Identity is defined as the characteristics, feelings, or beliefs that set individuals apart from one another This concept highlights identity as a unique trait inherent to each person, emphasizing its internal and personal nature.
Research by Vygotsky (1978) and Norton (2000) highlights that identity is continuously shaped through social interactions, emphasizing its socially constructed nature This perspective is reinforced by various studies, suggesting that identity emerges from engagement with others Additionally, Benwell and Stokoe (2006) define identity in terms of group membership, indicating that it encompasses both internal and external factors This duality provides a more comprehensive understanding of identity construction.
Recent studies highlight that individuals possess multiple identities, identifying with various groups rather than a single one, leading to the term "multiple identities." Baggioni and Kasbarian (1996) categorize identities into personal and collective (or social) identities, noting that social identities emerge from an individual's awareness of belonging to a group and the associated emotions Further research by Kroskrity (1999), Duszak (2002), and Pavlenko and Blackledge reinforces this understanding of identity formation.
In 2004, Ramarajan emphasized that individuals embody a blend of multiple identities Duszak (2002) noted that these identities exist along a spectrum of "ingroupness" and "outgroupness," allowing a person to possess various memberships that correspond to different identities Bhattacharya also contributed to this understanding of identity complexity.
B, Rao, H & Glynn, M A (1995) and Ramarajan, L (2014) shared the same view that each social group offers a particular member- identity, from which people incorporate to form their individual multiple identities, but clarified possible social groups “such as organizational membership, profession, gender, ethnicity, religion, nation or family”
In this study, the researcher posits that individuals can embody multiple identities simultaneously, encompassing both social group-based identities and intrinsic personal identity The primary focus of the research is on social identities, particularly examining the gender and professional identities of the central character, Andrea Sachs.
2.3.2 Different perspectives on multiple identities
According to Ramarajan, L (2014) – a literature review about multiple identities, there are currently five main perspectives employed to resolve multiple identities- related matters
From a social psychological perspective, social identity theory posits that individual identities are linked to social groups and are structured within a dynamic hierarchy This means that one identity can overshadow others, becoming the primary influence on behavior, or that the prominence of different social identities can shift based on the context.
The microsociological perspective emphasizes the negotiation of identities both with others and within oneself, asserting that identities are intertwined with social roles It posits that the meanings attached to these roles are personalized, shaping individual identities While acknowledging that people possess multiple identities arranged in a hierarchy, this perspective suggests that the most prominent identity is determined by the individual's personal significance rather than the surrounding context.
The psychodynamic perspective suggests that identities evolve over time, influenced by interpersonal relationships that prompt the acquisition of new identities This viewpoint emphasizes that our self-narratives play a crucial role in expressing these identities, which strengthen through experiences of separation and conflict, ultimately leading to unity Additionally, it highlights the tendency to project negative self-aspects onto others and the existence of unrecognized hidden identities.
The fourth critical perspective aligns with Foucault's notion that identities are intertwined with power dynamics It highlights the idea that the self is inherently "fragmented," suggesting that no singular identity truly exists Instead, identities can be constructed to seem stable, singular, and dominant through the mechanisms of power Ultimately, it is through power that the perception of unity is achieved.
The intersectionality perspective emphasizes the interconnectedness of various identities and acknowledges the historical and structural inequalities faced by different social groups However, it tends to neglect the subjective aspect of identity, specifically individual self-definitions.
In this study, the primary focus is on social psychological and psychodynamic perspectives, with an emphasis on how Andrea's gender and professional identities align with societal expectations of women and workplace norms in the fashion industry Andrea's journey from unprofessionalism to professionalism illustrates that a new identity can be developed within supportive environments and positive interpersonal relationships, as highlighted by the psychodynamic perspective.
2.3.3 Some common types of social identities
Gender identity is a complex topic that has garnered significant attention from researchers Unlike sexual identity, which relates to attraction, gender identity pertains to an individual's personal understanding of themselves as male, female, a blend of both, or neither This identity may or may not align with the sex assigned at birth and is shaped by a mix of inherent traits and environmental influences, distinguishing it from gender roles Gender roles are dictated by societal expectations regarding how males and females should appear and behave In contrast, gender identity is rooted in personal self-identification and the degree to which individuals conform to the societal characteristics they believe represent their gender.
In today's society, various gender identities have emerged, including agender, where individuals identify as having no gender, and androgynous, representing those with both masculine and feminine traits Bigender individuals switch between genders depending on the context, while cisgender or gender normative people align their gender identity with their natal sex and societal expectations Gender nonconforming individuals do not adhere to these social norms, and transgender individuals, encompassing both trans men and trans women, have a gender identity that differs from societal expectations and may pursue physical transitions Additionally, genderqueer individuals identify as neither exclusively male nor female, gender fluid people embrace a changing understanding of their gender, and pangender individuals identify as possessing all genders.
Sexual identity encompasses the sexual or romantic attractions individuals have towards others For instance, those who identify as "straight" or "heterosexual" are attracted to individuals of a different gender, while others may identify differently based on their unique attractions.
“queer” (lesbian, gay, bisexual or pansexual) feel attracted to people of the same gender or have feelings for more than one gender
Related studies
The discourse surrounding film increasingly explores the construction of character identities through various methodologies Notably, Lawless (2014) analyzed the portrayal of Russian identity in James Bond films, revealing a negative ideological message that perpetuates stereotypes and negative labeling of Russians Similarly, Felemban (2011) investigated linguistic strategies in shaping a main character's ethnic-national identity, identifying interlanguage and code-switching as key techniques Additionally, Hill-Parks (2011) examined identity construction in Christopher Nolan's films, highlighting the fluidity of characters' identities and the resulting freedom for audiences to interpret them.
Meanwhile, there are studies investigating the combination of different factors involving identity construction One example to illustrate this is Mustonen,
In their 2015 study, T examined how linguistic elements and multimodality contribute to the identity formation of women in the HBO series "Girls." A key finding revealed that negative lexical choices do not hinder the construction of female identities; rather, the characters possess the agency to redefine the implications of these negative terms This insight aligns with the research conducted by Hayes and Black, highlighting the empowering potential of language in shaping female narratives.
(2003) also studied the use of modality in the construction of disability identity as pitiful characters in 13 most popular Hollywood movies Also, Valanciunas, D
In their 2008 study, researchers explored two Indian films to analyze how Indian identity is shaped through linguistic elements and symbols, concluding that Hinduism is integral to Indian national identity and that myth reflects contemporary issues, patriotism, and national identity Additionally, Agustina and Maimunah (2013) employed queer theory to examine both narrative and non-narrative elements, such as costume and makeup, in a selected film Their findings revealed that the film simultaneously promotes queer concepts of gender while reinforcing traditional gender roles, effectively integrating queer themes within a heteronormative context.
This study focuses on the verbal elements of film discourse to explore the main character's identities, diverging from the current trend of multimodality in discourse analysis Unlike previous research that examines single identities, this study investigates the interplay between two identities, highlighting how their relationship enhances the film's messages Additionally, the researcher will address the often-overlooked aspect of professional identity within film discourse.
This chapter provides an overview of key theories related to the study, focusing on concepts such as discourse, the discursive construction of identities, and film discourse It explores multiple identities and various perspectives on them, along with common types of social identities Additionally, the chapter reviews relevant studies concerning the discursive construction of film characters The methodology for this study will be discussed in the following chapter.
METHODOLOGY
General information on the film
The study is involved with the film “The devil wears Prada” Released in
"The Devil Wears Prada," released in 2006, is based on Lauren Weisberger's 2003 novel inspired by her experiences as an assistant to Vogue's Anna Wintour The film follows Andrea Sachs, a recent graduate who lands a coveted position as a junior assistant to the demanding editor-in-chief, Miranda Priestly Struggling to meet Miranda's high expectations and facing criticism from colleagues, Andrea initially falters in the fashion world However, with the help of her colleague Nigel, she undergoes a transformation, enhancing her appearance and fashion knowledge, which impresses Miranda As Andrea's career progresses, she encounters significant challenges, including a daunting task to retrieve an unpublished Harry Potter manuscript Despite the pressures affecting her personal relationships, she ultimately succeeds and earns Miranda's recognition The story culminates with Andrea realizing she doesn't want to emulate Miranda's ruthless leadership style, leading her to leave the fashion industry for a more fulfilling career path.
The researcher manually selected 42 conversations between Andrea and other film characters from the script to address two research questions These conversations were categorized into work and non-work situations and numbered for clarity, aiding in the analysis of linguistic devices used to construct two targeted identities This organization also facilitates further investigation into the film's social context.
3.3 Data analysis method and procedure
3.3.1 The frameworks for data analysis
Critical Discourse Analysis (CDA) originated from the Lancaster school of linguists, notably influenced by Norman Fairclough Fairclough, along with Mulderrig and Wodak (2011), emphasizes that CDA is not merely a methodology but an "interdisciplinary movement" that integrates diverse approaches and theoretical frameworks This movement focuses on significant social issues such as power dynamics, inequality, and cultural transformations.
“critical” implies hidden connections and causes in discourse such as the relationship between language and one’s identity or ideology Previously, Wodak,
R & Meyer (2001) emphasized that Critical Discourse Analysis (CDA) perceives language as a social practice that influences both social reproduction and change, highlighting the significance of context in language use This perspective is reinforced by Van Dijk (2008), who elucidated that CDA aims to uncover how elements such as social power and inequality are manifested in texts within specific contexts.
According to Lin (2014), Critical Discourse Analysis (CDA) is characterized by five key principles: it addresses social issues arising from the misuse of discourse, operates as a problem-oriented approach within applied linguistics, engages with various disciplines necessitating adaptability from practitioners, focuses on marginalized and less powerful groups, and emphasizes the need for researchers to justify their subjectivity.
This study utilizes Critical Discourse Analysis (CDA) to explore the connections between language use and identity construction, revealing the social factors that shape these linguistic practices CDA is deemed essential for addressing the research questions, particularly in understanding how language contributes to the portrayal of the main character.
As can be shown in the following diagram, this model involves three interrelated dimensions of discourse, which can be used for the process of discourse analysis
The micro-level of analysis focuses on the linguistic and semiotic features of a text, examining how these elements are utilized to achieve the author's objectives Fairclough (1989) provided a framework for textual analysis, consisting of ten questions categorized into three segments.
1 What experiential values do words have? (classification schemes, rewording/ overwording, ideologically significant meaning relations between words)
2 What relational values do words have? (euphemistic expressions, markedly formal/ informal words)
3 What expressive values do words have?
4 And what metaphors are used?
5 What experiential values do grammatical features have? (types of process and participants, the use of normalization, the use of active or passive sentences)
6 What relational values do grammatical features have? (the use of modes, important features of relational modality)
7 What expressive values do grammatical features have? (important features of relational modality)
8 How are (simple) sentences linked together? (the use of logical connectors, the characterization of complex sentences)
9 What interactional conventions are used?
10 What larger scale structures does the text have?
The researcher chose not to use the suggestive list of questions in this study, which focuses solely on gender identity and professional identity Instead, the analysis of the main character's identities relies on the meanings of lexical resources found in the film script, along with categories proposed by Lakoff (1975), Mulac et al (2001), and Tannen (1990).
Euphemism is polite, implicit expressions used to replace words which are considered unpleasant to listeners
Intensifiers are adverbs such as “very”, “so”, “definitely”, “really” used to add emphasis to another word, rather than express meaning themselves
Hyperbole involves the use of exaggerated language, such as strong adjectives and metaphorical expressions, to emphasize information and enhance its impact on the audience.
Modality is the speaker’s use of modal verbs and auxiliaries to express attitudes towards the world It can help convey the level of certainty, willingness, obligation, ability or politeness
Hedges are phrases such as "I think," "I suppose," "kind of," and "you know," which speakers use to express uncertainty or to soften their statements These linguistic tools help maintain politeness and avoid potential conflict in conversations.
Rapport talk is the use of language as a way to establish connections, create intimacy and negotiate relationships
The meso-level of the model connects discourse practice with socio-cultural reality, highlighting how text production and consumption shape social contexts This level encompasses the discourse type, the producers' practices for message transmission, and the target audience In the study, the researcher analyzed the production crew and the target audience of "The Devil Wears Prada" to explore the identity construction of the main character, Andrea, and the interpretations of messages conveyed through this discourse Additionally, the study examined how the production crew's alterations from the original novel contributed to the narrative.
The macro-level focuses on socio-cultural practices, highlighting the connection between discourse processes and social conditions As noted by Fairclough (1995), understanding social practice is essential for analyzing the broader implications of discourse in society.
The contemporary societal context significantly shapes the thoughts and beliefs of media producers, influencing their discourse practices, which in turn affect audiences and society as a whole This study identifies that the film was created during the postfeminism era, where some media creators employed strategies that contradicted feminist ideologies, encouraging women to embrace traditional values Scholars like Gerbner (1998) and Faludi (1992) highlight that media narratives often suggest a shortage of men, motivating women to prioritize traditional roles over career ambitions and to invest in consumer products aimed at enhancing their physical attractiveness Ultimately, this research reveals how the postfeminism era impacted the construction of Andrea's identities within the film.
In general, the procedure of data analysis is as follows:
The researcher began by extracting the main character's conversations to gather detailed information for analysis After thoroughly reviewing these dialogues, the researcher identified the most distinctly represented identities The data was then categorized into various extracts, which were numbered and included in the appendix To analyze the conversations, the researcher utilized the micro-level of Fairclough’s three-dimensional model (2010), focusing on the linguistic elements involved in constructing the character's identities to address the first research question The findings were presented with numbered examples, referencing their corresponding extracts in the appendix.
The researcher gathered essential background information about the film, including details about the production crew, target audience, release year, and notable differences from the original novel Following this, they re-examined the dialogues, synthesized the findings, and interpreted the underlying messages conveyed through the film, which served as a crucial element in the discourse analysis This process significantly contributed to addressing the second research question.
Data analysis method and procedure
3.3.1 The frameworks for data analysis
Critical Discourse Analysis (CDA) originated at the Lancaster school of linguistics, with notable contributions from Norman Fairclough According to Fairclough, Mulderrig, and Wodak (2011), CDA is characterized as an "interdisciplinary movement" rather than a strict methodology, integrating diverse approaches and theoretical frameworks that collectively focus on social issues such as power dynamics, inequality, and cultural transformations.
“critical” implies hidden connections and causes in discourse such as the relationship between language and one’s identity or ideology Previously, Wodak,
R & Meyer (2001) argue that Critical Discourse Analysis (CDA) perceives language as a social practice that plays a crucial role in both social reproduction and change, emphasizing the importance of examining the context in which language is used This perspective is reinforced by Van Dijk (2008), who elucidates that CDA focuses on identifying how aspects such as social power and inequality are reflected in texts within specific contexts.
In her 2014 overview, Lin highlights five key principles of Critical Discourse Analysis (CDA): it addresses social issues arising from the misuse of discourse, serves as a problem-oriented approach within applied linguistics, necessitates interdisciplinary flexibility, focuses on marginalized groups with less power, and requires researchers to justify their subjective perspectives.
This study utilizes Critical Discourse Analysis (CDA) to explore the connections between language use and the identities it constructs CDA serves as a valuable tool for uncovering the social factors that shape language practices, particularly in constructing the main character's image As a result, the researcher deems CDA highly relevant for addressing the two key research questions.
As can be shown in the following diagram, this model involves three interrelated dimensions of discourse, which can be used for the process of discourse analysis
The micro-level of this model focuses on analyzing the linguistic and semiotic properties of a text to understand how they serve the text producer's objectives Fairclough (1989) previously outlined a framework for textual analysis, consisting of ten questions categorized into three segments.
1 What experiential values do words have? (classification schemes, rewording/ overwording, ideologically significant meaning relations between words)
2 What relational values do words have? (euphemistic expressions, markedly formal/ informal words)
3 What expressive values do words have?
4 And what metaphors are used?
5 What experiential values do grammatical features have? (types of process and participants, the use of normalization, the use of active or passive sentences)
6 What relational values do grammatical features have? (the use of modes, important features of relational modality)
7 What expressive values do grammatical features have? (important features of relational modality)
8 How are (simple) sentences linked together? (the use of logical connectors, the characterization of complex sentences)
9 What interactional conventions are used?
10 What larger scale structures does the text have?
Due to the suggestive nature of the questions and the study's specific focus on gender identity and professional identity, the researcher opted not to use them Instead, the analysis of the main character's identities is grounded in the meanings derived from lexical resources in the film script, utilizing categories established by Lakoff (1975), Mulac et al (2001), and Tannen (1990).
Euphemism is polite, implicit expressions used to replace words which are considered unpleasant to listeners
Intensifiers are adverbs such as “very”, “so”, “definitely”, “really” used to add emphasis to another word, rather than express meaning themselves
Hyperbole involves the use of exaggerated language, such as strong adjectives and metaphorical expressions, to emphasize information and enhance its impact on the audience.
Modality is the speaker’s use of modal verbs and auxiliaries to express attitudes towards the world It can help convey the level of certainty, willingness, obligation, ability or politeness
Hedges are phrases such as "I think," "I suppose," "kind of," and "you know," which speakers use to express uncertainty or to soften their statements These expressions help maintain politeness in conversations, allowing individuals to avoid sounding rude or overly assertive.
Rapport talk is the use of language as a way to establish connections, create intimacy and negotiate relationships
The meso-level in the model connects discourse practice with socio-cultural contexts, illustrating how text production and consumption shape social reality This level encompasses the type of discourse employed, the producers and their methods of conveying messages, and the intended audience In the study, insights into the production team and the target audience of the film "The Devil Wears Prada" were provided to elucidate the identity construction of the main character, Andrea, and the interpretations of the messages conveyed through this discourse Additionally, the production crew's alterations from the original novel were highlighted, showcasing their impact on the narrative.
The macro-level examines socio-cultural practices, highlighting the connection between discourse processes and social conditions Fairclough (1995) posits that analyzing social practices is essential for understanding these relationships.
The surrounding circumstances significantly influence and are influenced by discourse, reflecting how contemporary society shapes producers' thoughts and beliefs, which drive their discourse practices This dynamic, in turn, affects the audience and society at large The researcher identified that the film was produced in the postfeminism era, where media creators employed strategies contrary to feminist ideology, encouraging women to embrace traditional values Notably, Faludi (1992) highlighted that themes such as the scarcity of men were prevalent in films and magazines, aimed at persuading women to prioritize consumerism and physical attractiveness over career ambitions Ultimately, the study revealed the impact of the postfeminism era on the construction of Andrea’s identities.
In general, the procedure of data analysis is as follows:
The researcher began by extracting the main character's conversations to gather detailed insights for analysis After thoroughly reviewing these conversations, the researcher identified the most clearly portrayed identities The data was then organized into numbered extracts, which were included in the appendix To analyze the conversations, the researcher utilized the micro-level of Fairclough’s three-dimensional model (2010), focusing on the linguistic elements involved in constructing the character's identities to address the first research question The findings were subsequently presented with numbered examples referencing their corresponding extracts in the appendix.
The researcher gathered essential background information about the film, including details on the production crew, target audience, release year, and its differences from the original novel Following this, the researcher re-examined the dialogues, synthesized the gathered information, and interpreted the underlying messages conveyed through the film, which served as a catalyst for the discourse practice This process significantly contributed to addressing the second research question.
The second research question was addressed by analyzing the film's publication year, target audience, and underlying messages, which revealed the social context of the film The researcher identified that the film was released in the early 20th century, aimed at young women, and conveyed messages aligned with traditional values and societal roles of women.
This chapter summarizes the film central to the study and outlines the manual data selection method, alongside the two primary frameworks used for data analysis: Critical Discourse Analysis (CDA) and Fairclough (2010) It also details the specific steps involved in the data analysis process The following chapter will present the study's results and discussion.
RESULTS AND DISCUSSION
The construction of Andrea’s identities
The analysis of the film script revealed that gender identity and professional identities are the most prominent characteristics of the characters, consistently highlighted through various linguistic techniques throughout the film.
In the film, Andrea is depicted as a cisgender woman, with her gender identity aligning seamlessly with societal norms for femininity This identity is skillfully crafted through her consistent use of rapport talk and various linguistic devices, including euphemisms, intensifiers, hyperbole, and modality, which enhance her character and behavior throughout the narrative.
Rapport talk plays a significant role in defining the main character, Andrea Tannen (1990) highlights that women typically engage in more rapport talk than men, focusing on building interpersonal connections and fostering intimacy Andrea’s cisgender identity is shaped by her use of non-assertive and supportive communication, which helps her maintain positive relationships This is evident at the film's outset when Andrea faces mockery and disdain from her new colleague, illustrating her reliance on rapport to navigate social dynamics.
Emily for her bad sense of fashion, still offers Emily cooperative replies For example:
Emily: Okay, so I was Miranda's second assistant… but her first assistant recently got promoted, and so now I'm the first
Andrea: Oh, and you're replacing yourself
Andrea's response demonstrates her interest and support for Emily's discussion, despite its inherently arrogant tone This statement can be interpreted as a compliment or congratulations from Andrea to Emily, highlighting Andrea's efforts to foster a closer relationship with her.
Another example is an interrogative reply with calmness, maintaining a cooperative talk despite Emily’s evident mockery
Emily: Andrea, Runway is a fashion magazine… so an interest in fashion is crucial
Andrea: What makes you think I'm not interested in fashion?
Andrea's courteous demeanor is evident in her thank-you response following the job interview, despite the boss's apparent underestimation and indifference towards her.
Andrea acknowledges her lack of fit in the fashion world, admitting she doesn't possess the typical traits of being skinny or glamorous However, she emphasizes her intelligence, quick learning ability, and strong work ethic, expressing her determination to succeed despite these challenges.
Miranda’s employee: I got the exclusive on the Cavalli for Gwyneth but the problem is, with that huge feathered headdress that she’s wearing
Andrea: Thank you for your time
Andrea frequently engages in rapport talk with her colleagues, particularly Emily and Nigel She often shares personal life experiences with Emily, fostering a closer connection and open communication in the workplace.
Andrea: Thank God it's Friday, right?
At least Miranda will be in Miami, so we don't have to be on call this weekend
You know, my dad's coming in from Ohio
Yeah, we're gonna go out to dinner, maybe see Chicago
You doing anything fun this weekend?
In the extract, the interaction between Andrea and Emily highlights the importance of fostering intimate conversations among female co-workers Andrea shares her weekend plans with her father and inquires about Emily’s plans, aiming to deepen their connection Additionally, when Andrea receives the opportunity to deliver an important document to her boss's house for the first time, she eagerly shares her excitement with Emily, possibly seeking encouragement or positive reinforcement, although Emily appears indifferent to the news.
Andrea: You know, if I can deliver the Book, that means I must have done something right I'm not a psycho
Oh, and, you know, she called me Andrea?
I mean, she didn't call me Emily, which is… Isn't that great?
Andrea even strives to maintain an intimate relationship with Emily by sharing unnecessary information about her boyfriend’s birthday and the plan for the birthday party as follows
Andrea: I need to get to Magnolia Bakery before it closes It's Nate's birthday tonight So we're, uh, having a little party for him
Emily: Yeah, I'm hearing this, and I wanna hear this
Andrea's conversational style with Nigel consistently reflects a strong rapport, as she openly shares the darker aspects of her personal life, seeking his sympathy and understanding for her behavior.
Nigel: Excuse me.Can we adjust the attitude?
Nigel: Don't make me feed you to one of the models
Andrea: I'm sorry It's a busy day My personal life is hanging by a thread, that's all
The rapport talk style is evident in her enthusiastic support for her boyfriend, despite her feelings of bitterness and sadness over their separation.
Nate: I interviewed at the Oak Room
Nate: And you're looking at their new sous-chef I'm moving up there in a couple weeks
Euphemism, as noted by Lakoff (1975), is often used by women who are perceived to exhibit greater empathy, care, and politeness than men This linguistic device serves to portray Andrea as an empathetic, caring, and polite individual.
Doug: Well, lucky for me, I already have my dream job
Andrea & Lily: You're a corporate research analyst!
Doug: Oh, you're right My job sucks
In the given example, the response serves as a euphemism for the friend's job, which is widely regarded as dull and undesirable, illustrating a desire to spare the friend's feelings Additionally, Andrea's choice to use the euphemism "Shoot" in place of "Shit" showcases her polite demeanor, further highlighting her character.
Andrea's use of intensifiers and hyperbole in her conversations highlights her caring and sympathetic nature A notable instance of this is her heartfelt compliment to Emily about her body, acknowledging the effort Emily has put into her strict diet to achieve a suitable physique for the event.
Emily: Oh, oh, my God Andy, you look so chic
Andrea: Oh, thanks, Em You look so thin
Emily: Oh, it's for Paris I'm on this new diet It's very effective Well, I don't eat anything And then when I feel like I'm about to faint, I eat a cube of cheese
Andrea: Well, it's definitely working
“Thin”, based in this context, is used with a positive connotation, proving Andrea’s support for Emily’s efforts to lose weight Intensifying adverbs like “so”,
“definitely” contribute to heightening the effects of the compliments, leading to a higher level of pleasure for Emily
When Nigel decides to leave his company for a better job opportunity, Andrea expresses her support and concern by praising him and highlighting his significant contributions, even going so far as to exaggerate his role within the organization.
Andrea: I can't imagine Runway without you
Nigel: I know, I know, but I'm so excited though
Andrea: Well, congratulations Nigel, you deserve it
Andrea's use of the double negative "can't" and "without" serves as hyperbole, yet it effectively highlights Nigel's crucial role in Runway This choice of language underscores the speaker's acknowledgment of the listener, enhancing their perceived value.
Interpretations of Andrea’s identities construction under the influence of social
4.2.1 Screen adaptations of “The Devil wears Prada”
“The devil wears Prada” belongs to chick-flick film genre, whose protagonists are women and target audience are females As stated in Evans, M
In the 2008 chick-flick "The Devil Wears Prada," the narrative emphasizes dialogue and relationships over special effects and violence, showcasing the female protagonist's struggles with love and personal disparity The film centers on Andrea and Miranda, who embody contrasting traits; Andrea is portrayed as feminine and submissive, while Miranda is depicted as masculine and powerful This stark contrast allows the target female audience to easily understand the film's messages and select a relatable role model that resonates with their own experiences.
The film adaptation of the novel features several significant changes made by screenwriter Aline Brosh McKenna, with approval from producer Wendy Finerman and director David Frankel Notably, in the movie, Andrea Sachs lives with her boyfriend, whereas in the book, she shares an apartment with other women and eventually returns to her family Additionally, the character Christian Thompson assists Andrea in obtaining the unpublished Harry Potter manuscript, a plot point not present in the novel, where their relationship remains platonic The film's portrayal of Andrea, including a one-night stand with Christian, emphasizes her dependence on men for love and protection, reflecting a traditional cisgender narrative.
To enhance Andrea's cisgender identity in the film adaptation, her characteristics were altered significantly In the novel, Andrea is portrayed as hard-edged, often angry, impatient, and using foul language, while the film presents her as more refined, avoiding smoking and profanity in favor of euphemisms like "shoot." Additionally, the film concludes Andrea's role as Miranda's assistant with a symbolic act of throwing her cell phone into a fountain, contrasting sharply with the novel, where she publicly confronts Miranda and is subsequently fired These changes depict the film's Andrea as a more feminine character, aligning with societal expectations of women's behavior.
In the adaptation of Andrea's character from the novel to the film, a significant change is her hair color; the book portrays her as a blonde, while the movie presents her as a brunette This alteration aims to challenge the stereotype that associates blonde hair with beauty but a lack of intelligence, thereby reshaping Andrea's professional identity in a more nuanced way.
4.2.2 The influence of postfeminism era on Andrea’s identities construction
The adaptations mentioned play a crucial role in shaping Andrea's identities, enabling her to communicate targeted messages to the audience This construction of identity is significantly influenced by postfeminism's impact on modern society and media.
4.2.2.1 The entanglement of both feminist and anti-feminist ideas
In 2002, Douglas, S (an American columnist) wrote an article called
The concept of "Manufacturing Postfeminism" suggests that while feminism has enabled significant progress for women, it is now viewed as irrelevant and even detrimental, leading to unhappiness and isolation among women In "The Devil Wears Prada," feminist themes are present, as Andrea showcases a successful professional identity that empowers female viewers and reinforces gender equality However, the film also illustrates anti-feminist sentiments, highlighting the negative consequences of feminism, such as Andrea's strained relationships and eventual loneliness due to her demanding career Ultimately, she resigns from her job upon realizing that emulating masculine decision-making, exemplified by Miranda's character, compromises her moral values and personal happiness The film conveys a postfeminist message: women can achieve career success, but not at the cost of their relationships and traditional societal values.
4.2.2.2 The resurgence of sexual difference
In the postfeminism era, gender labeling in media persists, with males often embodying masculine traits and females feminine ones Deviations from these norms are frequently viewed as unacceptable As the protagonist, Andrea serves as a role model for female viewers, yet she is portrayed with traditionally feminine characteristics such as dependence, emotionality, and cooperation Despite her intelligence and success, she is expected to avoid morally questionable actions, like undermining Emily for career advancement, and should not emulate Miranda's neglect of family for work Society anticipates that Andrea will prioritize her boyfriend's feelings over her own ambitions, as illustrated by her willingness to support his job relocation despite the potential strain on their relationship.
In the context of postfeminism, Gill (2007) highlights that women are often seen as responsible for managing their sexual and emotional relationships, aiming to present themselves as desirable to men This theme is evident in "The Devil Wears Prada," where Andrea frequently resorts to her sexual appeal to resolve conflicts with her boyfriend, demonstrating its effectiveness Additionally, the film illustrates Andrea's one-night stand with Christian as a form of repayment for the "debt" she owes him regarding the Harry Potter manuscript, further emphasizing the intertwining of sexual dynamics and personal relationships in her identity construction.
In the postfeminism era, as noted by Gill (2007), women can leverage their sexual power and outer beauty to gain professional success, exemplified by Andrea's transformation through a style makeover This change, marked by makeup, new hair, and designer clothes, earns her positive recognition from colleagues, her boss, and her boyfriend, enhancing her confidence and effectiveness at work As a result of her chic appearance, Andrea receives preferential treatment from her boss, leading to exclusive opportunities such as attending significant fashion events and networking with influential figures in the fashion and journalism industries, including Christian Thompson, who later assists her in finding an unpublished Harry Potter manuscript.
Douglas, S emphasizes the significant role of postfeminism in modern media, particularly in films In this postfeminist context, media serves as a platform for promoting products and appealing to female consumers who associate self-improvement and success with beauty.
This chapter presents the findings related to two research questions, highlighting the linguistic tools utilized to construct the character's identities, including euphemism, intensifiers, hyperbole, modality, rapport talk, fashion-related jargon, and contrastive lexical resources Additionally, it explores the impact of social context on the film, focusing on three key aspects: the intertwining feminist and anti-feminist themes, the revival of natural sexual distinctions, and the promotion of women's objectification and beautification.