APPLICATION OF FOUCAULDIAN POWER-DISCOURSE-SUBJECT MODEL ANALYSIS OF SELECTED AMERICAN TV TALK SHOWS TONIGHT SHOW WITH JAY LENO, LATE SHOW WITH DAVID LETTERMAN AND ELLEN DEGENERES SHOW

APPLICATION OF FOUCAULDIAN POWER-DISCOURSE-SUBJECT MODEL: ANALYSIS OF SELECTED AMERICAN TV TALK SHOWS TONIGHT SHOW WITH JAY LENO, LATE SHOW WITH DAVID LETTERMAN AND ELLEN DEGENERES SHOW By Joana Šinkūnaitė Department of English Philology Vytautas Magnus University Master of Arts Thesis Supervisor: Assoc.prof Dalia Masaitienė 16 May 2011 CONTENTS SANTRAUKA………………………………………………………………………………………… SUMMARY…………………………………………………………………………………………… INTRODUCTION…………………………………………………………………………………… CONCEPTUALIZATION OF DISCOURSE………………………………………………………….7 2.1 Discourse Theory………………………………………………………………………………7 2.1.1 Discourse vs Language: traditional vs Foucauldian approach to discourse………………7 2.1.2 Discourse intellectual traditions………………………………… ……………………… 2.1.2.1 Hermeneutics tradition……………………………………………………………….8 2.1.2.2 Ethnography and social theory…………………………… ……………………… 2.1.2.3 Analysis of power theory…………………………………….………………………9 2.1.2.3.1 Power and critical discourse analysis……………………………………… 10 FOUCAULDIAN CONCEPTUALIZATION OF POWER…………………………………… 12 3.1 Traditional vs Foucauldian approach to power…………………………………………… 12 3.2 Foucault’s power hypotheses……………………………………………………………… 13 THE QUESTION OF SUBJECT…………………………………………………………………15 4.1 Traditional vs Foucauldian conception of the subject…….……………………………… 15 4.2 Subject positions……………………………………………………………………………17 DISCOURSE OF TELEVISION…………………………………………………………………19 5.1 Television and production………………………………………………………………… 19 5.2 Television and audience…………………………………………………………………….20 5.2.1 Marshall’s and Werndly’s approach to ‘effects’ and ‘uses-and-gratifications’ model…20 5.2.2 Rubin’s approach to ‘effects’ and ‘uses-and-gratifications’ model…………………….21 5.2.2.1 Typology of media-person interaction………………………………………….23 5.3 The ‘voices’ of television………………………………………………………………… 25 5.4 Interaction on television: conversation…………………………………………………… 26 CONCEPTUALIZATION OF CONVERSATION ANALISIS………………………………….28 6.1 Developments in CA research ………………………………………………………………28 6.2 Harvey Sacks’ concepts related to CA……………………………………………………….31 DATA AND METHODOLOGY 33 ANALYSIS OF SELECTED AMERICAN TV TALK SHOWS 35 8.1 Institutional discourse: macro control through structure .36 8.1.1 Structuring of Ellen DeGeneres Show .36 8.1.2 Structuring of Tonight Show with Jay Leno 38 8.1.3 Structuring of Late Show with DavidLetterman 44 8.2 Interpersonal intraction: micro power relations in selected interviews .47 8.2.1 Correlation between setting and control .48 8.2.2 Analysis of turn-taking: interruptions 51 8.2.3 Questions and topic control 65 8.3 Interlocutors’ subject positions…………………………………………………………… 67 CONCLUSIONS………………………………………………………………………………….71 LIST OF REFERENCES………………………………………………………………………… 74 APPENDIX A: TRANSCRIPTS OF SELECTED INTERVIEWS……………………………… 76 APPENDIX B: THE ‘OUTLINE MODEL’ OF QUESTIONS IN THE SELECTED INTERVIEWS……………………………………………………………………………………108 SANTRAUKA Baigiamojo magistro darbo tikslas – Foucault galios-diskurso-subjekto modelio taikymas amerikiečių pokalbių šou analizei: Ellen DeGeneres Show, Tonight Show with Jay Leno ir Late Show with David Letterman Baigiamojo darbo analizė apima šešis interviu, kurių kiekvieno trukmė yra 10 minučių Bendra parinktų interviu trukmė yra 60 minučių Teorinė baigiamojo darbo dalis yra paremta literatūros šaltinių analize, kurie apima samprotavimus, apibrėžiančius diskurso, galios ir subjektyvumo sąvokas Be to, kadangi čia analizuojami televizijos tekstai ir jų transkripcijos yra šios analizės objektas, teoriniai televizijos diskurso ir pokalbio analizės aspektai yra taip pat įtraukti Taigi, teorinė literatūros šaltinių analizė yra visų pirma paremta diskurso, galios, subjekto ir subjekto pozicijų sąvokų aiškinimu, remiantis Foucault ir tradiciniais požiūriais Po to dėmesys skiriamas televizijos diskurso teorinei analizei, pabrėžiant šios institucijos vaidmenį kuriant ir vartojant televizijos tekstus Sekančiuose skirsniuose pagrindinis dėmesys skiriamas žiniasklaidos priemonių ir asmens tarpusavio sąveikai Analitinė darbo dalis pritaiko Foucault galios, diskurso ir subjektyvumo sąvokas šešiems amerikiečių pokalbių šou interviu Analitinės dalies tikslas yra dvilypis Pirma, baigiamojo magistro darbo siekis yra išanalizuoti analizei parinktus interviu kaip galios santykio apraiškas makro ir mikro lygmeniu Galios santykio analizė makro lygmeniu remiasi pokalbių šou ir institucinio diskurso sąveika, kur galios aspektas pasireiškia šių televizijos programų struktūroje arba išdėstyme Mikro lygmeniu analizė siekia nustatyti galios santykio apraiškas tarpusavio bendravime Šioje dalyje dėmesys skiriamas fizinės aplinkos ir galios, eiliškumo pokalbyje ir pranašumo jausmo, ir teisės užduoti klausimus ir tematinės kontrolinės sąveikoms Galiausiai, analizė kelia subjektyvumo klausimą, kuris padeda atskleisti pašnekovų, kaip subjebtų, tapatybės pozicijas Analitinę baigiamojo magistrinio darbo dalį papildo parinktų interviu santraukos Šių šešių televizijos tekstų transkripcijos pateikiamos darbo priede SUMMARY The thesis aims to apply a Foucauldian ‘power-discourse-subject’ model to the analysis of selected American TV talk shows: Ellen DeGeneres Show, Tonight Show with Jay Leno and Late Show with David Letterman The scope of the analysis includes interviews of 10 minutes each, thus adding to a total of 60 minutes of video material Theoretical part of the thesis follows the analysis of literary sources dealing with conceptualizations of the notions expressed about discourse, power and subjectivity In addition, since the object of the analysis includes television texts and their transcribed versions, theoretical issues of television discourse and conversation analysis are provided as well Therefore, theoretical analysis is first of all based on the conceptualizations of discourse, power, subject and subject positions from Foucauldian and traditional perspectives Later, the discussion moves to the discourse of television, focusing on production and consumption of television texts by members of the institution Here, the analysis of media-person interaction comes to the fore Finally, the conceptualization of conversation analysis ends the theoretical analysis of literary sources The analytical part applies the Foucauldian notion of power, discourse and subjectivity to the interviews, taken from the three American TV talk shows The aim of the analysis is two-fold The thesis seeks to analyze the selected interviews as manifestations of power relations on a macro and micro level The analysis of power relations on the macro level is based on looking at the shows as manifestations of institutional discourse, where the aspect of control becomes evident in the patterns of structure or framing of the programmes The analysis on the micro level focuses on the manifestations of power relations on interpersonal interaction Here, the focus is diverted to the correlations between setting and control, turn-taking and a sense of superiority, and the right to ask questions and topic control Finally, the analysis addresses the issue of subjectivity, where interlocutors’ subject positions are revealed The analytical part of the thesis also includes summaries of selected interviews Transcriptions of the six television texts are provided in appendix part of the thesis INTRODUCTION A silver screen, floodlights, music, smiling faces and applause The promise of an hour-long excitement Sounds familiar? All people it We all have watched TV talk shows Nicholas Johnson once said that “all television is educational television The question is: what is it teaching?” * And when we come to think about it, does television, as we have it today, teach us anything? A movie star on Late Show with David Letterman does not give an acting class, nor does a rock star teach how to play the guitar Maybe it is something important they have to say Otherwise, why would they be on the show? This is not the case either There seems to be nothing representative about TV talk shows It is just a form of entertainment, a pastime, an escape It sure is the case when it is taken for what it is However, when it is regarded as a text, it acquires meaning It becomes a signifier, the object of multiple analyses, depending on the field of focus It can be studied from a purely linguistic perspective, pragmatic perspective, or it could be analyzed by researchers in cultural or ethnographic studies The thesis takes three American TV talk shows and six interviews and analyzes them through interrelated approaches to discourse analysis, which include the theories of discourse itself, power and subjectivity These concepts have been the object of many philosophical debates and analyses throughout history The analysis of the TV talks shows, in relations to these concepts, is based on the ideas proposed by the French philosopher Michael Foucault Since the concepts of discourse, power and subjectivity are interrelated, the thesis establishes the ‘power-discourse-subject’ model Therefore, the aim of the thesis is to apply the Foucauldian ‘power-discourse-subject’ model to selected American TV talk shows: Tonight Show with Jay Leno, Late Show with David Letterman and Ellen DeGeneres Show The key objective is to carry out the analysis of selected American TV talk shows on the basis of power relations on macro and micro levels The analysis on the macro level will be based on the institutional discourse of television and its relation to control in selected TV talk shows through patterns in structure The analysis on the micro level will be based on power relations in interpersonal interaction, focusing on: * • the correlation between setting and control; • elements of conversation analysis, such as turn-taking, • questions, as a means of control; • and interlocutors’ subject positions Taken from http://www.quotegarden.com/television.html The scope of the analysis encompasses interviews, making a total of 60 minutes of video material Its transcribed version are made available in appendix part of the paper The material was extracted from the online video sharing website YouTube The analysis will be grounded on a variety of primary and secondary literary sources However, the key sources used in the theoretical analysis are the following: • Power/Knowledge: selected interviews and other writings, 1972-1977 / Michel Foucault 1980 Ed Colin Gordon Translated by Colin Gordon New York: Pantheon Books • Dillion, L.George 1994 “Discourse Theory” In The John Hopkins Guide to Literary Theory and Criticism Baltimore: The John Hopkins University Press 1994: 211-212 • Hall, Stuart 1997 “Foucault: Power, Knowledge and Discourse” In Discourse Theory and Practice: A Reader by Margaret Wetherell, Stephanie Taylor and Simeon J Yates 2001 London: Sage Publications • Marshall, Jill and Angea Werndly 2002 The Language of Television London: Routledge The thesis is divided in two major parts The first part is based on the introduction and analysis of literary sources Thus, the next chapter, which is chapter 2, provides a conceptualization of discourse and introduction to a discourse theory As follows, chapter presents a Foucauldian conceptualization of power, bringing focus to the comparison of a traditional and Foucaudian approaches to power and introducing Foucault’s power hypotheses Next, chapter will introduce the concept of the subject Its two sections will be based on the comparison of a tradition and Foucauldian conceptions of the subject and presentation of subject positions Further, chapter will turn to theoretical aspects of the discourse of television, including its production, its members and interaction between those members Finally, chapter will end the theoretical analysis with a conceptualization of conversation analysis, drawing on the main tenants of its development and terminology Chapter will mark an introduction to the second major part of the thesis It will present the data and methodology employed in the analysis With chapter begins the practical analysis of selected American TV talk shows on the said macro and micro levels Final conclusions will be drawn in chapter The thesis is also provided with a list of references and appendices CONCEPTUALIZATION OF DISCOURSE 2.1 Discourse Theory Discourse theory is oriented toward unmasking, debunking, and raising our consciousness about the ways current discourses serve power that one sympathizes with Foucault’s suggestion that it reflects intellectual’s uneasiness, embarrassment, or fear of power, which has as much a creative, positive aspect as it does an exclusionary, silencing one L.Dillion (1994: 212) An attempt to give a single satisfactory definition of the term ‘discourse’ causes uneasiness since the term is explained from multiple points of view depending on the field of study For instance, in The Johns Hopkins Guide to Literary Theory and Criticism, Beaugrande notes that a proper definition should be considered from different perspectives: “linguistic, philosophical, cognitive, social, anthropological, literary, historical, political and ideological” (1994: 208) Therefore, to fully grasp the notion of ‘discourse’ requires the integration of different, though related, approaches to ‘discourse’ or ‘discourse analysis’ and acceptance of the fact that it is constantly changing 2.1.1 Discourse vs language: traditional and Foucauldian approach to discourse It can be argued that ‘discourse’ can be identified as ‘language’ and analyzed as such However, in Discourse Theory, Dillion distances the latter from the former for it invokes a somewhat uniform notion lacking in integration (1994: 211) He argues that “[t]he standard definition of “language” in linguistics (a set of units and rules for combining them to make well-formed sentences) treats language as invariant over domains, occasions, speakers, and purposes” (ibid.) Here, the author implies a ‘normative’1 approach to ‘language’ use and that it does not vary across social contexts, users of ‘language’ and its aims Dillion does not stop here He clarifies that other traditional uses of language specify for some particulars (the language of the courtroom, insurance policies, advertising), but even these uses share with linguistics a tendency to analyze texts (or transcriptions of speech) in terms of patterns of choice, to objectivise in terms of words and structures (ibid.) In other words, discourse theorists mention the aspect of social domains in relation to traditional linguistics, but they criticize it for taking the language of those domains as an object of selective Richards, Keith and Paul Seedhouse 2005 Applying Conversation Analysis xvi-xx The term denotes being governed by norms and rules analysis and, instead of looking deeper into extra linguistic factors or drawing connections with other disciplines, linguists confine to identifying certain linguistic formations This view of ‘language’ implies that the term ‘discourse’ follows a different direction, where texts are integrative parts of the bodies that produce them and, thus, have to be treated as performing subjects Hence, ‘discourse’ in Discourse Theory is viewed not as “sets of formally identified structures but a type of social action” (ibid.) This notion of ‘discourse’ is related to the French philosopher’s Foucault’s (1956-1984) view of ‘discourse’ as a product and producer of social bodies and their practices (ibid.) In this respect, Dillion blends the theory of discourse with the theories of society, power, legitimacy, and authority (ibid.) Society, according to the Discourse Theory, could “be viewed as the sum of discourses” (ibid.) It has to be noted that ‘discourse’ here is understood not only as written or spoken texts, but also as social practices that are governed by certain rules In addition, “the conditions under which one can make serious, authoritative statements include material and social institutions and practices” (ibid.) Material institutions, for instance, would include educational system centers such as kindergartens, schools, universities, etc., which operate under established practices 2.1.2 Discourse Intellectual Traditions Dillion’s Discourse Theory is founded on certain philosophical, anthropological and social theories The following section presents the Discourse Theory from the perspective of three major intellectual traditions: ‘hermeneutics’, ‘ethnography and social theory’, and ‘the analysis of power’ 2.1.2.1 Hermeneutics tradition In hermeneutics tradition, discourse takes place within a shared horizon of preunderstanding that cannot be fully or explicitly formulated No discourse could be completely self-grounded, and the ability to function as a participant cannot be acquired wholly from a book, but arises from initiation and experience (ibid.) Every discourse can only be understood in the context of pre-existing knowledge and experience, which varies from every participant and thus cannot be fully grasped In A Dictionary of Cultural and Critical Theory (2010), Mohanty explains the term ‘preunderstanding’ in the following: “Understanding is never without any presupposition, but is always on the basis of a prior “forestructure” […] This fore-structure consists of fore-having, fore-sight, and fore-conception” (2010: 580) It follows then that the relationship between discourse and its participants is grounded on common knowledge of its practices, the implementation of which requires undergoing some form of initiation Experience in discursive participation builds on pre-existing structures, which, as has been stated, cannot be uniformly delineated Thus, it could be argued that discourse is volatile and constantly challenged by different understandings or interpretations 2.1.2.2 Ethnography and social theory The ethnography and social theory is preoccupied with the observation and study of “cultural practices” (Dillion 1994: 211) It brings forward and denaturalizes a variety of institutional discourses and, as hermeneutics, views discourse as stemming from “social forms and practices” (ibid.) In addition, the ethnography and social theory emphasizes the role of the researcher as an “outsider” and unnaturalness of the results, for they are obtained from the researcher’s subjective point of view of “insider understanding” (ibid.) 2.1.2.3 Analysis of power theory The tradition of the analysis of power places discourse in the socio-historical context of “late capitalist societies”, where discourse is viewed as the means of the “enactment and legitimating of inequality” (Dillion 1994: 211.) Such is the approach of the proponents of “non-Marxist tradition”, who regard discourse as an instrument of regulation, “focusing on the silencing and marginalizing effects of hegemonic discourses” (ibid.) These hegemonic discourses are based on consent The term ‘hegemony’ (gr hegemõn – leader, commander, guide, ruler) refers to “political domination or leadership” (ibid.) The notion of ‘hegemony’ was developed by Gramsci, who proposed that “economic and political ascendancy of a given class is originally connected with a preparatory achievement of cultural and intellectual hegemony” (ibid.) This is a particular type of leadership, where power of one dominant class is exerted over the other by way of consent And it is not a conscious voluntary obedience to the rule of the dominant Consent here should be understood implicitly, since the dominant-dominated relationship, with regard to hegemony, is internalized This notion of the term ‘hegemony’ relates to its “organizational function”, which is “to articulate the world view of the class, thereby giving it a unity and consciousness of its aims; to help structure social institutions in accordance with these aims; and to foster an environment of consent to the ideas of the class” (ibid.) In other words, hegemonic discourses, to which the analysis of power approach refers, play a role in producing discourses that express such power relationships where control of the dominant group over the other groups is exercised through the contract of mutual consent This shows that ‘power’, as such, should not be understood solely as a coercive tool of suppression The analysis of 10 184.Jay: Uh-huh So who got the first one? 185.Kim: You have the very first card// printed that out for you ((turns to the audience)) So you have 186 Jay: //Oh cool 187.Kim: to go and get one ((applause)) 188.Jay: ((putting the card in his pocket)) I will use this Now, you’re hosting this sexiest man alive 189.Kim: Twenty five years of sexy and it’s up for twenty five years Um you know they’ve done the 190.sexiest man alive issue and you know when I was there I kinda had to go through the people 191.magazine’s archives 192.Jay: So who’s the sexiest guy? 193.Kim: ((taking a magazine from the near-by table with Jay Leno on the cover)) Do you guys 194.remember this one? 195.Jay: I know that one That’s twenty three years ago ((audience applause)) 196.Kim: This guy is sexy 197.Jay: Let me see this 198.Kim: Nineteen eighty seven 199.Jay: Nineteen eighty seven, the magazine was three cents Wow ((laughter)) 200.Kim: But I know who this year’s sexiest man alive is 201.Jay: You do? Who? 202.Kim: Well I’m not allowed to say but// if I were to nominate, it would definitely be someone in 203.Jay: //Ok So who you think 204.Kim: this room ((audience applause)) 205.Jay: Really? Well let’s-let’s say those-out of those four guys right there ((pointing to the four 206.soldiers in the first row)) who would you say is the sexiest? 207.Kim: Well ((camera directed to the men)) I think 208.Jay: Who you like? 209.Kim: I don’t think that sexy comes from looks Sexy is from within and it’s all about confidence, 210.it’s the whole package It’s everything So I’d have to talk to the guys for a little bit before I give 211.my answer 212.Jay: ((to the audience)) So any guy here has the whole package? ((applause)) Here you go ((to 213.Kim)) Well Kim thank you very much KIM KARDASHIAN Thank you so much for doing this 214.They really appreciate this 215.Kim: Thank you 99 Joaquin Phoenix on The Late Show with David Letterman Air date: November, 2009 Duration: 10 49 sec (http://www.youtube.com/watch?v=PBoGNBSLYRY) 1.David: Our first guest is a - how about this Two-time Academy Award nominee and he‘s in a brand 2.new movie entitled Two Lovers I saw this movie I think last week What a lovely movie 3.Joaquin: ((backstage)) Aw this is so nice 4.David: What a nice piece of work 5.Joaquin: ((backstage)) Oh 6.David: You see a lot of stuff – Hollywood people make movies and they‘re a lot of junk frankly (1.0) you see a lot of stuff that just kinda makes you confused and queasy 8.Joaquin: ((backstage)) I understand 9.David: This was just a lovely, very nice, well acted, interesting story, very insightful, beautifully10.done film 11.Joaquin: ((backstage)) That‘s nice 12.David: Yeah Two Lovers is the name of the film and it opens on Friday in selected cities I just 13.pray to God your city has been selected Ladies and gentlemen, say hello to the very talented 14.Joaquin Phoenix ((Joaquin enters the studio, shakes hands with David and sits down opposite him)) 15.GOOD TO SEE YOU Thank you very much for being on the er programme again You know, it‘s 16.been three years since the last time you were on the show and I‘ll just say right off the topic you 17.look different than I remember you ((audience laughing, Joaquin is nodding his head)) You‘ve got a 18.nice beard going and the// 19.Joaquin: //Oh yeah thank you 20.David: How‘s the beard? 21.Joaquin: In what way? 22.David: Well is it comfortable, is it itchy, is it – are you pleased with it? 23.Joaquin: (2.0) I‘m ok with that but I don‘t feel weird about it 24.David: I‘m sorry I‘m making you feel weird about it? 25.Joaquin: Is there something wrong? 26.David: I can‘t be the first one that makes you feel weird about it ((audience laughing)) 27.Joaquin: Hm no I guess not ((scratching his beard)) 28.David: See? That‘s what I‘m talking about Are you doing a lot of this? 29.Joaquin: That‘s just a nervous tick I think 100 30.David: Oh Just a nervous tick Er You know I saw this (2.0) ((audience laughing)) – I saw this 31.movie the other night TREMENDOUS What a tremendous film You and a – who else is in 32.it Er what is her name Beautiful, lovely (3.0) ((Joaquin takes a sip of water)) Gwyneth Peltrow 33.Joaquin: Oh Gwyneth Peltrow, Vanessa Shaw 34.David: Very nice movie and er you don‘t see movies like this much anymore I‘m so gratified to see 35.it And you were terriffic in the film I really enjoyed your work ((all this time Joaquin is looking 36.down at his hands and sighs)) 37.Joaquin: Thank you (4.0) ((audience laughing, applauding)) 38.David: Um (5.0) ((uncomfortable silence)) what er – what can you tell us about your days with 39 ((unintelligible)) Is this a little joke? ((audience laughing, Joaquin fixes his jacket and stares back at 40.David, silent)) (3.0) Um I heard that er you were leaving er acting And I said to myself ‘that’s too 41.bad’ Because er you’re great and you know it’s not just me The two-times Academy Award 42.nominations Walk the Line You were tremendous in Walk the Line ((audience applauding)) So 43.here’s my hope that after some time off I think you’re taking a little time off tonight ((audience 44.laughing)) um I’m hopeful that you’ll reconsider and come back to acting cuz just you know no 45.one’s really better than you are ((audience applauding)) 46.Joaquin: Oh thank you Never say never, right? I don’t – I don’t know 47.David: You don’t know what? 48.Joaquin: I don’t know if – I don’t now what will happen 49.David: You’re not gonna act anymore? 50.Joaquin: ((shaking his head)) No 51.David: Oh Why is that? 52.Joaquin: Mmm I don’t know (2.0) 53.David: You have given some thought? 54.Joaquin: Yeah It’s not really an easy thing to to explain if something’s been (2.0) part of my life 55.for.long time, you know It’s weird Like to come out in front of the stage, in front of the people and 56.just talk about it You know 57.David: Yeah 58.Joaquin: So are you alright? What happened to your thumb? 59.David: To my thumb? Well that’s a cuticle mishap ((audience laughing, thumb close-up)) 60.Musician: That’s infective 61.David: That’s grooming ((audience laughing)) Joaquin, what would you next? 62.Joaquin: Um well I’ve been working on the music 101 63.David: Music? But you know when I saw you in Walk the Line I said ‘this guy is 64.TREMENDOUS’ He’s singing and it sounded great Is that the kind of music you’re interested in? 65.Joaquin: No no I um more of a hip hop music 66.David: Hip hop music 67.Joaquin: Um (2.0) is this a joke? ((audience laughing)) What you – What you have them on? 68.David: I’m sorry I’m sorry what did you just say? 69.Joaquin: What you gas them up with? 70.David: The kid in the front is drunk on the warm Pepsi ((camera turns to the audience, laughter, 71.applause)) We’ll be back here with Joaquin Phoenix everybody ((the show goes to the commercial)) 72.Er now Joaquin I er I failed to mention also in the film was Elizabeth Rossellini who plays Alfred’s 73.mother She’s just TREMENDOUS And you know about her her mother Er what - what a 74.tremendous, beautiful actress she was as well So that must have been fun working with Elizabeth 75.Russolini Don’t you think? 76.Joaquin: Yes (2.0) I did yeah 77.David: You have any fun stories to tell us? (4.0) ((David and audience laughing)) 78.Joaquin: I mean// 79.David: //No fun stories? 80.Joaquin: I mean I’m sure something fun happened ((audience laughing)) 81.David: Um when we will see the new music career, the big new hip hop er career? When we will 82.see that take off? When we – ‘cause we wanna be there 83.Joaquin: Er well I’d love to come on the show and perform when it’s on 84.David: Yeah ((audience applauding)) 85.Joaquin: I’m just – I’m working on it – the= 86.David: =You know that seems unlikely ((audience laughing, 87.Joaquin keeps serious face on)) I’m just kidding 88.Joaquin: ((unintelligible)) 89.David: We’re certainly gonna keep you on our roller desk Um (5.0) now um The Two Lovers It’s 90.loosely based on the novel of Dostoevsky Is it correct? 91.Joaquin: I don’t know ((audience laughing)) I mean I-I= 92.David: =I think it might say that in the opening credits 93.Joaquin: Oh Does it say that? I haven’t seen the movie 94.David: Haven’t seen the film yet Yeah What a surprise ((audience laughing)) er (3.0) now er you – 95.can you - can you er set up the clip for us, Joaquin? ((audience laughing)) 102 96.Joaquin: Are you kidding? Are you serious? ((unintelligible)) I don’t know what the clip is 97.David: Don’t know what the clip is It’s you – maybe it’s you and Gwyneth Peltrow// 98.Joaquin: //You’re doing fine 99.David: Thanks High praise coming from you 100.Joaquin: is that// 101.David: //We’re having fun, just relax We’re having fun Seriously, I’d come to your 102.house and chew gum 103.Joaquin: No I don’t chew the gum ((sticking the gum under the table, audience laughing)) 104.David: Just relax Who’s the other young woman in the film? 105.Joaquin: Vanessa Shaw 106.David: OH MY GOD She’s the lovely woman And Elizabeth Rossellini And in this film I think 107.we’re going to see (3.0) you know what? Let’s look at it We’ll talk about it later 108.Joaquin: Ok ok ((audience laughing)) 109.David: TWO LOVERS ((the clip is shown, then back to the studio)) Here you go Two Lovers 110.That’s a lovely film Really And Joaquin I’m sorry you couldn’t be here tonight ((audience 111.laughing)) um// 112.Joaquin: //He’s funny He’s a funny dude 113.David: Yeah We owe an apology to ((unintelligible)) Um the film is Two Lovers, opens 114.Friday in selected cities Thank you very much and good luck in your career Hope it goes well for 115.you ((David and Joaquin shake hands Joaquin takes one last sip of water)) Natalie Portman on The Late Show with David Letterman Air date: 26 November, 2009 Duration: 10 44 sec (http://www.youtube.com/watch?v=dmtxRxD7PuY) David: Here’s the very lovely Natalie Portman ladies and gentlemen ((Music David goes to meet Natalie Both sit in their positions)) How are you doing? Natalie: I’m good thanks David: You know we were just talking er-me and the couple of the folks about the er how old you 5.were when you first came on the show And I-I’m thinking it was like sixteen Was-was it younger 6.than sixteen or was I about right? Natalie: I-I feel like I was younger David: Maybe a little bit younger?// Natalie: //I think I might have been thirteen or fourteen 103 10 David: Yeah and I always er I remember you as you were a kid from Long Island You were a kid 11 from Long Island? 12 Natalie: Still a kid from Long Island ((laughs)) 13 David: Still a kid from Long Island How are you doing? 14 Natalie: I’m good how are you? 15 David: You just got a house? 16 Natalie: I DID It’s just I’ve actually just moved to L.A 17 David: That’s nice ((audience laughs)) 18 Natalie: (1.5)Yeah:: 19 David: We want you to be a kid from Long Island 20 Natalie: Thanks I’ll always be 21 David: Nice house? You get a= 22 Natalie: =It’s FANTASTIC I feel so lucky Um it’s pretty nice that sun over 23.there, although that’s happening here now too, which is more frightening though 24 David: Did you go through the-through the er nightmare of remodeling or anything of that matter? 25 Natalie: NO It was fantastic It was beautiful and I was able to move right in 26 David: Mhm Nice neighborhood? 27 Natalie: So nice Yeah, I mean my neighbors are lovely and (1.0) my dog loves it He-Every time 28 I’m back in New York he’s kinda like gives me this dirty look 29 David: What kind of a dog you //have, the dog who would give you a dirty look? 30 Natalie: //Yorkie He’s Yorkie// 31 David: //Yorkie What kind of neighbors? Are 32.they all show-business people? 33 Natalie: Um, there is some showbiz folks There’s-there’s some-there’s some normal folks-Here in 34.new York, if I would have a party, I’d get like an unsigned note the next day that would say like 35.‘next time I’m calling the police’ Just because of music noise levels //I wasn’t doing anything 36 David: //Right 37 Natalie: elicit But um but now in L.A I had my first party in the house It was a house warming 38.thing.We had music and I’m outside and someone comes to me and is like ‘Oh my God Natalie your 39.neighbors are at the door’ And I’m like ‘Oh man’ like ‘already I’m gonna be really unpopular’ And 40.there’re these dudes at the front door with like booze and they’re like ‘We heard the music, can we 41.come hang?’ And I was like ‘AWESOME I LOVE MY NEIGHBORS’ 104 42 David: It’s Ching and Chong ((audience laughs, applause)) But ((waits till the applause ceases))43.And and do-do-do you go out to dinner the Thanksgiving dinner, you cook Thanksgiving dinner? 44 What you do? How you// 45.Natalie: //This year we’re doing it at my house Where are you doing it this 46 year? 47.David: Yeah, it’s a good question ((Natalie and audience laughs)) Um 48 Natalie: You’re welcome to join us ((audience and Natalie laugh)) 49 David: (2.5) I’ll be ok ((Natalie taps David on a shoulder)) Um (1.0) will it be like a big thing-a 50.big gathering? And do you cook? You don’t have enough time to cook You’re= 51 Natalie: =Um I’m yeah I’m 52.kinda wearing off my mom My mom’s an amazing cook, she’s very creative But it’s very exciting 53.that she just became a vegetarian a couple of years ago and I’m not the only one in the family, 54.which ah so= 55 David: =How-how long does it take for you to convert? Is it like a year? 56 Natalie: ((laughs)) a year and a simple operation ((all laugh)) 57 David: ooh ((laughs)) 58 Natalie: Um yeah, so er we’re ordering our turkey this year ready-made// 59 David: //Wh/ wh// 60 Natalie: //cuz my mom now 61.that she is thinking about it more she thinks the turkey looks like a baby and she can’t= 62 David: =Oh, for 63 GOD’s SAKES ((all laugh)) LADY// OH MY GOD COME ON MO::MMA You-What would 64 Natalie: //HAPPY THANKSGIVING EVERYONE 65.David: cure you mamma is a couple shots of ‘Wild Turkey’ turkey and then there isn’t any ((music 66.n the background, audience clapping)) Um listen I-I’ve been restraining myself here and I love 67.chatting with you but all I wanna talk about is this movie// 68 Natalie: //Aw thank you// 69 David: //This thing and I don’t know anything 70.about movies And I go to see this movie er the last week OH:: MY GOODNESS What a 71.TREMENDOUS film, what a TREMENDOUS cast, TREMENDOUS performances er yourself at 72.the top of the list// 73.Natalie: //Thank you// 105 74 David: //and then you got Jake Gyllenhall and-and then Coby Bryan, it’s not Coby 75.Bryan it’s a// 76 Natalie: //Toby McGuire That’s hilarious ((laughs)).That would be amusing 77 David: Interesting cast Interesting-interesting choice ((laughs)) It’s my brother Coby Bryan 78 ((laughs)) and-and-and the other thing that’s interesting er you’re gonna stop me here because I-I-I 79.will not quit talking about this film, it’s-it was originally a Danish film I //believe and-and the guy 80 Natalie: //Yes, yes 81.David: who did the screenplay is the husband of Amanda Pete?// Yeah So I know a lot of folks 82.Natalie: //Yes 83.David: involved with this film// and that’s all I know about it I just known a lot of these people 84 Natalie: //Yeah 85.David: And OH MY GOD what a movie 86 Natalie: Aw thank you 87 David: I-I mean honestly and I see every movie that comes out and you’re in the business you 88.know that most of it is junk ((audience laughs)) 89 Natalie: Well that means a lot from you saying that// 90 David: //Yeah, and-and so we-we sit down and watch this 91.thing and this is a real movie This thing and when you wake up the next day and the day after and 92.the day after that and it couldn’t be more timely er but there’s just no false note in entire thing You 93.must be thrilled to be a part of this film 94 Natalie: I’m very very grateful I think Jim Sheridan, our director, is-he’s amazing, he made-in 95 America he ((unintelligible)) he’s just got a sense of-of family and truth// it’s just so authentic 96 David: //Right I-I don’t remember 97.when I saw a movie that I was this impressed with// this is like-like-like what escapes modern film 98 Natalie: //WOW I’m so flattered 99 David: makers is this ability, and it must be I guess it’s him, but you can’t discount the cast because 100.every performance is rock-solid I mean, do-do-does the cast help everybody or does the guy help 101.everybody or how does it work? 102 Natalie: Yeah Jim, I just think, he’s so hands-on, so emotionally engaged and he gets into the 101 scenes and he gets improvising with you Sometimes he’ll play you and you have to play another 102 character and sometimes you know he’ll just an opposite of you I think you can really tell 103 that level of engagement cuz= 106 104 David: =What can I say about it Can I say that it’ll-it’ll break your heart and 105.kill you, and that it’ll break your heart again? 106 Natalie: ((laughs)) Thanks I know people are prior scared to get their hearts broken I know I am 107 David: Yeah Well you can’t help it And-and-and but I can’t say anymore but um oh I know you 108 just should go and see and call me 109 Natalie: Thanks ((laughs)) 110 David: I hope-I hope people will go see it 111 Natalie: Thank you 112 David: Do you think people will go to see the thing? 113 Natalie: I hope so I mean it’s such a-such a family story and I feel like it’s a family time of year, 114 so-so it’s definitely something that people can relate to at this moment 115 David: Yeah Yeah but I mean it’s-it’s so-it’s much more than a family movie, but it’s a part 116.of it 117 Natalie: Yes 118 David: Oh and Sam Shepard for God’s sake 119 Natalie: Sam Shepard is amazing 120 David: Yeah I could’ve been Why wasn’t I in it? 121 Natalie: Would you be in MOVIES? 122 David: I would’ve been in this one if somebody had said ‘we got-we got one for ya, you should 123 come and be in’-I could’ve been a Sam Shepard’s buddy ((all laugh)) 124 Natalie: That would be awesome ((laughs)) 125 David: He’d put a scene where Sam Shepard’s always drinking I could’ve been a guy that runs 126 in the seven-eleven to get him booze ((all laugh)) We’ll be right back ((looks directly at the 127.camera)) NATALIE PORTMAN ladies and gentlemen ((the programme goes to the 128.commercial)) All right, here we go ((audience applauding)) You, by the way-the first time you 129.were on this programme you were thirteen years old You were here in 1994 130 Natalie: //Thank you for 131 David: //rememeber the film that you were here? Was it the film that was-you= 132 Natalie: =Could’ve been Beautiful Girls? I have no idea 133 David: Well yeah you were thirteen years old We’re gonna-we’re gonna show you a clip from 134.this movie and I’ll just tell you right now um it’s impossible to exert this film It’s-it’s impossible 135.to show you a 35- 45 seconds or a minute that’s gonna make you-you say ‘Wholly crap let’s get 136.out to the Cineplex’ so don’t-don’t-don’t go because of this clip you gonna see all over 107 137 ((unintelligeble)) Go because I’m telling you this is the finest movie made in the last twelve 138.twenty years So go and see it for that er um-do you know what the clip is? 139 Natalie: I’m-It’s a scene in the film where my husband played by Toby McGuire who’s just 140.come= 141 David: =Coby Bryan I though I heard of him 141 Natalie: It’s Coby Bryan He just looks like a little different than usual, um he looks a little like 142 Spiderman So he comes back from war and um he’s changed and he’s asking me if anything has 143 happened between me and his brother 144 David: Ok let’s take a look It’s called Brothers It opens on December fourth ((the video clip is 145.shown)) ((back to the studio, applause)) And when you go to the theatre on December fourth er 146.what was a ticket price? Ten bucks to get in the movie? 147 Natalie: I think Yeah But I think it’s less if you’re go to a matinee, right? 148 David: Or you just say ‘Dave sent me’ 149 Natalie: Then it’s free 150 David: Then yes That’s right 151 Natalie: Let’s perpetuate some //lies ((laughs)) 152 David: //It’s free Well congratulations on a wonderful performance and 154 congratulations for being smart enough for being in a great //film because you got to make the 155 Natalie: //Aw thank you 156 David: right choice and you certainly did and good for you Nice to see you again 157 Natalie: Nice to see you too 158 David: NATALIE PORTMAN ladies and gentlemen ((applause)) 108 APPENDIX B: THE ‘OUTLINE MODEL’ OF QUESTIONS IN THE SELECTED INTERVIEWS Table 8.9 The ‘outline model’ of questions in the selected interviews Topic Hugh Laurie’s family in America Chapter question Section/subsection question 9.Ellen: That’s-Well how many years have you been doing the show? 5.Ellen: Lovely to see you So your family is visiting from England 11.Ellen: In what point did you decide to move your wife and your entire family here? 22.Ellen: Uh-huh Yeah And did your family likeYou’re son’s at the audience today right? Do they like it here? Hugh’s father an Olympian champion in rowing Hugh Laurie’s character Dr House 33.Ellen: I agree So this is a crazy story I can’t even believe they-you’ve just found out that your dad won a gold medal in the Olympics? 42.Hugh: he won a gold medal And I remember= 43.Ellen: =For what? 47.Ellen: Had you seen him row before? 70.Ellen: And now you share any of that rowing skill? Does that-is that in your blood? 79.Ellen:Um we have to take a break but before we have a break I have to ask you this You take so many pills all the time What are you really taking? Cuz you’re swallowing something constantly - 101 Ellen: Ok er the first I’m gonna give you is ah FLOSSING Do you know what flossing.means? 105 Ellen: Uh er you-I mean you know what actual flossing is? British and American slang 98 Ellen: Alright We’re back with Hugh Laurie Now I’m gonna give you some slangs, my American slang We’re gonna take turns we’ll see err how much you know and how much I know 138 Hugh: CHIN CHIN CHIN WAG ((now pronouncing [chin] as well)) did I mispronounced it? 153 Hugh: We definitely don’t have those in England ((audience laughs)) 154 Ellen: You don’t have? 155 Hugh: No Is it ba-donka-donk? 165 Ellen: Like SHIN? 185 Hugh: It’s solely one word? Jackie-Chan brand 11.Ellen: You have a clothing line now? 12.Jackie: I have clothing line, shoes line, sock line Did you see the socks? 16.Ellen: So you actually get a little massage when you walk? 109 19.Jackie: See? You want some? I’ll send you some Introducing ‘Jackie Chan’ 21.Jackie: Can I back you something? Next time when you introduce Jackie Chan just ‘Jackie Chan’ Don’t-Why everybody introduce Jackie Chan ‘JACKIE CHAN’? 23.Ellen: Does everybody that? 41.Ellen: Yeah Right You wanna try to call somebody right now? Jackie Chan on the phone 33.Ellen: No? Alright I won’t it Hey you have a hard time when you call information and try to get a number? Do people understand you? 42.Jackie: Who? Who should I call? 49.Machine voice: What city and state please? 56.Machine voice: Are you looking for a business, government or residential listing? 76.Ellen: So you live all over the place? Holidays and a place of living Jackie learning to speak English Jackie as a popular singer 71.Ellen: No you’re very-What did you during the holidays? Were you in town? Where you live? 87.Ellen: I would imagine anything you set 88.your mind to you can because you learn-How did you learn English? You taught yourself right? 99 Ellen: And when we come backYou’re actually a very popular singer, and er I mean one of your songs was downloaded five hundred million times? 80.Ellen: And did you get to relax over the holidays? 90.Ellen: How did you learn? 91.Jackie: By the song 92.Ellen: What song? 114.Ellen: Yeah Right So listen, I’m excited to hear you sing cuz I know, like I said, you’re very popular in the other countries and which is what I’m trying to by the way What I need to to get Asia? I need Asia 122.Ellen: Ok Teach me something Jackie’s new movie Larry on ending his show 103.Ellen: We’re back Talking to Jackie Chan Let’s see how I did that I didn’t even move my arm and this is a different kind of movie for you right? 13.Jay: show Thursday Has it sunk in yet? Tell me so the (2.0) last - 136.Jay: Now let me ask it So what are you most proud of as an interviewer? 61.Jay: =What is the age difference in your kids? ((giggles)) Larry’s family 56.Jay: Now, your kids are on the set Aren’t they ador-The kids are much older than I thought actually 110 65.Jay: And the youngest is how old? 85.Jay: You know I wanna ask you We’ve always been teasing you about being married seven times.But why not date some of those? 107.Jay: give me answers on each one, alright? Er let’s start with er Lady Gaga Larry describing his impression of the guests 104.Jay: Welcome back Talking with the master himself Larry King You’ve interviewed thousands of guests, world leaders, celebrities I’ll-I’m gonna throw out a bunch of names at you Give me one- maybe two-word answers on each one, alright? 109.Jay: That’s-Ok Gloria Allred 114.Jay: O.J.Simpson 138.Jay: Yeah Right ErRush Limbaugh 142.Jay: Alright Michael Vick 155.a touchy one for me Vladimir Putin Larry doing stand up 177.Jay: Now, I know you wanna some stand-up 26.Jay: Yeah And the food? The New York food? You can’t be-The pizza 31.Jay: So pizza’s your weakness? Kim Kardashiam experiencing New York 19.Jay: Ok You’re living in New York City now How you-I know-I see you’re a California girl 20.How you like it? 34.Jay: Thin or thick pizza What you like? 38.Jay: And when you eat it, where does it go? 40.Jay: Everywhere mhm Now you the subway thing? Hey hey had you ever ridden a subway before? Kim Kardashian’s Halloween costumes Kim Kardashian and business 56.So how-did you Halloween in New York? Or did you it here? 83.Jay: So you opened up another-your store is Dash I know you have one in Miami, and you’ve just opened this one in New York, right? 71.Jay: Very nice tail on the leopard ((draws another picture)) And how you-you didn’t go out? It’s a shame you didn’t go out What about this one? 93.Jay: Now.now let me ask you something, cuz I hear women this all the time I know you it in your store Women come in, they pick an expensive dress or something, they take it out, they wear it to the event and then they bring it back the next day and say, what’s an excuse? 97.Jay: You’ve done that yourself? 105.Jay: You keep the tag and tuck it in? 107.Jay: What is the excuse? When women come back what is the reason they bring it? 111.Jay: But I mean they say ‘it doesn’t fit’ or ‘it pulls’? What’s the reason? Do they have to give a reason? 116 Jay: Do you ever call on a customer and you go-you say ‘you little bitch, I know you wore it last night’ 123.Jay: So you’d worked in stores before you had your store 111 139.Jay: So thirty is when you’re officially adult now? Kim’s big three O 133.Jay: Oh I see Alright Now, you had a big birthday couple of weeks ago and here you go – big three o 145.Jay: Thirty parties? 149 Now, I heard that Kanye West was in one of your parties Did he come to the party? 153.Jay: Ok.On the yacht? Alright =What number was that party? Kim’s gift to Jay 163.Jay: Now tell me about this ((holding a bank card in his hands)) you have your own master card Oh you have one for me, look at that 167.Jay: Does it entitle me to one Kardashian of my choice? How does it work? 182.Jay: So I can use it er at any Kardashian outlet that there is? 184.Jay: Uh-huh So who got the first one? 192.Jay: So who’s the sexiest guy? Kim’s sexiest men alive 188.Jay: ((putting the card in his pocket)) I will use this Now, you’re hosting this sexiest man alive 205.Jay: Really? Well let’s-let’s say those-out of those four guys right there, who would you say is the sexiest? 208.Jay: Who you like? Joaquin Phoenix’s changed looks 15.David: You know, it‘s been three years since the last time you were on the show and I‘ll just say right off the topic you look different than I remember you You‘ve got a nice beard going and the 20.David: How‘s the beard? 21.Joaquin: In what way? 22.David: Well is it comfortable, is it itchy, is it – are you pleased with it? 24.David: I‘m sorry I‘m making you feel weird about it? 25.Joaquin: Is there something wrong? 28.David: See? That‘s what I‘m talking about Are you doing a lot of this? Joaquin’s new film Phoenix leaving acting David’s little cuticle mishap 30.David: Er You know I saw this , I saw this movie the other night TREMENDOUS What a tremendous film You and a – who else is in it Er what is her name Beautiful, lovely (3.0) - 38.David: Um what er – what can you tell us about your days with ((unintelligible)) Is this a little joke? Um I heard that er you were leaving er acting 49.David: You’re not gonna act anymore? 58.Joaquin: So are you alright? What happened to your thumb? 59.David: To my thumb? Well that’s a cuticle mishap 112 53.David: You have given some thought? Joaquin’s future plans 61.David: Joaquin, what would you next? 81.David: Um when we will see the new music career, the big new hip hop er career? When we will see that take off? When we – ‘cause we wanna be there 77.David: You have any fun stories to tell us? David on Joaquin’s new movie 72.David: Er now Joaquin I er I failed to mention also in the film was Elizabeth Rossellini who plays Alfred’s mother She’s just TREMENDOUS And you know about her her mother Er what - what a tremendous, beautiful actress she was as well So that must have been fun working with Elizabeth Russolini Don’t you think? 89.David: Um now um The Two Lovers It’s loosely based on the novel of Dostoevsky Is it correct? 94.David: Haven’t seen the film yet Yeah What a surprise er (3.0) now er you – can you - can you er set up the clip for us, Joaquin? 104.David: Just relax Who’s the other young woman in the film? 21 David: Nice house? Natalie Portman’s new house 15 David: You just got a house? 24 David: Did you go through the-through the er nightmare of remodeling or anything of that matter? 26 David: Mhm Nice neighborhood? 31 David: What kind of neighbors? Are they all show-business people? Natalie’s plans for Thanksgiving dinner 43.David: And and do-do-do you go out to dinner the Thanksgiving dinner, you cook Thanksgiving dinner? What you do? 45.Natalie: This year we’re doing it at my house Where are you doing it this year? 49 David: Um will it be like a big thing, a big gathering? And do you cook? 100.David: do-do-does the cast help everybody or does the guy help everybody or how does it work? Natalie’s new movie 66.David: Um listen I-I’ve been restraining myself here and I love chatting with you but all I wanna talk about is this movie 112 David: Do you think people will go to see the thing? 120 David: Yeah I could’ve been Why wasn’t I in it? 145.David: And when you go to the theatre on December fourth er what was a ticket price? Ten bucks to get in the movie? 113 ... the selected talk shows Table 6.2 Basic information of selected American TV talk shows Talk show The Ellen DeGeneres Show The Tonight Show with Jay Leno Late Show with David Letterman Host Ellen. .. ? ?power-discourse-subject? ?? model to selected American TV talk shows: Tonight Show with Jay Leno, Late Show with David Letterman and Ellen DeGeneres Show The key objective is to carry out the analysis of selected American. .. Foucauldian ? ?power-discourse-subject? ?? model to the analysis of selected American TV talk shows: Ellen DeGeneres Show, Tonight Show with Jay Leno and Late Show with David Letterman The scope of