Discursive construction of andrea sachs’ identities in the movie the devil wears prada

Vietnam national university Hanoi University of languages and international studies Faculty of Post-graduate studies -***** ĐÀO THỊ LAN TRANG DISCURSIVE CONSTRUCTION OF ANDREA SACHS’ IDENTITIES IN THE MOVIE “THE DEVIL WEARS PRADA” (Nghiên cứu cách kiến tạo đặc tính cá nhân thơng qua diễn ngôn nhân vật Andrea Sachs phim “The devil wears Prada”) M.A Minor Programme Thesis Field : English Linguistics Code : 8220201.01 Supervisor : Dr NGUYỄN THỊ THU HÀ HANOI – 2018 Vietnam national university Hanoi University of languages and international studies Faculty of Post-graduate studies -***** ĐÀO THỊ LAN TRANG DISCURSIVE CONSTRUCTION OF ANDREA SACHS’ IDENTITIES IN THE MOVIE “THE DEVIL WEARS PRADA” (Nghiên cứu cách kiến tạo đặc tính cá nhân thơng qua diễn ngơn nhân vật Andrea Sachs phim “The devil wears Prada”) M.A Minor Programme Thesis Field : English Linguistics Code : 8220201.01 Supervisor : Dr NGUYỄN THỊ THU HÀ HANOI – 2018 ACCEPTANCE PAGE I hereby state that I: Đào Thị Lan Trang, group QH.2015, being a candidate for the degree of Master of Arts, accept the requirements of the University relating to the retention and use of Master’s Graduation Paper deposited in the library In terms of these conditions, I agree that the origin of my paper deposited in the library should be accessible for the purposes of study and research, in accordance with the normal conditions established by the librarian for the care, loan or reproduction of the paper Signature i ACKNOWLEDGEMENTS From the bottom of my heart, I would like to extend my deepest gratitude to my supervisor, Dr Nguyen Thi Thu Ha, who enthusiastically supported me during the process of doing research I owe much of my completion of this research to her invaluable guidance and encouragement I would also like to show my sincere thanks to my classmates who gave me helpful support and advice to go through this strenuous process Last but not least, my heartfelt thanks are for my loving family with their unconditional love, understanding and encouragement for me over this whole period of time ii ABSTRACT Undeniably, the intricate constructions of film characters’ identities have always been a noteworthy matter of research as they play an integral part in transferring film messages to the audience One of the most attention- grabbing film in the early 21st century is “Devil wears Prada”, which has intrigued both linguists and researchers in other fields in the search for its messages and associated ideologies conveyed through its characters This paper makes an endeavour to shed light on linguistic tools employed in the construction of the main character’s identities Based on that, the paper also aims to interpret the film’s social messages as well as the context impacting on such a character’s identity construction process For the accomplishment of these purposes, critical discourse analysis and Fairclough’s three-dimensional model have been employed, facilitating the analysis of the film script The study’s findings show that the main linguistic devices used to construct the two most visible identities of the main character, gender identity and professional identity are euphemism, negation, modality, hedges, jargons, metaphor lexical resources and communicative styles Besides, the study, while giving an insight into the social context, offers three interpretations drawn from the construction of the character’s identities They are: the entanglement of feminist and anti-feminist ideas, the resurgence of natural sexual difference and the commonly held concept of woman objectification iii TABLE OF CONTENTS ACCEPTANCE PAGE i ACKNOWLEDGEMENTS ii ABSTRACT iii CHAPTER 1: INTRODUCTION 1.1 Statement of the problem and the rationale for the research .1 1.2 Research aims and objectives .2 1.3 Research questions .2 1.4 Research methods .3 1.5 Scope of the research 1.6 The significance of the research 1.7 The structure of the study CHAPTER 2: THEORETICAL BACKGROUND & LITERATURE REVIEW 2.1 Discourse and discursive construction of identities .6 2.1.1 Discourse 2.1.2 Discursive construction of identities 2.2 Film discourse 2.3 Multiple Identities 2.3.1 Identities vs identity 2.3.2 Different perspectives on multiple identities 10 2.3.3 Some common types of social identities 12 2.4 Related studies 14 Summary of chapter two 16 CHAPTER 3: METHODOLOGY 17 3.1 General information on the film .17 3.2 Data selection method 18 3.3 Data analysis method and procedure 19 3.3.1 The frameworks for data analysis 19 iv 3.3.2 Data analysis procedure 23 CHAPTER 4: RESULTS AND DISCUSSION 24 4.1 The construction of Andrea’s identities .24 4.1.1 Gender identity 24 4.1.2 Professional identity 34 4.2 Interpretations of Andrea’s identities construction under the influence of social context .41 4.2.1 Screen adaptations of “The Devil wears Prada” .41 4.2.2 The influence of postfeminism era on Andrea’s identities construction 42 Summary of chapter four 45 CHAPTER 5: CONCLUSION .47 5.2 Limitations of the research 48 5.3 Suggestions for further studies 48 REFERENCES 49 APPENDIX 59 v CHAPTER 1: INTRODUCTION This chapter states the problem and the rationale for the research, together with the aims and the scope of the study Also, the research questions, which work as the guidelines for the paper, are clearly presented in this chapter 1.1 Statement of the problem and the rationale for the research It is undeniable that one’s identities and ideology are interconnected in real life Studies such as Malesevic, S (2013) affirmed the decisive role of ideology in the creation and preservation of an individual’s social identities In the context of film discourse, the images of film characters cannot be constructed randomly, but with a production crew’s purpose to reflect contemporary social problems, convey their own thoughts and beliefs towards the problem and deliver hidden messages of solutions to the audience In other words, film characters’ identities, especially those of main characters, are, undoubtedly, the representation of ideology which can influence the audience when communicated through the screen In order to construct characters’ identities, a production crew must employ a discourse with different strategies in which linguistic devices are always an indispensable part Undoubtedly, film characters’ lexical resources, grammatical structures, communication styles and so forth all contribute to portraying the identities that a film crew wishes the audience to perceive, as stated in Hall (2013): “ In our use of language, we represent a particular identity ” Consequently, research into the discursive identity construction of a character is significant as it is an approach to shedding light on the use of strategies in constructing identities as well as the influence of social context on film production In this study, the researcher focuses mainly on exploring linguistic devices employed to construct identities of the main character- Andrea and making interpretations of such a construction under hidden ideologies influenced by contemporary social context “The devil wears Prada” was a very successful film, drawing not only moviegoers’ but many researchers’ attention for its implied messages on many aspects of life Up to now, a certain number of studies and articles in a wide range of fields have been involved in the film For example, Hudders, L (2012) focused on marketing features and used the film as a demonstration to present ideas on people’s motives to purchase luxury brands Some other studies provided insight into media- related matters such as Gick, E & Gick, W (2007) on the fashion formation process in a disclosure game between designers and media or Olya, A (2011) on the image of a female fashion editor-in-chief presented through the media There are also studies taking human and social issues of the film into account, such as Spiker, J.A (2012) & Erliska, E (2017) on female power, or Gelogullari, G.(2015) on female friendship in the fashion industry Meanwhile, studies like Hartini, M (2011) focused on discussing specific linguistic elements in the film script and so forth Nevertheless, currently, few studies are involved in the discursive construction of a character’s identities in the film “The Devil wears Prada” Also, the study into this matter can be a reference source for further investigation into related matters of the film “The devil wears Prada” in specific, and of film discourse in general 1.2 Research aims and objectives In general, the study aims at exploring the relationship between discourse and the construction of a film character’s identities In particular, the study has two objectives One is exploring linguistic devices employed in the construction of identities of the main character in “The devil wears Prada” – Andrea The other is discovering the social context of the film and discuss such identities construction in the light of the context 1.3 Research questions The study seeks the answers to the two questions The first question is related to the discursive construction of the main character’s gender and professional identity This question could be solved primarily based on Fairclough’s three-dimensional model (2010) The second question is concerned with the impact of the contemporary social context on the construction 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 characterAndrea All in all, the two targeted research questions are as follows: How are Andrea Sachs’ gender and professional identities discursively constructed? How is the discursive construction of those identities possibly influenced by the contemporary social context? 1.4 Research methods To resolve the above-mentioned research questions, the researcher will employ a qualitative approach to the analysis of conversations between Andrea Sachs and other characters in the film The analysis will be mainly based on Fairclough’s three-dimensional framework (2010) in which text, discourse practice and social practice are the three primary dimensions According to this framework, discourse analysis consists of three steps, involving text analysis, interpretation and explanation Text analysis, as mentioned before in Fairclough, N (1989), is “concerned with formal properties of text” such as the choice of vocabulary, grammar and text structure Meanwhile, interpretation is involved in “the relationship between the text and interaction” when regarding the text as “the product of a production process” That is, in this step, discourse is not only the text but also a form of discursive practice related to how people produce and how others comprehend as well as interpret the given text Finally, explanation step is concerned with the mutual impact of social contexts and the process of production and interpretation The researcher will manually scrutinize the film’s script, especially Andrea Sachs’ lines Then, the researcher will take note of linguistic means and attempt to interpret the underlying messages regarding Andrea Sachs’ identities Also, the Nigel: I don't know what you expect me to There's nothing in this whole closet that'll fit a size six I can guarantee you These are all sample sizes… two and four All right We're doing this for you And… a poncho? You'll take what I give you and you'll like it We're doing this Dolce for you Andrea: Hmm! Nigel:And shoes Jimmy Choo's Andrea: Hmm Nigel: Manolo Blahnik Andrea: Wow Nigel: Nancy Gonzalez Andrea: Love that Nigel: Okay, Narciso Rodriguez This we love Uh, it might fit It might Okay Now, Chanel You're in desperate need of Chanel Darling, shall we? We have to get to the beauty department, and God knows how long that's going to take 10 Emily: I just knew from the moment I saw her… she was going to be a complete and utter disas… [Phone Rings] Andrea: Miranda Priestly's office No, actually, she's not available, but I'll leave word Okay, thanks Bye [Clears Throat] Serena:How did… [Grunts] Are you wearing the… Andrea: The Chanel boots? Yeah, I am Serena: You look good 11 63 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? Emily: Yeah, whoopee Right 12 Andrea: Hi Nigel: Hi All right Turn around for me, darling Andrea: Oh, I get it I get it I get it The piece is called "urban jungle, '"right? Nigel: Yes, the modern woman unleashes the animal within to take on the big city 13 Nigel: Make sure Miranda gets these as soon as possible Andrea: Mm-hmm Nigel: And tell her I switched in the Dior for the Rocha Andrea: Oh, great Can't wait Nigel: Excuse me.Can we adjust the attitude? Andrea: I'm sorry 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 Nigel: Join the club That's what happens when you start doing well at work, darling Let me know when your whole life goes up in smoke That means it's time for a promotion 14 Andrea: How's the cold doing? Emily: Like death warmed up actually [Sniffles] Oh, God It's the benefit tonight I've been looking forward to it for months I refuse to be sick I'm wearing Valentino, for crying out loud 64 Right Well, everybody will be leaving soon to get ready… so I suggest you go and drop Miranda's Fendi bag off at the showroom… and then I suppose you can just go home Andrea: Yeah? Oh, well, that is great Perfect actually 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 15 Emily: Oh, oh, my God Andy, you look so chic Andrea: Oh, thanks, Em You look so thin Emily: Do I? Andrea: Yeah 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 16 Nigel: Massimo Corteleoni… is investing in James's company and taking it global Andrea: Mm-hmm Nigel: Bags, shoes, fragrances… the works And James needs a partner And that partner would be me Andrea: Does Miranda… Nigel: No, no, Miranda knows, because… Oh, she put me up for it God, no Can you imagine? Andrea: But… But… But you're leaving Nigel: Mm-hmm Andrea: I can't imagine Runway without you Nigel: I know, I know, but I'm so excited though This is the first time in 18 years I'm going to be able to call the shots in my own life Oh, my God! I'm going to be able to come to Paris and actually see Paris 65 Andrea: Well, congratulations Nigel, you deserve it Nigel: You bet your size-six ass [Guffaws] Andrea: Four Nigel: Really? [Glasses Clink] Nigel: Cheers B CONVERSATIONS WITH THE BOSS 17 Andrea: Uh, my name is Andy Sachs I recently graduated from Northwestern University Miranda: And what are you doing here?[Clears Throat] Andrea: Well, I think I could a good job as your assistant And, um… Yeah, I came to New York to be a journalist and sent letters out everywhere… and then finally got a call from Elias-Clarke… and met with Sherry up at Human Resources Basically, it's this or Auto Universe Miranda: So you don't read Runway? Andrea: Uh, no Miranda: And before today, you had never heard of me Andrea: No 18 Miranda: That’s all Andrea: You're right I don't fit in here I am not skinny or glamorous… and I don't know that much about fashion But I'm smart I learn fast and I will work very hard 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 19 66 Miranda: Where are the belts for this dre… Why is no one ready? An employee: Here It's a tough call They're so different Miranda: Hmm Andrea: [Snorts, Chuckles] Miranda: Something funny? Andrea: No No, no Nothing's… You know, it's just that both those belts look exactly the same to me You know, I'm still learning about this stuff and, uh… Miranda: "This… stuff"? Oh Okay I see You think this has nothing to with you You go to your closet… and you select… I don't know… that lumpy blue sweater, for instance… because you're trying to tell the world that you take yourself too seriously… to care about what you put on your back But what you don't know is that that sweater is not just blue It's not turquoise It's not lapis It's actually cerulean And you're also blithely unaware of the fact… that in 2002, Oscar de la Renta did a collection of cerulean gowns And then I think it was Yves Saint Laurent… wasrt it… who showed cerulean military jackets? [ ] And then cerulean quickly showed up in the collections of eight different designers And then it, uh, filtered down through the department stores… and then trickled on down into some tragic Casual Corner… where you, no doubt, fished it out of some clearance bin However, that blue represents millions of dollars… and countless jobs… and it's sort of comical how you think that you've made a choice… that exempts you from the fashion industry… 20 Andrea: Miranda, I'm so sorry Miranda: Do you know why I hired you? 67 I always hire the same girl… stylish, slender, of course… worships the magazine But so often, they turn out to be… I don't know… disappointing and, um… stupid So you, with that impressive resume… and the big speech about your so-called work ethic… I, um… I thought you would be different I said to myself, go ahead Take a chance Hire the smart, fat girl [Clears Throat] I had hope My God I live on it Anyway, you ended up disappointing me more than, um… more than any of the other silly girls Andrea: Um, I really did everything I could think of Uh… Miranda: That's all 21 Miranda: Call my husband and confirm dinner Andrea: At Pastis? Done Miranda: And I'll need a change of clothes Andrea: Well, I've already messengered your outfit over to the shoot Miranda: Fine And, Andrea, I would like you to deliver the Book to my home tonight Have Emily give you the key Andrea: Mm-hmm Miranda: Guard this with your life Andrea: Of course 22 Miranda: I need the new Harry Potter book for the twins Andrea: Okay Okay I'll go down to Barnes & Noble right now Miranda: Did you fall down and smack your little head on the pavement? Andrea: Not that I can recall Miranda: We have all the published Harry Potter books The twins want to know what happens next Andrea: You want the unpublished manuscript? Miranda: We know everyone in publishing It shouldn't be a problem, should it? 68 And you can anything, right? 23 Miranda: One copy What are my twins gonna with that? Share? Andrea: Oh, no, I made two copies… and had them covered, reset and bound so that they wouldn't look like manuscripts This is an extra copy to have on file You know, just in case Miranda: Well, where are these fabulous copies?I don't see them anywhere [Whistle Blows] Andrea: They're with the twins, on the train on the way to Grandma's Is there anything else I can for you? Miranda: Mm-mmm That's all 24 Miranda: Paris is the most important week of my entire year I need the best possible team with me That no longer includes Emily Andrea: Wait You want me to… No, Miranda [Exhales] Emily would die Her whole life is about Paris She hasn't eaten in weeks L-I can't… that Miranda, I can't Miranda: If you don't go, I'll assume you're not serious about your future… at Runway or any other publication The decision’s yours That's all 69 25 Miranda: We need to go over the seating, uh, chart for the luncheon Andrea: Okay Um, yeah, sure I have it right here Miranda: By all means, move at a glacial pace You know how that thrills me Andrea: Okay Miranda: So… first of all, we need to move Snoop Dogg to my table Andrea: But your table's full Miranda: Stephen isn't coming Andrea: Oh, Stephen is… So I don't need to fetch Stephen from the airport tomorrow? Miranda: Well, if you speak to him and he decides to rethink the divorce… then, yes, fetch away You're very fetching, so go fetch And then when we get back to New York, we need to contact, um… Leslie to see what she can to minimize the press… on all this Another divorce… splashed across page six [ ] I don't really care what anybody writes about me But my… my girls, I just… It's just so unfair to the girls It's just… another disappointment… another letdown, another father… figure… [Chuckles] Gone [ ] Andrea: I'm so sorry, Miranda If you want me to cancel your evening, I can Miranda: Don't be ridiculous Why would we that? Andrea: Um, is… Is there anything else I can do? Miranda: Your job That's all 26 Andrea: Miranda Miranda Wait, I need to talk to you Irv is making Jacqueline Follet the editor in chief of Runway Christian Thompson told me he’s gonna work for her Irv is going to tell you today I thought maybe if I told you, that you could fix it 70 27 Miranda: I was very, very impressed… by how intently you tried to warn me I never thought I would say this, Andrea… but I really… I see a great deal of myself in you You can see beyond what people want and what they need… and you can choose for yourself Andrea: I don't think I'm like that.L… I couldn't what you did to Nigel, Miranda I couldn't something like that Miranda: Mm You already did To Emily Andrea: That's not what I… No, that was… that was different I didn't have a choice Miranda: Oh, no, you chose You chose to get ahead You want this life, those choices are necessary Andrea: But what if this isn't what I want? I mean, what if I don't wanna live the way you live? Miranda: Don't be ridiculous, Andrea Everybody wants this Everybody wants to be us C CONVERSATIONS WITH OTHER WORK-RELATED RELATIONSHIPS 28 Andrea: Excuse me -Hi I'm Andy I'm picking up for Miranda Priestly James: Oh, yes You must be the new Emily Andrea: [Chuckling] James: Nice to meet you Oh, let me see that bag Very, very nice Distressed, studded leather, pieced by hand, finished with a metallic fringe [Clicks Tongue] Very nice, indeed Who made that fantastic thing? Andrea: You James: Hmm Duh This way 71 29 Andrea: You probably don't remember me We met atJames Holt's party I'm Miranda Priestly's assistant Christian: The Harry Potter manuscript? Oh, you're kidding Andrea: Uh, sorry to ask, but I'm desperate Christian: Just tell her it can't be done You'll have to come up with a Plan "B." Andrea: Well, this is Miranda Priestly we're talking about There is no Plan "B." There's only Plan "A." 30 Christian: Monuments should be erected in my honor Andrea: You didn't Christian: Oh, yes A friend of a friend does the cover art… and she happens to have the manuscript Andrea: Oh, no, 'cause that would mean that I actually did something right [Chuckles] It's just… Oh! The thing is, Christian, I was just… Christian: Look, you want this thing, you better hurry I'll meet you at the St Regis 31 Andrea: Okay, I just wanna say that yes, there are things Miranda does that I don't agree with, but… Christian: Come on You hate her Just admit it to me -No Andrea: She's a… She's a notorious sadist… and not… not in a good way Okay, she's tough, but if Miranda were a man… no one would notice anything about her, except how great she is at her job Christian:[Chuckles] I'm sorry I can't… I can't believe this You're defending her? Andrea: Yeah Christian: The wide-eyed girl peddling her earnest newspaper stories? You, my friend, are crossing over to the dark side I resent that 32 (a conversation with Thompson) Andrea: Mm L-I can't I'm sorry 72 I can't You know, Nate and I just split up a couple days ago, and I can't Ooh I've had too much wine And my hearing… vision… judgment's impaired No, I barely know you I'm in a strange city I… am out of excuses 33 Andrea: Uh, what the hell is this? Christian: What does it look like?It's a mock-up Andrea: Yeah Of? Christian: Of what American Runway will look like when Jacqueline Follet is the new editor in chief Andrea: Wh… They're replacing Miranda? Christian: Yeah And she's bringing me in to run all the editorial content You're really surprised? Jacqueline's a lot younger than Miranda She has a fresher take on things Not to mention American Runway's one of the most expensive books in the business Jacqueline does the same thing for a lot less money And Irv… Irv's a businessman, you know Andrea: Miranda will be devastated Her whole life is about Runway He can't that to her Christian: It's done Irv's gonna tell Miranda after the party forJames Andrea: And she has no idea? Christian: She's a big girl She'll be fine Andrea: Shi… I have to go D CONVERSATIONS WITH FRIENDS & FAMILY: 34 Andrea’s friends: Wait You got a job at a fashion magazine? 73 Andrea: Mm-hmm Nate: What was it, a phone interview? Andrea: Ow! Don't be a jerk 35 Lily: Look, you gotta start somewhere, right? I mean, look at this dump Nate works in I mean, come on Paper napkins? Hello Nate: Yeah And Lily, she works at that gallery doing, uh, you know… Oh, I'm sorry What exactly is it that you anyway? 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 36 Andrea: So then I said, "No, I couldn't see the difference… between the two absolutely identical belts'"… and you should have seen the look she gave me! I thought the flesh was gonna melt off her face Nate: [Chuckles] Andrea: It's not funny She's not happy unless everyone around her is panicked, nauseous or suicidal [ ] The amount of time and energy… that these people spend on these insignificant, minute details, and for what? So that tomorrow they can spend another $300,000 reshooting something… that was probably fine to begin with… to sell people things they don't need! God! I'm not even hungry anymore Nate: What? Andrea: That is why those girls are so skinny Nate: Oh No, no, no Give me that There's, like, eight dollars of Jarlsberg in there Andrea: [Sighs] You know what? I just have to stick it out for a year One year 74 And then I can what I came to New York to But I can't let Miranda get to me I won't 37 Andrea: What's this? Her father: I don't want you to get behind on your rent Andrea: Dad, how did you… -It's… I'm gonna kill Mom [Chuckles] Dad, thank you Her father: Mm-hmm Andrea: It's really good to see you Her father: You too, honey [ ] We're just a little worried, honey We get e-mails from you at your office at 2:00 a.m Your pay is terrible You don't get to write anything Andrea: Hey, that's not fair I wrote those e-mails Her father: I'm just trying to understand why someone who got accepted to Stanford Law… turns it down to be a journalist, and now you're not even doing that Andrea: Dad, you have to trust me Being Miranda's assistant opens a lot of doors Emily is going to Paris with Miranda in a few months… and she's gonna meet editors and writers from every important magazine And in a year, that could be me All right? Her father: Mm-hmm 38 Andrea: Oh, I'm so sorry I'm late There was a crisis in the accessories department I needed to find a python headband Pythors hot right now 75 I have exciting presents for all of you Are you ready? Nate:What is that? Andrea: It's a Bang & Olufsen phone Charlie Rose sent it to Miranda for her birthday I looked it up on line It's $1,100 Andrea’s friends: What? Wow! Andrea: And I have some products Mason Pearson hairbrushes A little Clinique Her friends: Oh, damn it I love your job 39 Nate: Quit? Are you sure? Andrea: I failed She's gonna fire me anyway I might as well beat her to the punch Nate: Wow Andy, good for you Congratulations You're free 40 Nate: [ ] your job sucks and your boss is a wacko All right Whatever It's your job Andrea: Nate Come on I'm still the same person I was I still want the same things Okay? Nate: Mm-hmm Andrea: I promise Same Andy, better clothes Nate: I like the old clothes Andrea: Really? Well, what about these necklaces? Do you like them? No? And this dress, it's new Well, there is one other thing that's new… that I thought you might like But, uh… What about this? (showing her bra) You don't like it I should better do… Nate: No, no, no, no 41 Andrea: I wanted to say that you were right about everything 76 That… I turned my back on my friends and my family… and everything I believed in… and… and for what? Nate: For shoes and shirts and jackets and belts Andrea: Nate, I'm sorry 42 Nate: I interviewed at the Oak Room Andrea: And? Nate: And you're looking at their new sous-chef I'm moving up there in a couple weeks Andrea: That's great Congratulations 77 ... discourse of the film ? ?The devil wears Prada? ?? To be more specific, within the scope of the study, linguistic devices used in the film lines of Andrea (the main character) are mainly investigated,... character in ? ?The devil wears Prada? ?? – Andrea The other is discovering the social context of the film and discuss such identities construction in the light of the context 1.3 Research questions The. .. involved in the discursive construction of a character’s identities in the film ? ?The Devil wears Prada? ?? Also, the study into this matter can be a reference source for further investigation into related