The differences between characters can often be shown using dialogue. David Williamson uses dialogue effectively in ‘The Club’, to show the different personalities and desires of the characters. Ali G is a great example of how dialogue can be used to show the differences between characters when he interviews English soccer star David Beckham.
In many interviews, television shows, movies, novels, and performance scripts, dialogue is used to show the different personalities of characters. In ‘The Club’ David Williamson uses colloquialism, slang, clichés, anecdotes, idiomatic expressions, satire, sarcasm and irony to show the different personalities and desires of the characters Ted, Jock, Gerry, Laurie, Danny and Geoff.
Teds repetitiveness is used to show that he feels anxious and insecure about approaching and handling situations. ‘…it’s much better to stay cool. Don’t you think so? Better to stay cool?’ is a perfect example of how Williamson uses this repetitiveness. The dialogue also shows his autocratic manner when he says ‘To hell with the players and suppoerters. The committee’s where the power is.’. Williamson uses this dialogue to show Teds personality compared to the other characters.
Jock is made to stand out as a verbose, judgemental, insecure, egotistical and small-minded character. He is always insulting others, ‘you mongrel’, ‘the bloody little upstart’, and ‘a young smart arse’ are all common examples of this. Williamson makes Jock appeal physically intimidat...
Mr. Jock meets both criterion A and B of a manic episode as he experi...
How do fiction storytellers reveal a character’s actions and or characteristics? Fiction storytellers use things like conflicts, diction, and imagery to add a better description to a book. Most of these examples also hook the reader to want to learn more. The mood of a story is also revealed when using this examples. In The Looking Glass Wars Beddor uses conflicts and challenges to inform the reader about Alyss’ characteristics.
Can some people so different be so a like? Can some people so alike be so different? Dally and Johnny are those two who are so different, but yet they are similar. In the book S.E. Hinton writes The Outsiders, Johnny Cade and Dally Winston come from two completely different backgrounds, and have completely different scruples. Yet, at the same time they are alike. Dally and Johnny’s parents both repudiate them, making Johnny and Dally mentally tough, and the boys do not value their lives. At the same time though they are different, Dally is stronger than Johnny. Though, Johnny has a soft heart and Dally would not even pay any attention if someone is dying right next to him.
In the novel The Outsiders by S.E. Hinton a teenage boy named Ponyboy lives with his two older brothers named Soda and Darry, and there is some controversy on whether or not his brothers are able to take proper care of Ponyboy. All three of the brothers are apart of the neighborhood gang called “The Greasers”, which is more like a brotherhood of underprivileged boys that have eachother’s backs rather than a gang. Ponyboy finds himself involved with the murder of an egotistical “Soc” named Bob, and is at risk of being taken away from his family and friends. Ponyboy should be able to stay with his brothers, because he is a well-rounded student that obeys the law for the most part, and his brothers are able to provide financial and emotional
The first theory to explain some of Ted's behavior is that of Maslow's Hierarchy of Needs which focuses on describing the stages of growth in humans using the terms physiological, safety, belongingness, self esteem, self actualization and self transcendence. Ted had the necessities of life and shelter, and was therefore satisfied in his physiologi...
How frequently is dialogue used? Is the dialogue always distinct? Does it sometimes overlap? If it does, with what consequences?
At this point, the readers create their own movie in a way. They will determine important aspects of how the character speaks, looks like, and reacts. Whereas, in the movie, the reader has no choice but to follow the plot laid out in front of them. No longer can they picture the characters in their own way or come up with their different portrayals. The fate of the story, while still unpredictable, was highly influenced by the way the characters looked, spoke, and presented themselves on screen.
Alan Bennett presents his characters in Talking Heads by writing the plays in the form of monologue. By employing this technique he has managed to create a rich and detailed World in which his stories unfold but, he only allows us to see it through the eyes of a single narrator. When reading a play that is presented in this manner it is possible to lose sight of the fact that you are only getting one person’s version of events and you may start to believe that you are having conversations reported to you verbatim. This is a clever mechanism because the narrators can often be unreliable and lead the reader to form opinions and draw conclusions that quite often turn out to be unfounded and false. The term “Talking heads is a synonym in television for boredom” (Bennett, 2007, p, 10) yet, these talking heads are certainly not boring, the settings may be drab and ordinary, the characters are not exciting or inspiring yet, the gossipy way in which the stories are told hooks the reader in. Fitting neatly into the genre of tragicomedy it is perhaps fitting that the ‘tragic’ comes before the ‘comedy’, certainly the dramatist infuses the plays with a rich dose of humour but the melancholy subject matter and the often quite sad and lonely characters always counter balances the laughs with a tinge of sadness.
The differences between a club and a gang, are quite distinct, but it is the connotational differences between these two words which distinguishes one from the other. The New Lexicon Webster's Dictionary of the English Language defines a club as; "...an association of people with some common interest who meet periodically..." It defines a gang as "...a number of men or boys banding together, esp. lawlessly..." This definition is traditionally slanted toward applying to male youth, and stereotypical gangsters, from the Mafia to street criminals. Persons who often have a negative attitude toward youth see gangs. Often individuals form gangs out of fear and for the protection of their members whether they are the Bloods and Crips of Los Angeles or the Sharks and the Jets of "West Side Story." Gangs may not possess a set of formal written rules, but all of them have their own sets of customs or conditions. Gangs may or may not be facilitated in a branch of higher and lower members, mimicking a military model. Gangs often have a loosely defined set of goals, and are often involved in delinquent activities.
Despite this occasional negative reception, nothing signifies the influence of a film on screen culture more than when dialogue enters the vernacular of a nation. The iconic line “You’re terrible, Muriel” highlights “an intangible outcome beyond anything money can buy, striking
Conversation Analysis (CA) is the study of talk-within-interaction that attempts to describe the orderliness, structure and sequential patterns of interaction in conversation. It is a method of qualitative analysis developed by Harvey Sacks with the aid of Emmanuel Schegloff and Gail Jefferson in the late 1960s to early 1970s. Using the CA frame of mind to view stories shows us that what we may think to be simplistic relaying of information or entertaining our friends is in fact a highly organised social phenomena that is finely tuned in a way that expresses the teller’s motivation behind the talk. (Hutchby & Wooffitt, 2011). It is suggested that CA relies on three main assumptions; talk is a form of social action, action is structurally organised, talk creates and maintains inter-subjectivity (Atkinson & Heritage, 1984).
It’s amazing how much we learn about people from what they say. One way to achieve this is through carefully constructed dialogue. Work to create dialogue that allows the characters’ personalities and voices to emerge through unique word selection and the use of active rather than passive voice.
The final thought of chapter six brings us to the office character Walter from Microsoft. We are transported back to the present inside the office and after the narrator has allowed the audience to process the current plot, the narrator transfixes on Walter as a new member for fight club. “ You know he was too young to fight in any wars, and if his parents weren’t divorced, his father was never home, and here he’s looking at me with half my face clean shaved and half a leering bruise hidden in the dark. Blood shining on my lips. And maybe Walter’s thinking about a meatless, painfree potluck he went to last weekend or the ozone or the Earth’s desperate need to stop cruel product testing on animals, but probably he’s not” (Palahniuk, par. 21). The reader is left to ponder Walters future within the narrators vision of fight club.
Dialogue gives the audience a clear view of what is happening in the story, but the
The club culture-hundreds of thousands of young people across the country, covered in sweat and rhythmically throbbing to a beat- has long been filled with stigmas and stereotypes; the idea that hip-hop music is only for people of African descent, or solely for the "impoverished youth" as Dale Kleinschmidt, an ex-DJ and amateur break dancer from Dallas, puts it, has been a common view associated with the hip-hop scene by the masses. Dale got interested in break dancing because, as he says, "he wanted to look cool." In the beginning, the idea of being able to break dance was funny to him- he had already been involved in the dance scene, but he had never been a b-boy, he just DJed. A lot of Dale's interest in the dance aspect of the clubs came from his DJing experiences.