M04 Coursework 1

Examine language interaction in context and the

construction of meanings

BEST072
Andreea-Raluca Moise

Analysis of a portion of the film Secrets and Lies (1996)

The field of discourse analysis emerged from a number of disciplines like
linguistics, sociology and psychology, which shared the same interest i.e. the
study of language in interaction. Diverse linguistic tools associated with discourse
analysis tackle the ways in which language is used in real contexts between
people within a variety of socio-cultural backgrounds. This area is also of
significant interest to ELT because the study of talk in natural contexts facilitates
an understanding of how language is constructed in the mind. This aspect is
believed to bring a tremendous contribution to the development of relevant
teaching materials and appropriate learning activities that would help learners
use their L2 proficiently.
The scope of this paper is to analyze how language is used in interaction in a
variety of contexts and how meanings are constructed in discursive practices. It
is based on the film Secrets and Lies directed by Mike Leigh and is divided into
two parts. The first part constitutes the film analysis and the second part
represents the teaching section. The point of departure is Gees building tasks
of language along with other tools relevant to Gees approach to discourse study
(Gee 2011: 6-25).
The present analysis will also tackle different speech functions and specific
concepts like linguistic politeness, identity and face. When discussing identity, the
analysis will also include comments concerning other three building tools i.e.
the identities, the relationship and the politics building tools (Gee 2011: 106125). The context shall be presented in all scenes because it represents an
essential characteristic of the manner in which people use language to interact.
The paper shall also tackle the functions of speech that contribute to identifying
how language is apprehended by the other speakers.

In the opening scene of the film, the spatial setting is a cemetery and the
attention of the audience is directed towards a burial. Most of the mourners are of
African origin and their song creates an overall thrilling atmosphere. A close-up
presents Hortense crying, making the audience reach the conclusion that the two
shared a special relationship. This emotional setting undergoes a scene
transition and the audience witnesses the last arrangements before a wedding.
The first scene in which we can analyze an array of aspects of language in
interaction is the one in which Monica and Maurice have a meaningful exchange.
The physical setting in which the conversation takes place is the living room and
judging by its appearance it may well point to a middle-class family.
Monicas first utterance about the noisy children can be easily interpreted as
serving an affective function. Maurices reply to his wifes phatic inquiry At least
they can play out around here is somehow confusing for the audience. Tracy
and Robles assert that utterances have an additional meaning besides the
conventional one i.e. an interactional meaning (2013: 8-9). The interactional
meaning of this sequence of utterances can be strongly connected with a
historical context that occurred long before the current focal event. The
significance of Maurices response may be construed in two ways i.e., referring to
some background information about his childhood or expressing regret about not
having children. He may have lived in a poor neighbourhood with no playground
near his house.
The notion of identity refers to how people construct an identity for themselves
and for others through their expressive choices (Tracy and Robles 2013: 20).
Maurices keen eye on detail is a matter of identity and is disclosed when he
notices Monicas new piece of clothing. This aspect can be related to his job as a
professional portrait photographer, which creates an identity for him as a person
paying significant attention to detail. By uttering Its nice, he is complimenting
his wife for her good taste in choosing the outfit combination and later he
compliments her again for doing a wonderful job with the house. Maurices way

of expressing and his affective gesture of touching her vest signal a relationship
of closeness between the two.
In their conversation about the girl in the picture, Monica builds two identities i.e.,
one as a person showing a rather distanced attitude toward the girl She survived
it though, didnt she? and the other one as a caring wife who wants her husband
to be happy: we could always ask her to come over. Monica is also creating an
identity for Roxanne, placing her in a rather bad light Shes back on the streets
now. For an outsider, this assertion is open to interpretation. It can serve as a
referential utterance in a context known both to Monica and Maurice or it can be
perceived as a face-threatening act to Roxannes social status.
Evidence of Monicas social distance towards Roxanne and her mother is overtly
shown when she describes the mother-daughter relationship as being similar to a
puppet show: Theres no show without Punch. The identities she builds for them
may well threat their face wants or deprive them of a social good such as being
treated with respect, particularly by family members.
In relation to Significance, it is highly important for Maurice to visit Cynthia: I
must get down to see her. In contrast, Monica believes that his intention is not
that socially significant to her and suggests that a conversation over the phone is
more than enough: You speak to her on the phone.
In the following scene, the audience is presented with two other characters i.e.,
Cynthia and Roxanne who enact through their language a tumultuous
relationship in which repressed feelings of anger surface abruptly. The physical
setting of the interaction is the living room of the house. In the opening scene
Roxannes grudge against Cynthia can be noticeably observed in the manner
she conveys her messages i.e., using directive utterances like Well, shut up,
then! or Leave it out! that serve as orders.

Cynthia is a middle-aged woman working in a factory and judging by her

conversation with her bitter daughter she is resentful of her youthfulness and
enacts a childish identity of someone who is unhappy, pitiful and who mourns
after her lost youth: At your age, I couldve had the pick of the crop. In contrast,
Roxannes negligent appearance and unladylike body language portray a woman
who has no reason to be content or satisfied: Well, whats there to smile about?
In relation to Connections, Cynthia is a bitter character who builds connections
between the misfortunate events in her life and the people who surround her, as
if she never had a choice to do things her own way. She portrays an unhappy
woman who has difficulty in accepting changes and she considers that the main
reason for which her brother hasnt visited or invited her by now to see his house
is Monica: Hed have us up there to see it by now, I expect, if it wasnt for her.
Through her disrespectful language Toffee-nosed cow, she enacts an identity
for Monica as a snobbish person and construes a relationship of social distance
and animosity. By uttering such a contemptuous remark, Cynthia is performing a
face-threatening act, which affects Monicas social good of being treated with
respect.
In terms of Significance, it seems highly important to Cynthia to see her
daughter step out with a man on her arm. Her language clearly reflects how
much value it has to her because her utterances do not look as pieces of advice,
but have the function of commands: you wanna get yourself a bloke/Thats what
you wanna do. It may be inferred that having a man by your side is a social good
for Cynthia, who did not succeed to keep a man beside her. In contrast, Roxanne
does not regard Cynthias opinion as being that significant to her: I dont wanna
get anything. Im quite happy here.
Cynthias emotional frustrations resulting from unfulfilled needs surface and she
begins to place the blame on her family members, particularly on Roxanne: then
I got saddled with you. That was my downfall, darlin. In terms of building

relevance between ideas, Cynthia connects her downfall with the moment she
got pregnant with Roxanne.
The identities they build in interaction are strongly linked to the way they talk.
Tracy and Robles claim that identities shape talk (2013: 8). If identities shape
talk, one can assume that a persons identity is shaped by education, social class
and professional background. Cynthia and Roxanne use a lot of British slang
such as arse, toffee-nosed, bloke and knickers. The use of informal speech
is also observed in the use of verb alternatives like dunno and wanna. In
addition to this, Cynthias utterance I was stuck at home at the age of ten,
looking after Maurice and your granddad bears referential function, making the
audience infer that she did not have time for school because she had to work and
take care of her family after her mothers demise.
Another significant scene that illustrates the discourse patterns related to the
construction of meanings in interaction is the counselling scene. The physical
setting in which the conversation takes place is a social institution, thus it can be
further stated that the scene depicts an exchange in an institutional setting. The
institutional activity can be regarded as a counselling session that is being held in
the social workers office. As in the previous scenes, meaning is build on various
levels and the purpose of the talk in the above mentioned spatial setting is
strongly linked to a historical context i.e. Hortense being given for adoption as a
baby.
Concerning the level of formality, Jennie signals a social relationship of
closeness which is revealed in her language choices like addressing Hortense by
her first name and making inquiries about her personal life. Although, some of
Jennies utterances are directives Come this way, Have a seat, Make
yourself at home, she expresses them in a gentle manner that displays
politeness and solidarity.

As previously mentioned, the initial exchange between Jennie and Hortense is an

example of common interaction that fulfils an affective and referential function.
This ordinary conversation led by Jennie may be intended to make Hortense feel
more comfortable and to signal relations of closeness by showing interest in her
life. Then, the social workers utterances become even more referential in
function. She is tracking events in Hortenses life by posing questions like So
what d you do?, Whered you live, You thinking about getting married?,
Dyou have children? etc.
In relation to Connections, Jennie considers that the death of Hortenses mother
is relevant to her decision to discover the identity of her birth mother: mum died
two months ago now. ()/ Perhaps thats what made you start on this. With
regard to identity, the social worker informs Hortense about her mothers possible
personal identity, referring to her attitude about meeting Hortense: she may
not want to see you. Jenny seems to warn Hortense about her biological
mothers negative face needs, like having her privacy respected, which may be in
contradiction with her positive face needs to feel included in a family. In relation
to Significance, Jennie points out that her desire to meet her mother may not be
as significant to her mother as it is to her.

The final scene proposed for this film analysis shows Maurice knocking on
Cynthias door. The physical setting of the conversation is the house in which
Cynthia and Roxanne live. There is an indisputable disparity in housing styles.
Maurice and his wife live in a spacious house with six bedrooms, while Cynthia
and Roxanne are presented in a claustrophobic dwelling. These spatial settings
tremendously contribute to indicate class difference and distinct social
relationships.
The situation frame of the interaction displayed in this particular scene is two
family members chatting. Although, the characters attempt to follow the patterns
of a day-to-day exchange, the language they formulate reveals an outstanding
relationship with significant emotional load. Cynthia portrays a woman having
severe issues with her emotional health. She is well aware that her daughter
resents her and she does not refrain from disclosing their current relationship to
Maurice: I dunno what she wants/ Apart from me under a bus// Me head in the
oven.
Maurice proposes a social activity in the form of a birthday party: You know,
have a get-together/ Come on, its Roxannes birthday. In terms of Significance,
Cynthia expresses overtly that it means a lot to her to be invited by her brother in
his new dwelling: thought youd never ask/ ()/ Youve been there nearly a
twelve-month.
The use of minimal responses like right, yeah, okay throughout their
communication constitute significant interactive and affective functions. She also
uses endearment terms such as darlin and sweetheart, which confirm a
degree of familiarity and closeness.
In conclusion, it can be assumed that the language used by these speakers
clearly reflects how meaning is built on various levels. Every scene reveals the
importance of language in expressing feelings and in outlining social

relationships. The description of various utterances and their functions provides

an outstanding insight into the speakers identities. These scenes indicate that
language cannot be interpreted without a context and that an utterance is
markedly influenced by what is previously said. The settings contribute to
portraying the characters and to disclosing differences on several levels.

Teaching Section
The second part of this paper constitutes the language teaching section. In this
section I have chosen a part of the counseling scene to illustrate how language
in use and conversational patterns can significantly contribute to designing
teaching materials that concentrate on various aspects of meaning according to
diverse cultural and societal values. There are four activities based on the
counseling scene and the fragment proposed for this teaching section is
included in the Appendix. The target group consists of Romanian high school
learners who have an upper intermediate command of English.
The objectives of Activity 1 seek to draw learners attention on linguistic choices
regarding politeness and address forms which are culturally determined.
Learners have to identify how the speakers greet and address each other and to
comment upon the reasons for which the speakers construct meaning in a
particular way. Moreover, learners have to compare the address forms used by
the speakers with linguistic norms in their speech community.
The purpose of Activity 2 is to propose learners to work in pairs and imagine a
telephone conversation. This task is intended to assess learners communicative
competence in a social practice.
Activity 3 is to check learners understanding of the role of imperatives in a
specific context and the meaning conveyed by their use. This task also seeks to
determine learners to provide other structures that express polite ways of getting
people perform actions.
The last Activity assesses learners knowledge of culture, particularly the social
expectations people have when engaging in a conversation.

Ways of exploiting a part of the counselling scene for language teaching

Activity 1. The use of address forms in different speech communities.
a. How is greeting performed between the two speakers?
b. How can you comment upon the choice of address forms?
c. The social worker addresses Hortense by her first name (FN). Is this linguistic
choice different from the one used in an institutional setting in your country?
Explain the cross-cultural differences that may exist. If necessary, support your
arguments by providing examples of other institutional settings in which greeting
and addressing are expressed differently.
Activity 2. Language in a telephone conversation to arrange meetings or make
appointments.
Work in pairs and act out a short conversation which Hortense had on the
telephone. What was the purpose of the call?
Activity 3. Ways in which language is used to get people to do something.
a.

How is the social worker expressing her attempts to get Hortense do

things? Give examples from their interaction.

b.

Is Jennie polite or impolite? Are they equal in status or not?

c.

How would you change these sentences to sound more polite?

Activity 4. Language and social expectations
a. Comment upon Jennies gesture of eating candy while discussing with

Hortense.

Do you think she is making Hortense feel uncomfortable or

not?
b. Is this gesture common in institutional settings in your country? Are there
any exceptions?

List of References
Gee, J. P. (2011) How to do Discourse Analysis: A Toolkit. London: Routledge
Tracy, K and Robles, J. S. (2013) Everyday Talk. 2nd edn. London: The Guilford
Press
Leigh, M. (2006) Secrets and Lies [online] available from
[ 26 October 2013]

APPENDIX
Part of the counseling scene proposed for the teaching section
Duration: 19:39 to 20:09
S.c = Social counselor
H = Hortense
S.c: Hello?
Hortense. Hello. Jennie Ford.
Nice to meet you.
H:

Oh, hi

.
S.c: Come this way.
How are you? All right?
H:

Fine, thank you.

S.c: Good.
Sorry about this prison cell.
Have a seat.
Make yourself at home.
Before we go any further,
have you got any ID?
Passport, driving licence?
H:

Yeah.

S.c: Get used to this red tape. Youd like a Rolo?

H:

No, thank you.

S.c: You sure?

H: Yeah.