The Analysis of Politeness Used by Utterance in Twilight Movie Script [PDF]

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“The Analysis of Politeness used by Utterance in Twilight Movie Script” By ; Sri Muazidah

A. INTRODUCTION In the modern life, movie has a play important role. Movie is one kind of media that used by people to refresh their mind or looking for the inspiration. It is not only a media that used for entertain the viewers, but it can be used for different need such as learning and teaching. In the academic perspective, movie is seen as a source of knowlege, especially those are who study language. We can used a movie as a media to improve our language ability. For this reason, in the pragmatics context, we can use a movie to analyize the problems in pragmatics such as politeness. There are many utterance in the movie. They talking about the scene with different topics. As the viewer, we can analyze the expression and statement of the character. There will be an interaction between the viewer and character. And then, it is possible whether the speaker use the strategy of politeness either positive or negative politeness. The purpose of this paper is to analyze the use of politeness strategy uses the speaker (characters) utterance in script of Twilight movie. It is argued that character in a Twilight movie deliver different expression and statement in making meaning. It is possible to awaken the politeness phenomena between character in the Twilight movie. We can analyze from the utterance. They may use different strategy of politeness in making meaning. As matter of fact, pragmatics is not only concerrn to analyze the spoken text, but also written text as well. Among the interesting of this paper on the use of on record, off record, positive and negative politeness used by character utterance in a Twilight movie. B. THEORETICAL FRAMEWORK The theory of analysis of this paper here includes on the one hand, Yule about the view of pragmatic, on record and off record, on the other hand Brown and Levinson politeness theory. 1. The view of pragmatic

Pragmatics is concerned with the study of meaning as communicated by a speaker (or writer) and interpreted by a listener (or reader). It has consequently more to do with the analysis of what people mean by their utterances than what the words or phrases in those utterances might mean by themselves. Pragmatics is the study of speaker meaning. This type of study necessaril involves the interpretation of what people mean in a particular context and how the context influences what is said. It requires a consoderation of how speakers organize what they want to say in accordance with who they are talking to, where, when, and under what circumtances. Pragmatics is the study of contextual meaning. This approach also necessarily explores how listeners can make inferences about what is said in order to arrive at an interpretation of the speaker’s intended meaning. This type of study explores how a great deal of what is unsaid is recognized as part of what is communicated. We might say that it is the investigation of invisible meaning. Pragmatics is the study of how more gets communicated than is said. This perspective then raises the question of what determines the choice between the said and the unsaid. The basic answer is tied to the notion of distance. Closeness, whether it is physical, social, or conceptual, implies shared experience. On the assumption of how close or distant the listener is speakers determine how much needs to be said. Pragmatics is the study of the expression of relative distance. 2. Theories of Politeness a. On record Yule George (1996) states in contrast to such off record statements, you can directly address the other as a means of expressing your needs. These direct address forms are technically described as being ‘on record’. The most direct approach, using imperative forms such as those in the example, is known as on record. The other person is directly asked. 

Give me a pen.



Lend me your pen.

The on record forms may be followed by expression like ‘please’ and ‘would you?’ which serve to soften the demand and are called mitigating devices. b. Off Record Yule George (1996) states even if we decide to say something, we do not actually have to ask for anything. We can z9perhaps after we search through our bag) simply produce a statement of the type in the example. 

Uh, i forgot my pen.



Hmmm, i wonder where i put my pen.

These, and other similar types of statement, are not directly addressed to the other. The other can act as if the statements have not even been heard. They are technically described as being ‘off record’. In casual descriptios, they might be referred to as ‘hints’.Once again, an off record statement may or may not succeed (as a means of getting a pen), but if it does, it will be because more has been communicated than was said. c. Definition of politeness 

According Brown and Levinson, said that is is a universal characteristic across cultures that speakers should respect each other’s expectations regarding self-image, take account of their feelings and avoid face threatening acts (FTAs).



According Brown and Levinson (1987) analysed politeness, and said that in order to enter into social relationship, we have to acknowledge and show an awareness of the face, the public self image, the sense of self, of the people that we address.



According Cutting, Joan (2002) politeness refer to the choices that are made in language use, the linguistic expression that give people space and show a friendly attitude to them.

d. Positive politeness 

Positive Politeness is redress directed to the addressee’s positive face, his desire that his wants should be thought of as desirable.



Redress consists in partially satisfying that desire by communicating that one’s own wants are in some respects similar to the addressee’s wants.



The linguistic realizations of Positive Politeness are in many respects representative of the normal linguistics behavior between intimates.

Brown and Levinson (1987:63) state that positive face reflects the desire to have one’s possessions, goals, and achievements desired by a socially or situationally relevant class of others; thus, positive politeness express either a general appreciation of the addressee’s wants, or similarity between the wants of the speaker and addressee. The example of positive politeness: 

How about letting me use your pen?



Hey, buddy, I’d appreciate it if you’d let me use your pen.

e. Negative Politeness 

Redressive action addressed to the addressee’s negative face



Addressee wants to have his freedom unhindered and his attention unimpeded



Specific and focused to minimize the particular imposition that FTA effects



Politeness in Western cultures is always considered with negative politeness behaviour



The most elaborated and the most conventionalized set of linguistic strategies for FTA redress Brown and Levinson, (1987:129) explain that negative politeness is

redrissive action that addresses the hearer’s desire that her actions and her attention be unimpeded. While positive politeness functions as a generalized interaction enhancer, negative politeness is specifically focused and serves to minimize a particular imposition. It is most succinctly encapsulated in the formulaic, virtually automatic utterances that spring to the lips of social interactants hundreds of times a day, including ‘please’, ‘thank you’, ‘sorry’, ‘excuse me’, and the like. The example of negative politeness: 

Could you lend me a pen?



I’m sorry to bother you, but can i ask you for a pen or something?



I know you’re busy, but might i ask you if --- em ---- if you

f. Politeness Strategies 

Off record strategy. If you do off record, you ask for help indirect, and say, in a voice loud enough for your neighbours, to hear something. For example : “I wonder where on earth that website is. I wish i could remember the address’.



On record – baldly. It means direct speech act; such utterances tend to contain the imperative with no mitigating devices. For exampl : ‘this door handle’s falling off’. ‘fix it or give that note to me’.



On record – with negative politeness. Negative politeness strategies pay attention to negative face, by demonstrating the distance between interlocutors, and avoiding intruding on each other’s territory. Speakers use them to avoid imposing or presuming and to give hearer options.



On record – with positive politeness. Positive politeness strategies aim to save positive face, by demonstrating closeness and solidarity, appealing to friendship, making other people feel good and emphasising that both speakers have a common goal.

C. FINDING AND ANALYSIS 1. Finding Twilight Script

Written by Melissa Rosenberg Based on the novel by Stephenie Meyer SHOOTING DRAFT February 11, 2008 15 INT. CAFETERIA - DAY 15

ERIC : “Mike, you met my home girl Bella?” MIKE : “Your home girl?” JESSICA : “(to Bella) It's first grade all over again, and you're the shiny new toy.” ANGELA : “Sorry, needed a candid for the feature.” ERIC : “Feature's dead, Angela. Don't bring it up again (to Bella). I got your back, baby.” ANGELA : “(disappointed) Guess we'll just run another editorial on teen drinking.”

BELLA : “Sorry. There's always eating disorders, or Speedo padding on the swim team.” ANGELA : “Wait, that's a good one. But Bella's attention is now riveted to.”

BELLA'S POV - THE DOUBLE DOORS OF THE CAFETERIA

BELLA : “Tell me, who are they?” ANGELA : “The Cullens.” Jessica leans in, swinging into gossip mode. JESSICA : “Doctor and Mrs. Cullen's foster kids. They all moved down here from Alaska two years ago.” ANGELA : “They kinda keep to themselves.” JESSICA : “Because they're all together. Like, together together. The blonde girl, Rosalie, and the big dark-haired guy, Emmett. ON ROSALIE, 18, long blonde hair, model beautiful, knows it. Alongside her is EMMETT, 17, big, brawny, like a weight lifter, but a playful glint in his eye. JESSICA : “... they're a thing. I'm not even sure that's legal.” ANGELA : “Jess, they're not actually related.” JESSICA : “But they live together. And the little dark haired girl, Alice, she's really weird..

ON ALICE, 17, pixie-like, rail thin, light on her feet with short, black hair going in every direction. She hovers over, JASPER, 18, honey-blond hair, tall, lean, slightly tortured.

JESSICA : “... she's with Jasper, the blonde who looks like he's in pain. I mean, Dr. Cullen's like this foster dad slash match maker.”

ANGELA : “Maybe he'll adopt me.”

EDWARD, 17. Lanky, with untidy, bronze colored hair. He seems inwardly turned, mysterious. More boyish than the others. But the most striking of all. Bella can't take her eyes off him. BELLA : “Hmmm, i wonder who is him” JESSICA : “That's Edward Cullen.”

Suddenly, Edward looks over, as if he heard Jessica from across the room. His eyes meet Bella's. But he seems. confused. Bella quickly looks away.

JESSICA : “He's totally gorgeous, obviously. But apparently, no one here is good enough for him. Like I care. (she obviously does) Anyway, don't waste your time. BELLA : “I wasn't planning on it.”

18 INT. ADMINISTRATION OFFICE - DAY 18

EDWARD : “There must be something open sixth period. Physics? Biochem?” ADMINISTRATOR : “No, every class is full. I'm afraid you'll have to stay in biology. I'm so sorry.” EDWARD : “(to the Administrator) I'll just... endure it.” He strides out the door. Off Bella..

35 INT. BIOLOGY CLASS/HALLWAY - DAY 35 Rain beats on the roof as Eric walks Bella into class. She brushes water off her coat as he chats her up.

EDWARD : “Hello. I didn't have a chance to introduce myself last week. My name is Edward Cullen. (prompting)... You're Bella?” BELLA : “I'm... yes.” MR. MOLINA : “(to the class) Onion root tip cells! That's what's on your slides. Separate and label them into the phases of mitosis. The first partners to get it right, win... the golden onion!” MR. MOLINA : “Come on, people. Tick tock.” Everyone sets to work. Edward pushes the microscope to Bella, keeping his distance, his voice controlled. EDWARD : “Ladies first.” BELLA : “You've been gone.” EDWARD : “Out of town. For personal reasons.” BELLA : “Prophase.” EDWARD : “May I look?” EDWARD : “Prophase.” BELLA : “(muttering) Like I said.” EDWARD : “Enjoying the rain?” BELLA : “Seriously? You're asking me about the weather?” EDWARD : “It appears.” BELLA : “No. I don't like the cold. Or the wet. Or the gray. Or parkas. Or turtle necks. Is that a smile playing on his lips? For the first time, he seems more intrigued than agonized. He studies her. She still can't tell if he despises her or not. It's infuriating.” BELLA : “What?”

BELLA'S POV - ECU ON EDWARD'S FACE EDWARD : “May I looks through the lens? Anaphase.” BELLA : “Like I said.” EDWARD : “(handing her the slide) If you hate cold and rain, why move to the wettest place in the continental U.S.? BELLA : “It's complicated.”

EDWARD : “I think I can keep up.” BELLA : “My mother remarried.” EDWARD : “Very complex. So you don't like him.” BELLA : “Phil is fine. Young for her, but nice enough.”

BELLA'S POV - EDWARD, ROSALIE, AND DR. CULLEN BELLA : “Can I talk to you for a moment? (off his nod) How did you get over to me so quickly?” EDWARD : “I was standing right next to you.” BELLA : “You were next to your car, across the lot.” EDWARD : “No, I wasn't.” BELLA : “Yes. You were.” EDWARD : “You're confused. You hit your head.” BELLA : “I know what I saw.” EDWARD : “And what, exactly, was that?” BELLA : “You stopped that van. You pushed it away.” EDWARD : “No one will believe that.” BELLA : “I wasn't planning to tell anyone. I just want to know the truth.” EDWARD : “Can't you just thank me and get over it?” BELLA : “Thank you.” EDWARD : “You're not going to let it go, are you?” BELLA : “Why did you even bother?” EDWARD : “... I don't know.”

BELLA'S POV - ACROSS THE LAWN MIKE : “So what do you think? (off her blank look) Mmmmmmm, do you want to go to prom with me?”

BELLA : “(realizing, horrified) Prom. As in dance. I, uh - have to go -somewhere. To Jacksonville. Yeah.” MIKE : “You can't go another weekend?” BELLA : “Non-refundable ticket. Maybe you should ask Jessica.”

Finding : Politeness Strategies No

Utterances

On Record

1.

“Mike, you met my

✔

2.

home girl Bella?” “Tell me, who are

✔

3.

they?” “Hmmm, i wonder

4.

who is him” “There must be

Off Record

Positive

Negative

Politeness

Politeness

✔ ✔

something open sixth period. Physics? 5. 6.

Biochem?” “May I look it?” “May I look

✔ ✔

through the lens? 7. 8. 9.

10.

Anaphase.” “Can I talk to you

✔

for a moment?” “Can't you just thank me and get over it?” “So what do you think? (off her blank look) Mmmmmmm, do you want to go to prom with me?” “You can't go

✔ ✔

✔

11.

12.

another weekend?” “Would you mind just pointing me toward Mr. Varner's class?” “I know you are busy, but can i ask you for something?”

✔

✔

2. Analysis The highest politeness strategy found in the ‘Twilight movie script’ is using negative politeness strategy. Why? 1.) The utterance, “Mike, you met my home girl Bella?” showed that the speaker use ‘on record’. It means that Eric (the speaker) asked directly 2.) The utterance, “Tell me, who are they?” showed that the speaker use ‘on record’. It means that 3.) The utterance, “Hmmm, i wonder who is him” showed that the speaker use ‘off record’. It means that 4.) The utterance, “There must be something open sixth period. Physics? Biochem?” showed that the speaker use ‘positive politeness’. It means that 5.) The utterance, “May I look it?” showed that the speaker use ‘negative politeness’. It means that 6.) The utterance, “May I look through the lens? Anaphase.” showed that the speaker use ‘negative politeness’. It means that 7.) The utterance, “Can I talk to you for a moment?” showed that the speaker use ‘positive politeness’. It means that 8.) The utterance, “Can't you just thank me and get over it?” showed that the speaker use ‘positive politeness’. It means that 9.) The utterance, “So what do you think? (off her blank look) Mmmmmmm, do you want to go to prom with me?” showed that the speaker use ‘negative politeness’. It means that 10.)

The utterance, “You can't go another weekend?” showed that the

speaker use ‘off record’. It means that

11.)

The utterance, “Would you mind just pointing me toward Mr. Varner's

class?” showed that the speaker use ‘negative politeness’. It means that 12.)

The utterance, “I know you are busy, but can i ask you for something?”

showed that the speaker use ‘negative politeness’. It means that