INTRODUCTION
Statement of the problem and the rationale for the research
The interconnectedness of identity and ideology is evident in real life, as highlighted by Malesevic (2013), which emphasizes the crucial role of ideology in shaping social identities In film discourse, the portrayal of characters is intentionally crafted by the production crew to reflect contemporary social issues and convey their beliefs, ultimately delivering underlying messages to the audience Film characters, particularly protagonists, embody ideologies that can significantly influence viewers To effectively construct these identities, filmmakers utilize various discourse strategies, with linguistic devices playing a vital role As noted by Hall (2013), language usage is a representation of identity, making the analysis of discursive identity construction essential for understanding how these strategies are employed and how social context impacts film production This study specifically examines the linguistic devices used to shape the identity of the main character, Andrea, while interpreting the underlying ideologies shaped by contemporary social contexts.
"The Devil Wears Prada" has garnered significant attention not only from moviegoers but also from researchers across various fields due to its underlying messages about life Numerous studies have emerged, exploring different aspects of the film For instance, Hudders (2012) analyzed its marketing elements, illustrating how the film reflects consumer motivations for purchasing luxury brands Additionally, research by Gick and Gick (2007) delved into media-related topics, examining the fashion formation process within the dynamic between designers and the media.
Research on the portrayal of female fashion editors in media, such as the studies by Spiker (2012) and Erliska (2017) on female empowerment, as well as Gelogullari (2015) on female friendships in the fashion industry, highlights significant human and social themes Additionally, Hartini (2011) examined specific linguistic elements within the film's script However, there remains a gap in scholarly work focusing on the discursive construction of character identities in "The Devil Wears Prada."
This study serves as a valuable reference for further exploration of topics related to the film "The Devil Wears Prada" and contributes to the broader discourse on film analysis.
Research aims and objectives
In general, the study aims at exploring the relationship between discourse and the construction of a film character’s identities
This study aims to explore the linguistic devices used in shaping the identity of the main character, Andrea, in "The Devil Wears Prada." Additionally, it seeks to analyze the social context of the film and examine how this context influences the construction of identities within the narrative.
Research questions
This study aims to address two key questions: the first focuses on how the main character's gender and professional identity are discursively constructed, which will be analyzed using Fairclough's three-dimensional model (2010) The second question examines the influence of the contemporary social context on the formation 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 character- Andrea
All in all, the two targeted research questions are as follows:
1 How are Andrea Sachs’ gender and professional identities discursively constructed?
2 How is the discursive construction of those identities possibly influenced by the contemporary social context?
Research methods
To address the research questions, the researcher will utilize a qualitative approach to analyze conversations between Andrea Sachs and other characters in the film This analysis will be grounded in Fairclough’s three-dimensional framework (2010), which encompasses text, discourse practice, and social practice as its core dimensions Discourse analysis, following this framework, involves three key steps: text analysis, interpretation, and explanation Text analysis, as outlined by Fairclough (1989), serves as the foundational element of this process.
The formal properties of text, including vocabulary, grammar, and structure, are crucial for understanding its meaning Interpretation involves examining the relationship between the text and its interaction, viewing it as a product of a production process This perspective highlights that discourse encompasses not just the text itself but also the discursive practices influencing how individuals produce, comprehend, and interpret the text Lastly, the explanation step focuses on the interplay between social contexts and the processes of production and interpretation.
The researcher will meticulously analyze the film's script, focusing on the lines of Andrea Sachs to identify linguistic elements and interpret the deeper meanings of her identities Additionally, the researcher will explore the social context of the film, considering its release year and the subtle messages conveyed throughout.
The study's findings will address the first research question by presenting specific linguistic aspects, supported by quotes from Andrea's conversations In response to the second question, the researcher will share their own interpretations of the data.
Scope of the research
Multimodality, which encompasses various modes such as linguistic, aural, spatial, and visual resources for message transmission, is a significant focus in discourse analysis research This study will concentrate on linguistic elements, including lexical choices, grammatical structures, and communication styles, as they are most relevant to the research questions While some visual features may be included in the analysis, they will primarily serve to enhance the understanding of the film's context rather than being the main focus of the study.
The film prominently highlights gender and professional identities, prompting the researcher to concentrate on these aspects rather than other facets of identity, such as sexual, ethnic, or national identity Gender identity encompasses an individual's self-conception as male, female, a blend of both, or neither, while professional identity pertains to how individuals perceive themselves in the workplace and how they convey this perception to others.
The significance of the research
Recent studies in discourse analysis highlight the intricate relationship between language, identity, and society Research indicates that language plays a crucial role in representing and constructing identity, emphasizing that our choices in self-creation are influenced by the social context in which we operate (Hall, 2013:35) This paper aims to analyze film discourse to illustrate how character identities are shaped by their social contexts and language use, thereby contributing valuable insights to the existing literature on this topic.
This paper serves as a valuable resource for researchers exploring the themes of multiple identities and identity construction in film discourse Additionally, it offers insights for general readers interested in the intricate relationship between language, identity, and society.
The structure of the study
The study includes the following chapters:
Chapter 1 – Introduction – presents information on the statement of the problem and the rationale for the research, research aims and objectives, research questions, scope and the significance of the study
Chapter 2 – Theoretical background and literature review – provides the background knowledge of the subject matter as well as a review on related studies
Chapter 3 – Methodology – describes the theoretical frameworks as the basis of the research as well as the data analysis method and procedure
Chapter 4 – Results and discussion –analyzes, demonstrates and discusses the results that the researcher obtained from the data collected with reference to the two research questions
Chapter 5 – Conclusion – summarizes the main findings of the research and presents the limitations of the research as well as some suggestions for further studies Following this chapter are References and Appendix.
THEORETICAL BACKGROUND & LITERATURE REVIEW
Discourse and discursive construction of identities
Although the word “discourse” originally comes from the Latin word
The term "discursus," meaning conversation or speech, has sparked ongoing debate regarding its true definition Researchers have proposed various interpretations of discourse, with one notable definition by Foucault (1972), who described discourse as a structured way of thinking and communicating that shapes our understanding of reality.
Discourse can be understood in various ways: as a broad domain encompassing all meaningful statements, as a collection of coherent utterances with specific purposes, or as a regulated practice involving multiple statements The first interpretation views discourse as a general realm of impactful texts that influence reality In contrast, the second perspective, informed by Foucault and supported by Fairclough (2010), emphasizes specific discourses—such as femininity or imperialism—rooted in historical and social contexts like the 19th century or post-feminism While the latter definition is more focused and defined, both interpretations prioritize the content of the texts or utterances involved.
Foucault's third definition of discourse emphasizes the linguistic rules governing its production, viewing discourse not merely as the meaning of statements but as a function of language in relation to social practices and the intentions of its producers towards their audience This perspective aligns with Jaworski and Coupland (1999), who argue that discourse reflects social hierarchy and is essential for understanding society Widdowson (1984) further elaborates that discourse is a "communicative process" where information is conveyed and intentions clarified, resulting in a textual product Similarly, Brown and Yule (1983) assert that discourse analysis must consider language in use, as it cannot be separated from the purposes and functions it serves in human interactions.
Meanwhile, expanding from the view of discourse as the use of language, Fairclough, N (2003) contended discourse can also be presented through pictures, dispositions or spatial arrangements
In this study, the researcher defines discourse as the use of language to convey messages and construct social realities, including identities The analysis of discourse focuses on language use within specific contexts that contribute to the formation of these identities.
Many researchers agree that identities are constructed through discourse According to Judith Butler (1990), identities are not inherent traits but are created and displayed through social interactions While this perspective may overlook the innate aspects of identity, it acknowledges that many facets of a person's identity are shaped by discourse over time and influenced by social contexts Similarly, Robin Lakoff (1990) emphasized that "the way people talk tells us the truth about them" (p.257), highlighting that discourse serves as a vital medium for individuals to express their identities.
The relationship between discourse and identity construction is a prominent theme in various studies Kroskrity (1999) emphasized that identities are closely linked to linguistic construction, with language acting as a crucial tool in this process Supporting this perspective, Beltz (2002) highlighted the "intimate and mutually constitutive relation" between identities and language, noting that language's symbolic functions play a vital role in shaping societal roles Expanding on these ideas, Ros i Solé (2004) and Shi (2006) introduced the concept of discursive strategies as essential elements in the formation of identity, alongside language.
This study explores how the main character's identities are constructed in the film "The Devil Wears Prada." It focuses on the linguistic devices employed in the dialogue of Andrea, the protagonist, to reveal how the filmmakers shape her identity and convey their messages to the audience.
Film discourse
Film discourse is a vital aspect of media discourse, encompassing the communication of fictional characters through both verbal and non-verbal elements, as defined by Dynel (2011) Unlike cinematic discourse, which focuses on audiovisual features like cinematography and sound design that filmmakers use to engage viewers, film discourse emphasizes the scripted interactions within the film Chovanec (2011) further supports this distinction, highlighting the structured nature of film dialogue.
“constructed” conversations held by fictional characters
Compared with non-fictional or everyday discourse, film discourse has different characteristics For example, it is not spontaneous, but prepared or
“scripted” beforehand Another difference is that film discourse is permanent but
“must appear to be as ephemeral as the speech it imitates” as stated in Chothia, J
In 1978, it was noted that film discourse is characterized by the actor's reproduction of scripted words rather than genuine communication This distinction highlights the unique nature of dialogue in film, which has been explored in studies by researchers like Schegloff (1988) and Emmison.
In 1993, objections were raised against incorporating film discourse into linguistic analysis; however, subsequent studies by researchers such as Herman (1995), Berliner (1999), Kozloff (2000), and Richardson (2010) argued that film discourse mirrors everyday language and the communicative patterns linked to the concept of "reality code."
Cultural realism plays a crucial role in film scriptwriting, as it relies on authentic language and meaningful exchanges found in everyday life (Herman, 1995) According to Kozloff (2000), scripts reflect the cultural norms and expectations of their time, ensuring that dialogues resonate as plausible and relatable Consequently, film discourse is an essential aspect of linguistic analysis, bridging the gap between language and cultural context.
Within the scope of this study, the researcher chose to focus mainly on analyzing verbal elements in the film “the Devil wears Prada”.
Multiple Identities
Identity, in Oxford Advanced Learner’s Dictionary (8 th edition), is defined as
Identity is defined as the unique characteristics, feelings, and beliefs that set individuals apart from one another This concept highlights that identity is an intrinsic quality, representing a personal phenomenon that is deeply internal and exclusive to each person.
Studies by Vygotsky (1978) and Norton (2000) emphasize that identity is continually shaped through social interactions, highlighting its nature as a socially constructed phenomenon This perspective underscores the significance of social engagement in the identity formation process, a view supported by numerous other researchers Additionally, Benwell and Stokoe (2006) define identity in relation to membership in specific groups, reinforcing the idea that identity encompasses both internal and external factors, making this dual approach more comprehensive and justified.
Research indicates that individuals possess multiple identities, as they align themselves with various groups rather than a single one, leading to the concept of "multiple identities." According to Baggioni and Kasbarian (1996), identities can be categorized into personal identity and collective (or social) identity, with social identities emerging from an individual's awareness of belonging to a social group and the emotions associated with that connection Additional studies by Kroskrity (1999), Duszak (2002), and Pavlenko & Blackledge further explore these dynamics.
In 2004, Ramarajan and in 2014, L highlighted that individuals embody a blend of multiple identities Duszak (2002) emphasized that each identity exists on a spectrum of "ingroupness" and "outgroupness," allowing a person to hold various memberships that correspond to different identities Bhattacharya also contributed to this understanding of identity complexity.
B, Rao, H & Glynn, M A (1995) and Ramarajan, L (2014) shared the same view that each social group offers a particular member- identity, from which people incorporate to form their individual multiple identities, but clarified possible social groups “such as organizational membership, profession, gender, ethnicity, religion, nation or family”
In conclusion, the researcher emphasizes that individuals can possess multiple identities simultaneously, encompassing both social group-based identities and intrinsic personal identity For the study's objectives, the focus is primarily on social identities, specifically highlighting the gender and professional identities of the protagonist, Andrea Sachs.
2.3.2 Different perspectives on multiple identities
According to Ramarajan, L (2014) – a literature review about multiple identities, there are currently five main perspectives employed to resolve multiple identities- related matters
From a social psychological perspective, social identity theory posits that identities are linked to social groups and structured within a dynamic hierarchy This means that one identity can overshadow others, becoming the primary influence on behavior, or that multiple social identities can shift in prominence based on the context.
The microsociological perspective emphasizes the negotiation of identities both with others and within oneself, asserting that identities are linked to social roles It suggests that the meanings derived from these roles are personalized, shaping individual identities While acknowledging that people possess multiple identities arranged in a hierarchy of dominance, this perspective posits that the prominence of a particular identity is determined by the individual's personal significance attached to it, rather than by the surrounding context.
The psychodynamic perspective posits that identities evolve over time, influenced by interpersonal relationships that prompt the acquisition of new identities It emphasizes that our self-narratives play a crucial role in expressing these identities, which develop through experiences of separation, conflict, and ultimately unity Additionally, this perspective highlights the tendency to project negative self-aspects onto others and the potential unawareness of hidden identities.
The critical perspective, rooted in Foucauldian thought, asserts that identities are intrinsically linked to power dynamics It highlights the notion that the self is inherently "fragmented," lacking a singular, cohesive identity Instead, identities may be perceived as stable and dominant due to the influence of power, which plays a crucial role in constructing a sense of unity.
The intersectionality perspective emphasizes the interconnectedness of various identities and acknowledges historical and structural inequalities among social groups However, it tends to overlook the subjective aspect of identity, particularly individual self-definitions.
In this study, the primary focus is on social psychological and psychodynamic perspectives, while acknowledging other viewpoints Andrea's gender and professional identities reflect societal expectations for women and the fashion industry's standards for employees Her journey from unprofessionalism to professionalism illustrates that a new identity can be developed through supportive contexts and positive interpersonal relationships, aligning with the psychodynamic perspective.
2.3.3 Some common types of social identities
Gender identity is a complex concept that has garnered significant attention from researchers It refers to an individual's internal understanding of themselves as male, female, a blend of both, or neither, and may or may not align with the sex assigned at birth Unlike gender roles, which are shaped by societal expectations regarding appropriate behaviors and appearances for males and females, gender identity is influenced by a combination of innate and environmental factors Ultimately, it encompasses one's self-identification and the adherence to societal characteristics that individuals believe express their gender to the community.
In today's society, various gender identities have emerged, including agender, where individuals identify as having no gender; androgynous, which describes those with both masculine and feminine traits; and bigender, for those who switch between genders depending on the context Additionally, cisgender individuals align their gender identity with their natal sex and adhere to societal norms, while gender nonconforming individuals do not conform to these expectations Transgender individuals, encompassing both trans men and trans women, have a gender identity that differs from societal norms and may pursue physical transitions Other identities include genderqueer, for those who identify outside the binary of male and female; gender fluid, for individuals who experience a flexible understanding of their gender; and pangender, for those who identify with all genders.
Sexual identity encompasses the sexual or romantic attractions individuals have towards specific genders For instance, those who identify as "straight" or "heterosexual" are attracted to individuals of a different gender, while others may identify with different sexual orientations.
“queer” (lesbian, gay, bisexual or pansexual) feel attracted to people of the same gender or have feelings for more than one gender
Related studies
Recent studies in film discourse have increasingly focused on the construction of character identities through various methodologies For example, Lawless (2014) analyzed the portrayal of Russian identity in James Bond films, revealing a negative ideological message that perpetuates stereotypes and negative labeling of Russians Similarly, Felemban (2011) explored linguistic strategies in shaping a main character's ethnic-national identity, identifying interlanguage and code-switching as prominent techniques Additionally, Hill-Parks (2011) examined identity construction in Christopher Nolan's films, highlighting the fluidity of character identities and the resulting freedom for audience interpretation.
Meanwhile, there are studies investigating the combination of different factors involving identity construction One example to illustrate this is Mustonen,
In their 2015 study, T examined how linguistic elements and multimodality work together to shape the identities of women in the HBO series "Girls." A key finding revealed that the use of certain negative lexical items does not negatively impact the identity construction of female characters; instead, these characters possess the agency to redefine the meanings of such negative terms This insight aligns with the research of Hayes, T & Black, S.
(2003) also studied the use of modality in the construction of disability identity as pitiful characters in 13 most popular Hollywood movies Also, Valanciunas, D
In their 2008 study, researchers examined two Indian films to explore how Indian identity is shaped through linguistic elements and symbols, concluding that Hinduism is deeply intertwined with Indian national identity, while myth highlights contemporary issues, patriotism, and national identity Similarly, Agustina and Maimunah (2013) utilized both narrative and non-narrative elements, including costume and make-up, alongside queer theory to analyze gender identity in a selected film Their findings revealed that the film simultaneously promotes queer perspectives on gender and reinforces traditional gender roles, strategically introducing queer issues within a heteronormative context.
This study focuses on the verbal elements of film discourse, emphasizing how they effectively convey the identities of the main character Unlike previous research that typically examines a single identity, this analysis explores the interplay between two identities, revealing how their relationship enhances the film's overarching messages Additionally, the study will address the often-overlooked aspect of professional identity within the context of film discourse.
This chapter explores key theories related to discourse, the discursive construction of identities, and film discourse, while also examining multiple identities and various perspectives on them Additionally, it reviews relevant studies focused on the discursive construction of film characters The methodology for the study will be detailed in the following chapter.
METHODOLOGY
General information on the film
The study is involved with the film “The devil wears Prada” Released in
"The Devil Wears Prada," a 2006 film adapted from Lauren Weisberger's 2003 novel, draws inspiration from the author's real-life experience as an assistant to Vogue's editor, Anna Wintour The story follows Andrea Sachs, a recent graduate who moves to New York to pursue her journalism dreams and secures a coveted position as a junior assistant to the demanding editor-in-chief, Miranda Priestly Initially struggling with her lack of fashion knowledge, Andrea faces tough challenges and harsh criticism from Miranda and her colleagues However, with guidance from her colleague Nigel, Andrea transforms her appearance and begins to excel in her role, even meeting influential figures like writer Christian Thompson As she immerses herself in the fashion world, her personal relationships suffer, leading to a pivotal moment when she witnesses a conflict between Miranda and her husband This results in an impossible task: locating an unpublished Harry Potter manuscript Despite nearly quitting, Andrea succeeds with Christian's help and earns Miranda's recognition, including an opportunity to attend a Paris fashion event Ultimately, after realizing she doesn’t want to emulate Miranda's cold leadership style, Andrea leaves the fashion industry for a fulfilling editorial position, leaving Miranda with a smile, acknowledging her choice.
The researcher manually selected 42 conversations between Andrea and other film characters from the script to address two research questions These conversations were categorized into work and non-work situations and numbered for easier analysis This organization aids in the investigation of the linguistic devices used to construct the targeted identities in various contexts, thereby facilitating a deeper understanding of the film's social context.
3.3 Data analysis method and procedure
3.3.1 The frameworks for data analysis
Critical Discourse Analysis (CDA), initially developed by the Lancaster school of linguists, prominently features the work of Norman Fairclough As noted by Fairclough, Mulderrig, and Wodak (2011), CDA is characterized not as a singular methodology but as an interdisciplinary movement that integrates diverse approaches and theoretical frameworks This movement focuses on significant social issues, including power dynamics, inequality, and cultural transformations.
“critical” implies hidden connections and causes in discourse such as the relationship between language and one’s identity or ideology Previously, Wodak,
R & Meyer (2001) emphasized that Critical Discourse Analysis (CDA) perceives language as a social practice that influences both social reproduction and change, highlighting the significance of examining the context of language use This perspective is reinforced by Van Dijk (2008), who elucidated CDA's role in uncovering how aspects such as social power and inequality are reflected in texts within particular contexts.
In her 2014 overview, Lin highlights five key principles of Critical Discourse Analysis (CDA): it addresses social issues arising from the misuse of discourse, functions as a problem-oriented approach within applied linguistics, engages with various disciplines necessitating adaptability from practitioners, focuses on marginalized and less powerful groups, and requires researchers to justify their subjective perspectives.
This study utilizes Critical Discourse Analysis (CDA) to explore the connections between language use and the identities that are formed through it CDA aids in revealing the social factors that shape language practices, particularly in constructing the image of the main character Consequently, the researcher identifies CDA as a crucial tool for addressing the two research questions posed.
As can be shown in the following diagram, this model involves three interrelated dimensions of discourse, which can be used for the process of discourse analysis
The micro-level of this model focuses on analyzing the linguistic and semiotic features of a text to understand how they serve the text producer's objectives Fairclough (1989) previously suggested a framework for textual analysis, which includes ten questions categorized into three segments.
1 What experiential values do words have? (classification schemes, rewording/ overwording, ideologically significant meaning relations between words)
2 What relational values do words have? (euphemistic expressions, markedly formal/ informal words)
3 What expressive values do words have?
4 And what metaphors are used?
5 What experiential values do grammatical features have? (types of process and participants, the use of normalization, the use of active or passive sentences)
6 What relational values do grammatical features have? (the use of modes, important features of relational modality)
7 What expressive values do grammatical features have? (important features of relational modality)
8 How are (simple) sentences linked together? (the use of logical connectors, the characterization of complex sentences)
9 What interactional conventions are used?
10 What larger scale structures does the text have?
The researcher opted not to use the suggestive list of questions due to the study's specific focus on gender identity and professional identity Instead, the analysis of the main character's identities relies on the interpretation of lexical resources found in the film script, along with categories established by Lakoff (1975), Mulac et al (2001), and Tannen (1990).
Euphemism is polite, implicit expressions used to replace words which are considered unpleasant to listeners
Intensifiers are adverbs such as “very”, “so”, “definitely”, “really” used to add emphasis to another word, rather than express meaning themselves
Hyperbole involves the use of exaggerated language, such as powerful adjectives and metaphorical expressions, to emphasize information and enhance its impact on the audience.
Modality is the speaker’s use of modal verbs and auxiliaries to express attitudes towards the world It can help convey the level of certainty, willingness, obligation, ability or politeness
Hedges are expressions such as "I think," "I suppose," and "kind of" that speakers use to convey uncertainty or to soften their statements These phrases help maintain politeness and avoid sounding harsh or unkind in conversation.
Rapport talk is the use of language as a way to establish connections, create intimacy and negotiate relationships
The meso-level in the model connects discourse practice with socio-cultural reality, highlighting how text production and consumption shape social contexts This level examines the type of discourse, the producers, their methods of message transmission, and the intended audience In the study, the researcher analyzed the production crew and target audience of "The Devil Wears Prada" to explore the identity construction of the main character, Andrea, and the interpretations of the discourse's messages for viewers Additionally, the study revealed how the production crew altered details from the original novel, illustrating the impact of these changes on audience perception.
The macro-level focuses on socio-cultural practices, highlighting the connection between discourse processes and social conditions As Fairclough (1995) suggests, examining social practice is essential for understanding these dynamics.
The interplay of surrounding circumstances significantly influences discourse, reflecting how contemporary society shapes producers' thoughts and beliefs, which in turn affects the audience and society at large This study reveals that the film analyzed was created in the postfeminism era, where media creators employed strategies that challenged feminist principles, encouraging women to embrace traditional values Notably, Faludi (1992) highlighted that themes like the scarcity of men were prevalent in various media to dissuade women from career ambitions and promote consumerism aimed at enhancing physical attractiveness Ultimately, the research underscores the impact of the postfeminism era on the construction of Andrea's identities.
In general, the procedure of data analysis is as follows:
The researcher began by extracting the main character's conversations to gather detailed insights for the investigation After thoroughly analyzing these conversations, the researcher identified the most distinctly portrayed identities The data were then organized into numbered extracts, which were included in the appendix Utilizing the micro-level of Fairclough’s three-dimensional model (2010), the researcher examined the linguistic aspects involved in constructing the character's identities to address the first research question The findings were presented with numbered examples, referencing their corresponding extracts in the appendix.
The researcher gathered essential background information about the film, including details about the production crew, target audience, release year, and variations from the original novel Following this, the researcher re-examined the dialogues, synthesized the gathered information, and interpreted the underlying messages conveyed through the film, which significantly contributed to addressing the second research question.
Data analysis method and procedure
3.3.1 The frameworks for data analysis
Critical Discourse Analysis (CDA), pioneered by the Lancaster school of linguists, features prominently the work of Norman Fairclough As noted by Fairclough, Mulderrig, and Wodak (2011), CDA is characterized as an "interdisciplinary movement" rather than a singular methodology, integrating diverse approaches and theoretical frameworks that focus on significant social issues such as power dynamics, inequality, and cultural transformations.
“critical” implies hidden connections and causes in discourse such as the relationship between language and one’s identity or ideology Previously, Wodak,
R & Meyer (2001) argue that Critical Discourse Analysis (CDA) perceives language as a social practice that plays a crucial role in both social reproduction and change, emphasizing the importance of the context in which language is used This perspective is reinforced by Van Dijk (2008), who elucidates that CDA focuses on uncovering how aspects such as social power and inequality are reflected and perpetuated in texts within their specific contexts.
In her 2014 overview, Lin outlines five key principles of Critical Discourse Analysis (CDA): its emphasis on addressing social issues arising from misuse of discourse, its classification as a problem-oriented branch of applied linguistics, its interdisciplinary nature that necessitates adaptability from researchers, its focus on marginalized and less powerful groups, and the expectation for researchers to justify their subjective perspectives.
This study utilizes Critical Discourse Analysis (CDA) to explore the relationships between language use and the identities constructed within the narrative CDA serves as a valuable tool for uncovering the social factors that influence language practices, particularly in shaping the main character's image Consequently, the researcher deems CDA essential for addressing the two key research questions.
As can be shown in the following diagram, this model involves three interrelated dimensions of discourse, which can be used for the process of discourse analysis
The micro-level of analysis focuses on the linguistic and semiotic features of a text, examining how these elements are utilized to fulfill the intentions of the text producer Fairclough (1989) previously outlined a framework for textual analysis, consisting of ten questions categorized into three segments.
1 What experiential values do words have? (classification schemes, rewording/ overwording, ideologically significant meaning relations between words)
2 What relational values do words have? (euphemistic expressions, markedly formal/ informal words)
3 What expressive values do words have?
4 And what metaphors are used?
5 What experiential values do grammatical features have? (types of process and participants, the use of normalization, the use of active or passive sentences)
6 What relational values do grammatical features have? (the use of modes, important features of relational modality)
7 What expressive values do grammatical features have? (important features of relational modality)
8 How are (simple) sentences linked together? (the use of logical connectors, the characterization of complex sentences)
9 What interactional conventions are used?
10 What larger scale structures does the text have?
The researcher chose not to use the suggestive list of questions in the study, which focuses solely on gender identity and professional identity Instead, the analysis of the main character's identities is grounded in the interpretation of lexical resources found in the film script, alongside categories established by Lakoff (1975), Mulac et al (2001), and Tannen (1990).
Euphemism is polite, implicit expressions used to replace words which are considered unpleasant to listeners
Intensifiers are adverbs such as “very”, “so”, “definitely”, “really” used to add emphasis to another word, rather than express meaning themselves
Hyperbole is a rhetorical device that employs exaggerated language, such as strong adjectives and metaphorical expressions, to emphasize information and enhance its impact on the audience.
Modality is the speaker’s use of modal verbs and auxiliaries to express attitudes towards the world It can help convey the level of certainty, willingness, obligation, ability or politeness
Hedges are terms such as "I think," "I suppose," and "kind of" that speakers use to express uncertainty or to soften their statements These expressions help maintain politeness and avoid sounding harsh or unfriendly in conversations.
Rapport talk is the use of language as a way to establish connections, create intimacy and negotiate relationships
The meso-level in discourse analysis serves as a crucial link between text and socio-cultural practices, highlighting how text production and consumption shape social reality This level encompasses the types of discourse utilized, the producers' practices in conveying messages, and the intended audience In the study of the film "The Devil Wears Prada," the researcher examined the production crew and the target audience to understand the identity construction of the main character, Andrea, as well as the interpretations of the messages conveyed Additionally, the analysis revealed how the production crew altered details from the original novel, further illustrating the dynamics of discourse practice.
The macro-level focuses on socio-cultural practices, highlighting the connection between discourse processes and social conditions Fairclough (1995) asserts that examining social practices is essential for understanding these dynamics.
The surrounding circumstances significantly influence and are influenced by discourse, reflecting how contemporary society shapes producers' thoughts and beliefs, which drive their discourse practices This, in turn, affects the audience and society at large The researcher identified that the film was produced during the postfeminism era, where media creators often employed strategies that contradicted feminist principles, aiming to encourage women to embrace traditional values Gerbner (1998) noted this trend, while Faludi (1992) highlighted how themes like the scarcity of men were prevalent in media to dissuade women from being career-focused and promote consumerism related to physical attractiveness Ultimately, the study revealed the postfeminism era's profound impact on the construction of Andrea's identities.
In general, the procedure of data analysis is as follows:
The researcher began by extracting key conversations of the main character to facilitate a detailed investigation After thoroughly analyzing these dialogues, the researcher identified the most distinctly represented identities The data was then organized into numbered extracts, which were included in the appendix To address the first research question, the researcher utilized the micro-level of Fairclough’s three-dimensional model (2010) to examine the linguistic elements involved in constructing the character's identities The findings were systematically presented with numbered examples, referencing their corresponding extracts in the appendix.
The researcher gathered essential background information about the film, including details about the production crew, target audience, release year, and variations from the original novel Following this, they re-examined the dialogues, synthesized the findings, and interpreted the underlying messages conveyed through the film, which significantly contributed to addressing the second research question.
The researcher addressed the second research question by examining the film's release year, target audience, and underlying messages, which provided insights into its social context Specifically, the analysis revealed that the film was published in the early 20th century, aimed at young women, and conveyed messages tied to traditional values and societal roles of women.
This chapter summarizes the film relevant to the study and outlines the manual data selection method, along with the two primary frameworks used for data analysis: Critical Discourse Analysis (CDA) and Fairclough (2010) Additionally, it presents a comprehensive list of steps involved in the data analysis procedure The following chapter will detail the study's results and discussions.
RESULTS AND DISCUSSION
The construction of Andrea’s identities
The analysis of the film script reveals that gender identity and professional identities are the most prominent characteristics of the characters, consistently highlighted through various linguistic tools.
In the film, Andrea is portrayed as a cisgender woman, with her gender identity aligning with societal expectations for women This identity is skillfully crafted through her use of rapport talk and various linguistic devices, including euphemisms, intensifiers, hyperbole, and modality, which enhance her character's connection to contemporary social norms.
Rapport talk is a key characteristic of the main character, Andrea, highlighting her cisgender identity Tannen (1990) notes that women tend to engage in more rapport talk than men, using it to foster interpersonal connections and intimate relationships Throughout the film, Andrea exemplifies this by engaging in non-assertive and supportive conversations, particularly evident when she faces mockery and scorn from a new colleague.
Emily for her bad sense of fashion, still offers Emily cooperative replies For example:
Emily: Okay, so I was Miranda's second assistant… but her first assistant recently got promoted, and so now I'm the first
Andrea: Oh, and you're replacing yourself
Andrea's response reflects her genuine interest and support for Emily's presentation, despite its inherent arrogance This interaction can be interpreted as a compliment or congratulation, highlighting Andrea's efforts to build a closer relationship with Emily.
Another example is an interrogative reply with calmness, maintaining a cooperative talk despite Emily’s evident mockery
Emily: Andrea, Runway is a fashion magazine… so an interest in fashion is crucial
Andrea: What makes you think I'm not interested in fashion?
Andrea maintains a cooperative and polite conversational style, exemplified by her thank-you reply at the conclusion of the job interview, despite the boss's apparent underestimation of her abilities and lack of concern for her.
In a pivotal moment, Andrea acknowledges her differences, admitting she doesn't conform to the fashion industry's standards of being skinny or glamorous Despite this, she emphasizes her intelligence, quick learning abilities, and strong work ethic, showcasing her determination to succeed in an environment where she feels out of place.
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
Andrea frequently engages in rapport talk with her colleagues, such as Emily and Nigel, often sharing personal details about her life with Emily.
Andrea: Thank God it's Friday, right?
At least Miranda will be in Miami, so we don't have to be on call this weekend
You know, my dad's coming in from Ohio
Yeah, we're gonna go out to dinner, maybe see Chicago
You doing anything fun this weekend?
In the excerpt, the character shares her weekend plans with her father, fostering a warm dialogue with Emily by inquiring about her own plans This exchange promotes a sense of intimacy among female colleagues Additionally, when Andrea is entrusted with delivering an important document to her boss's home for the first time, she eagerly expresses her excitement to Emily, possibly seeking encouragement or validation, yet Emily's response appears indifferent.
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?
Andrea even strives to maintain an intimate relationship with Emily by sharing unnecessary information about her boyfriend’s birthday and the plan for the birthday party as follows
Andrea: 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
Andrea's conversational style with Nigel is characterized by a strong sense of rapport, as she openly shares the struggles of her personal life, seeking his sympathy and understanding for her behavior.
Nigel: Excuse me.Can we adjust the attitude?
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
The rapport talk style is evident in her enthusiastic support for her boyfriend, despite her feelings of bitterness and sadness over their separation.
Nate: I interviewed at the Oak Room
Nate: And you're looking at their new sous-chef I'm moving up there in a couple weeks
Euphemism, as noted by Lakoff (1975), is often used by women who exhibit greater empathy, care, and politeness than men This linguistic device serves to portray Andrea as a compassionate, considerate, and courteous individual.
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
The use of euphemisms, such as the reply indicating a friend's job is boring, serves to soften the truth and protect feelings Additionally, Andrea's choice of the euphemism "Shoot" in place of "Shit" showcases her polite demeanor.
Andrea's conversations are filled with intensifiers and hyperbole, showcasing her caring and sympathetic nature A notable instance is her heartfelt compliment to Emily about her body, acknowledging Emily's dedication to her strict diet in preparation for the event.
Emily: Oh, oh, my God Andy, you look so chic
Andrea: Oh, thanks, Em You look so thin
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
“Thin”, based in this context, is used with a positive connotation, proving Andrea’s support for Emily’s efforts to lose weight Intensifying adverbs like “so”,
“definitely” contribute to heightening the effects of the compliments, leading to a higher level of pleasure for Emily
When Nigel decides to leave the company for a better job opportunity, Andrea expresses her support and care by praising him, highlighting and even exaggerating his contributions to the organization.
Andrea: I can't imagine Runway without you
Nigel: I know, I know, but I'm so excited though
Andrea: Well, congratulations Nigel, you deserve it
Andrea's use of the double negative "can't" and "without" serves as a hyperbole, effectively highlighting Nigel's crucial role in Runway This choice of language not only underscores the speaker's acknowledgment of the listener but also elevates the listener's perceived value.
Interpretations of Andrea’s identities construction under the influence of social
4.2.1 Screen adaptations of “The Devil wears Prada”
“The devil wears Prada” belongs to chick-flick film genre, whose protagonists are women and target audience are females As stated in Evans, M
In the 2008 chick-flick "The Devil Wears Prada," the narrative emphasizes dialogue and relationships over special effects and violence, showcasing the female protagonist's struggles with love and personal disparity The film centers on two contrasting characters: Andrea, who embodies femininity and submissiveness, and Miranda, who represents masculinity and power This deliberate contrast allows the target female audience to easily understand the film's messages and identify with a suitable role model.
In the film adaptation, several key details were altered from the original novel, as approved by screenwriter Aline Brosh McKenna, producer Wendy Finerman, and director David Frankel Notably, Andrea Sachs lives with her boyfriend in the film, whereas in the novel, she shares an apartment with female roommates and ultimately returns to her family Additionally, the character Christian Thompson plays a significant role in the film, assisting Andrea in obtaining an unpublished Harry Potter manuscript, while their relationship includes a one-night stand—absent in the novel These changes emphasize Andrea's dependence on men for love and protection, highlighting a portrayal consistent with traditional cisgender roles.
To enhance Andrea's cisgender identity, the film alters her characteristics significantly compared to the novel In the book, Andrea is portrayed as hard-edged, often angry, impatient, and using foul language, while the film depicts her as more refined, avoiding smoking and bad language in favor of euphemisms like "shoot." Additionally, the film concludes Andrea's role as Miranda's assistant with a dramatic gesture of throwing her cell phone into a fountain, contrasting sharply with the novel's depiction of her publicly criticizing Miranda and being dismissed These changes create a film version of Andrea that aligns more closely with traditional feminine societal expectations.
In the adaptation of Andrea's character, a significant change is her hair color; while the novel depicts her as a blonde, the film presents her as a brunette This alteration serves to challenge the stereotype that associates blonde hair with beauty and a lack of intelligence, thereby reinforcing a more nuanced portrayal of her professional identity.
4.2.2 The influence of postfeminism era on Andrea’s identities construction
The adaptations discussed play a crucial role in shaping Andrea's identities, enabling her to communicate targeted messages to the audience This identity construction is significantly influenced by the impact of postfeminism on modern society and media.
4.2.2.1 The entanglement of both feminist and anti-feminist ideas
In 2002, Douglas, S (an American columnist) wrote an article called
The concept of "Manufacturing Postfeminism" suggests that while feminism has enabled significant progress for women, it is now viewed as irrelevant and even detrimental, leading to unhappiness and isolation In "The Devil Wears Prada," feminist themes are present, as Andrea embodies a successful professional identity that highlights women's equality with men However, the film also illustrates anti-feminist sentiments, depicting Andrea's lack of personal connections due to her career demands, resulting in loneliness and conflict with loved ones Ultimately, her decision to leave her job reflects the postfeminist message that professional success should not come at the cost of personal relationships and traditional values regarding femininity.
4.2.2.2 The resurgence of sexual difference
In the postfeminism era, gender labeling remains prevalent in media, with males often embodying masculine traits and females being associated with feminine qualities This societal expectation dictates that any deviation from these norms is deemed unacceptable In the film, Andrea serves as a crucial female role model, yet her character is constructed with traditional feminine traits such as dependence, emotionality, and cooperation Despite her intelligence and success, she is portrayed as compromising her integrity, such as when she takes Emily's place in the Paris fashion show Furthermore, her character mirrors societal expectations by prioritizing her boyfriend's needs over her own career aspirations, as seen when she supports his decision to relocate for work, disregarding the potential strain on their relationship.
In "The Devil Wears Prada," Andrea embodies the postfeminist notion that women are expected to navigate and manage their sexual and emotional relationships, as highlighted by Gill (2007) Throughout the film, she resorts to sexual appeal to resolve conflicts with her boyfriend, demonstrating the effectiveness of this approach Additionally, her one-night stand with Christian is depicted as a transactional act, where she repays him for the Harry Potter manuscript, further illustrating the complexities of her identity and the pressures women face in conforming to societal expectations of desirability.
In the postfeminism era, as noted by Gill (2007), women can leverage their sexual power and appearance to achieve professional success Andrea's transformation through makeup, new hairstyles, and stylish clothing illustrates this concept, as her colleagues, boss, and boyfriend respond positively to her new look This fashionable makeover boosts Andrea's confidence and effectiveness at work, leading her boss to favor her over others Consequently, she gains access to significant opportunities, such as attending prestigious fashion events and networking with influential figures in the industry, including Christian Thompson, who later assists her in locating a valuable unpublished manuscript.
Douglas, S emphasizes the significant role of postfeminism in modern media, particularly in films, which serve as a platform for marketing products This era targets female consumers aspiring for self-improvement, as they associate their success with beauty.
This chapter presents the findings related to the two research questions, highlighting the linguistic tools employed to shape the character's identities, including euphemism, intensifiers, hyperbole, modality, rapport talk, fashion-related jargon, and contrastive lexical resources Additionally, it explores the impact of social context on the film, focusing on three key aspects: the intertwining feminist and anti-feminist themes, the resurgence of natural sexual distinctions, and the promotion of women's objectification and beautification concepts.