Languages for intercultural communication and education


JS: [still laughing] No pro – and see what happens! And you you study martial arts too. PS



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JS:
[still laughing] No pro – and see what happens! And you you
study martial arts too.
PS:
All my life.
JS:
Well, let’s see, let’s see, let’s see eh first let’s talk about eh
City of
Joy.
It’s a complete different kind of movie, right? [PS nods] And I
have –
PS:
I I’m very proud of it.
JS:
I have here, I have here some scenes also.
[A clip is shown from
City of Joy
featuring Swayze’s character as-
sisting with a difficult birth. Audience applauds]
JS:
Beautiful.
There are a number of points in this exchange which deserve comment.
First, in passing, we see another example of the ‘feminisation’ of dance,
referred to by Thomas above, which, perhaps in conjunction with Swayze’s
reference to drag queens earlier, prompts Soares’ question about Swayze’s
sexuality. This subject clearly broaches the chat show convention about
revealing ‘synthetic’ personality rather than ‘real’ personality (and so is in
danger of transgressing the norms of the genre). Soares therefore couches
the question between two justifying subordinate clauses (‘Because . . .
because . . . ’). Swayze chooses to respond humorously, adopting a macho
voice to articulate a challenge to the question. The uncomprehending
studio audience understandably fails to respond to the humour. The
audience silence leaves Soares to support Swayze with his own loud
laughter, which might prompt the studio audience’s murmur. His follow-
up question is irrelevant, except in so far as it acknowledges that the
question about Swayze’s sexuality has challenged the chat show conven-
tions too strongly, and so is an obvious attempt to re-establish his guest’s
macho masculinity. The interviewer then introduces a clip of Swayze’s
latest film, after which the audience, on cue, applauds.
Mediated interviews, then, like unmediated interviews, are clearly
about much more than the simple exchange of information and ideas. First
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Intercultural Approaches to ELT
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of all, the interviewer often knows in advance the answers he or she desires
from the guest, and the questions are simply prompts to elicit the desired
response for the audience in the studio and at home. Secondly, when the
interviewee discloses information, it is not necessarily ‘sincere’ but must be
interpreted within a set of conventions whereby the guest seems to be
revealing aspects of his or her ‘essential’ personality. However, he or she is
actually constructing what Tolson (1991) calls a ‘synthetic’ personality, that
is, a personality for public consumption. That said, there are variations
within the talk show genre: the formality of the Lipton interview and the
informality of the Soares interview are partial indicators of the degree of
‘sincerity’ we can expect of the interaction. For example, when Lipton
prompts de Niro to recall, later in the interview, that his father died a few
months before the completion of de Niro’s first film as director (de Niro
plays a father in the movie, and the film is dedicated to his own father) de
Niro is moved almost to tears. This exhibition of sincere emotion, while
touching, would be transgressive in the ‘chat show’ format, where revela-
tion of personality is typically controlled and, indeed, expected to be
largely fictional – thus the banter between Soares and Swayze.

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