Verbings, superlatives, and film catchphrases

November 7, 2017

In my monthly column at Macmillan Dictionary Blog, I’ve been writing about various aspects of language use and innovation. Here are excerpts from the latest three posts, in chronological order. Click the titles to read the rest:

Verbing weirds language – but in a good way

When contact gained popular use as a verb (‘Please contact us later’), critics rejected it as a corruption and a ‘hideous vulgarism’. Nowadays most people are unaware it was ever a problem. But the same controversy has clung to the verbs impact and architect – even though both have been around for centuries. At major athletics events, there is always ‘harrumphing from the stickler brigade’, as Liz Potter reports, over the verbing of podium, medal, final and gold. For some, it’s still a tough ask.

Party on, film catchphrases!

Some films are so popular and linguistically memorable that their lines enter widespread use. It can happen with a line in a classic film, such as ‘Frankly, my dear, I don’t give a damn’ (Gone with the Wind), ‘I’ve a feeling we’re not in Kansas anymore’ (The Wizard of Oz), ‘I’ll be back’ (The Terminator), and ‘Play it again, Sam’ (Casablanca – even though that line is never used in the film). Sometimes it’s not a catchphrase but a new word that enters the language indirectly: gaslight from the 1944 film is a good example.

Good, better and best rules for comparatives and superlatives

Easyeasier and easiest illustrates another rule, one of spelling. When the adjective ends in a consonant plus y, the y changes to i (heavy heavier, not *heavyer). There are two other spelling rules. When the adjective ends in a mute e, add –r or –st, not –er or –est (latelater, not *lateer). And when it ends in a consonant after a stressed, single-letter vowel, double the consonant (fit fitter, not *fiter). Once we learn these rules, we can apply them broadly.

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Diabolical dictionary

October 26, 2017

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Had anyone else sold their dictionary – their big dictionary – I might have felt sorry for them. But if you’ve seen the classic suspense film Les Diaboliques (1955), you won’t feel any pity for its cruel male figure. The actors shown are Véra Clouzot and Paul Meurisse. Véra’s husband, Henri-Georges Clouzot, directed the film.

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Jodie Foster: ‘He started imitating my accent’

October 20, 2017

An important character detail in the film The Silence of the Lambs (1991) is the journey of Clarice Starling, played by Jodie Foster, from a rural working-class background to sophisticated city life as an FBI agent.

Take for example this monologue by Dr Hannibal Lecter, played by Anthony Hopkins, during his first encounter with Starling (from 4:15 in the clip; transcript below):

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Movie accents: the good, the bad, and the mystifying

November 18, 2016

Dialect coach and voice actor Erik Singer released a video this week that analyses 32 film actors’ accents, pointing out what they do well and what not so well. There’s a fair range of performances and genres, with some notoriously bad accents and a few surprises.

It’s a highly entertaining video that lasts a little over a quarter of an hour.

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Slangs of New York

June 22, 2016

Martin Scorsese’s film Gangs of New York (2002) has a special feature on the DVD called ‘Five Points Vocabulary’. Five Points is a reference to the Manhattan district where the film is set, and the vocabulary is a glossary of slang from that era (1840s–60s) and place.

It looks like this:

Gangs of New York - Five Points vocabulary 1 from Vocabulum; or, The Rogue's Lexicon (1859) by George Washington Matsell

The glossary is spread over eight such pages, so rather than add images, I’ve compiled the text below. Fair warning: it’s slang, and therefore not politically correct.

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Linguistic hygiene in Sling Blade

March 9, 2016

Last night I watched the film Sling Blade (1996) for the first time in years decades and liked it all over again. It has linguistic appeal too: the characters speak in strong dialects with idiomatic expressions.

More than once the main characters say how much they like how the other one talks, as a way of conveying their mutual fondness and friendship:

sling blade - i like the way you talk

sling blade - he likes the way i talk - billy bob thornton + james hampton

There are two items in particular I want to note here. The first is a moment of mild prescriptivism at a family table.

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Actors’ use of gibberish

January 12, 2016

Harriet Walter, in her book Other People’s Shoes: Thoughts on Acting, describes an exercise in actors’ training which is designed to ‘break the language barrier and stretch one’s physical invention’.

Named Gibberish, it is:

harriet walter - other people's shoes - thoughts on actingthe practice of substituting what was in the script with our own gobbledegook. The purpose was to release us from the constrictions of another person’s words, to bypass ‘meaning’ and send us straight to a creative source we might not know we had. With Gibberish we could burst our civilized seams and see what else was there. Who were we when released from the conditioning shackles of our hereditary patterns of speech?

At LAMDA [London Academy Of Music & Dramatic Art] we invented fabulous hybrid languages (mostly based on soundtracks from Swedish, Russian or Japanese movies) which broke the mould of our familiar accents and tones. We rediscovered the infantile pleasure in making noises and letting them reverberate to the ends of our toes.

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