{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,7,3]],"date-time":"2025-07-03T04:18:15Z","timestamp":1751516295772,"version":"3.41.0"},"publisher-location":"Amsterdam","reference-count":32,"publisher":"John Benjamins Publishing Company","isbn-type":[{"type":"print","value":"9789027210456"},{"type":"electronic","value":"9789027266156"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":[],"published-print":{"date-parts":[[2017,1,19]]},"abstract":"<jats:p>This chapter focuses on the ways in which film dialogue can enact and foreground the complex mechanisms underlying conversational interaction, and demonstrate the ways in which verbal interaction may be as much about concealment and solipsism as it is about intimacy and revelation. With close reference to Spike Jonze\u2019s <jats:italic>Her<\/jats:italic>, which centres on the developing relationship between a lonely writer and an operating system designed to fulfill his every need, the chapter will examine how the film\u2019s foregrounding of character dialogue to the exclusion of almost everything else challenges convention and relies on the audience to read between the lines of the characters\u2019 utterances. The chapter draws on theories of dialogue from literary criticism, narratology and linguistics as well as film studies to argue that dialogue in film is not just about exquisitely staged scenes or displays of auteurish experimentation, but plays an integral role in the audience\u2019s active engagement with the characters and their investment in their unfolding relationships.<\/jats:p>","DOI":"10.1075\/ds.28.05tho","type":"book-chapter","created":{"date-parts":[[2017,1,27]],"date-time":"2017-01-27T08:05:04Z","timestamp":1485504304000},"page":"77-92","source":"Crossref","is-referenced-by-count":0,"title":["All talk"],"prefix":"10.1075","author":[{"given":"Bronwen","family":"Thomas","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"1757","published-online":{"date-parts":[[2017,1,27]]},"reference":[{"volume-title":"Screenplays: How to Write and Sell Them","year":"2012","author":"Batty","key":"ds.28.05tho-CIT0001"},{"key":"ds.28.05tho-CIT0002","article-title":"Ain\u2019t Got No Body","author":"Brody","year":"2013","journal-title":"The New Yorker"},{"volume-title":"The Digital Female Body: ScarJo as Inhuman","year":"2015","author":"Brown","key":"ds.28.05tho-CIT0003"},{"key":"ds.28.05tho-CIT0004","article-title":"The Toughest Song I Ever Wrote: Spike Jonze on Her\u2019s Sweet Song","author":"Buchanan","year":"2014","journal-title":"Vulture"},{"volume-title":"Dialogue and Discourse: A Sociolinguistic Approach to Modern Drama Dialogue and Naturally Occurring Conversation","year":"1980","author":"Burton","key":"ds.28.05tho-CIT0005"},{"doi-asserted-by":"publisher","key":"ds.28.05tho-CIT0006","DOI":"10.1017\/S0047404500008393"},{"key":"ds.28.05tho-CIT0007","doi-asserted-by":"crossref","DOI":"10.7560\/763555-006","article-title":"Sin City, Hybrid Media, and a Cognitive Narratology of Multimedia","volume-title":"Critical Approaches to the Films of Richard Rodriguez","author":"Eighan","year":"2015"},{"volume-title":"Her Q&A. Hitfix","year":"2013","author":"Eggertsen","key":"ds.28.05tho-CIT0008"},{"issue":"1","key":"ds.28.05tho-CIT0009","doi-asserted-by":"crossref","first-page":"79","DOI":"10.1075\/ni.16.1.11her","article-title":"Dialogue in a Discourse Context: Scenes of Talk in Fictional Narrative","volume":"16","author":"Herman","year":"2006","journal-title":"Narrative Inquiry"},{"volume-title":"Dramatic Discourse: Dialogue as Interaction in Plays","year":"1995","author":"Herman","key":"ds.28.05tho-CIT0010"},{"key":"ds.28.05tho-CIT0011","first-page":"1","article-title":"Introduction: A Brief Primer for Film Dialogue Study","volume-title":"Film Dialogue","author":"Jaeckle","year":"2013"},{"volume-title":"Dramatic Dialogue: The Duologue of Personal Encounter","year":"1983","author":"Kennedy","key":"ds.28.05tho-CIT0012"},{"volume-title":"Her","year":"2011","author":"Jonze","key":"ds.28.05tho-CIT0013"},{"key":"ds.28.05tho-CIT0014","doi-asserted-by":"crossref","DOI":"10.1525\/9780520924024","volume-title":"Overhearing Film Dialogue","author":"Kozloff","year":"2000"},{"key":"ds.28.05tho-CIT0015","first-page":"xii","article-title":"Preface","volume-title":"Film Dialogue","author":"Kozloff","year":"2013"},{"volume-title":"After Bakhtin: Essays on Fiction and Criticism","year":"1990","author":"Lodge","key":"ds.28.05tho-CIT0016"},{"doi-asserted-by":"publisher","key":"ds.28.05tho-CIT0017","DOI":"10.4324\/9780203201220_chapter_4"},{"volume-title":"Fictional Minds","year":"2004","author":"Palmer","key":"ds.28.05tho-CIT0018"},{"key":"ds.28.05tho-CIT0019","article-title":"Her: the very odd couple","author":"Nathan","year":"2014","journal-title":"Empire"},{"key":"ds.28.05tho-CIT0020","article-title":"Why Do We Give Robots Female Names? Because We Don\u2019t Want to Consider Their Feelings","author":"Penny","year":"2016","journal-title":"New Statesman"},{"doi-asserted-by":"publisher","key":"ds.28.05tho-CIT0021","DOI":"10.1075\/pbns.211"},{"doi-asserted-by":"publisher","key":"ds.28.05tho-CIT0022","DOI":"10.1093\/acprof:oso\/9780195374056.001.0001"},{"key":"ds.28.05tho-CIT0023","article-title":"Could it be Her Voice? Why Scarlett Johansson\u2019s Voice Makes Samantha Seem Human","author":"Schroeder","year":"2014","journal-title":"thepsychreport"},{"key":"ds.28.05tho-CIT0024","article-title":"Spike Jonze\u2019s Her is actually a terrible movie","author":"Spaeth","year":"2014","journal-title":"The Week"},{"doi-asserted-by":"publisher","key":"ds.28.05tho-CIT0025","DOI":"10.1177\/096394709700600202"},{"key":"ds.28.05tho-CIT0026","doi-asserted-by":"crossref","DOI":"10.2307\/j.ctt1ddr5tg","volume-title":"Fictional Dialogue: Speech and Conversation in the Modern and Postmodern Novel","author":"Thomas","year":"2012"},{"volume-title":"Under the Skin (2014) Review","year":"2014","author":"ThyCriticMan","key":"ds.28.05tho-CIT0027"},{"key":"ds.28.05tho-CIT0028","article-title":"Spike Jonze\u2019s Dystopic Vision of Los Angeles in \u2018Her\u2019","author":"Tse","year":"2013","journal-title":"Laist"},{"volume-title":"Alone Together: Why We Expect More from Technology and Less from Each Other","year":"2011","author":"Turkle","key":"ds.28.05tho-CIT0029"},{"key":"ds.28.05tho-CIT0030","article-title":"Why Her Will Dominate UI Design Even More Than Minority Report","author":"VanHemert","year":"2014","journal-title":"Wired"},{"volume-title":"Ordinary Pleasures: Couples, Conversation, and Comedy","year":"2001","author":"Young","key":"ds.28.05tho-CIT0031"},{"key":"ds.28.05tho-CIT0032","article-title":"NYFF 2013: With voice-centric \u2018Her\u2019, Spike Jonze makes a statement","author":"Zeitchik","year":"2013","journal-title":"Los Angeles Times"}],"container-title":["Dialogue Studies","Dialogue across Media"],"original-title":[],"language":"en","deposited":{"date-parts":[[2025,7,2]],"date-time":"2025-07-02T19:11:01Z","timestamp":1751483461000},"score":1,"resource":{"primary":{"URL":"https:\/\/benjamins.com\/catalog\/ds.28.05tho"},"secondary":[{"URL":"https:\/\/www.degruyter.com\/document\/doi\/10.1075\/ds.28.05tho\/html","label":"DeGruyter"}]},"subtitle":["Dialogue and intimacy in Spike Jonze\u2019s Her"],"short-title":[],"issued":{"date-parts":[[2017,1,19]]},"ISBN":["9789027210456","9789027266156"],"references-count":32,"URL":"https:\/\/doi.org\/10.1075\/ds.28.05tho","archive":["Portico"],"relation":{},"ISSN":["1875-1792"],"issn-type":[{"type":"print","value":"1875-1792"}],"subject":[],"published":{"date-parts":[[2017,1,19]]}}}