none 10.1075/ds.28.05tho John Benjamins Publishing Company John Benjamins Publishing Company 1757 87666702 2247825 1419860 202507022111000035 10.1075 2025-07-02T15:11:01Z 2017-01-27T03:05:04Z 0 1875-1792 10.1075/ds https://benjamins.com/ catalog/ds Jarmila Mildorf University of Paderborn https://orcid.org/0000-0003-0073-9641 Bronwen Thomas University of Bournemouth With chapters on social media, videogames and human-machine communication, Dialogue across Media provides a comprehensive overview of the role of dialogue in contemporary media. Drawing on the expertise of scholars and practitioners from multiple fields and disciplines, including screenwriters, literary critics, linguists and new media theorists, each chapter provides an in-depth analysis of dialogue in action. Together, these chapters demonstrate the unique energy and versatility that dialogic forms can offer artists and readers alike, and the special role that dialogue plays in helping us to understand the complexities and contradictions of human interaction. Dialogue across Media provides an essential resource for students and specialists in many fields concerned with dialogue, including language and literature, media and cultural studies, narratology and rhetoric. 28 1 19 2017 1 27 2017 9789027210456 9789027266156 John Benjamins Publishing Company Amsterdam 10.1075/ds.28 http://www.jbe-platform.com/content/books/9789027266156 https://www.jbe-platform.com/deliver/fulltext/9789027266156.pdf https://www.degruyter.com/document/doi/10.1075/ds.28/html Bronwen Thomas Dialogue and intimacy in Spike Jonze’s Her 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’s Her , 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’s 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’ 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’s active engagement with the characters and their investment in their unfolding relationships. 1 19 2017 1 27 2017 77 92 10.1075/ds.28.05tho https://benjamins.com/catalog/ds.28.05tho https://www.degruyter.com/document/doi/10.1075/ds.28.05tho/html Screenplays: How to Write and Sell Them Batty 2012 The New Yorker Brody 2013 Ain’t Got No Body The Digital Female Body: ScarJo as Inhuman Brown 2015 Vulture Buchanan 2014 The Toughest Song I Ever Wrote: Spike Jonze on Her’s Sweet Song Dialogue and Discourse: A Sociolinguistic Approach to Modern Drama Dialogue and Naturally Occurring Conversation Burton 1980 10.1017/S0047404500008393 Critical Approaches to the Films of Richard Rodriguez Eighan 2015 10.7560/763555-006 Sin City, Hybrid Media, and a Cognitive Narratology of Multimedia Her Q&A. Hitfix Eggertsen 2013 Narrative Inquiry Herman 16 1 79 2006 10.1075/ni.16.1.11her Dialogue in a Discourse Context: Scenes of Talk in Fictional Narrative Dramatic Discourse: Dialogue as Interaction in Plays Herman 1995 Film Dialogue Jaeckle 1 2013 Introduction: A Brief Primer for Film Dialogue Study Dramatic Dialogue: The Duologue of Personal Encounter Kennedy 1983 Her Jonze 2011 Overhearing Film Dialogue Kozloff 2000 10.1525/9780520924024 Film Dialogue Kozloff xii 2013 Preface After Bakhtin: Essays on Fiction and Criticism Lodge 1990 10.4324/9780203201220_chapter_4 Fictional Minds Palmer 2004 Empire Nathan 2014 Her: the very odd couple New Statesman Penny 2016 Why Do We Give Robots Female Names? Because We Don’t Want to Consider Their Feelings 10.1075/pbns.211 10.1093/acprof:oso/9780195374056.001.0001 thepsychreport Schroeder 2014 Could it be Her Voice? Why Scarlett Johansson’s Voice Makes Samantha Seem Human The Week Spaeth 2014 Spike Jonze’s Her is actually a terrible movie 10.1177/096394709700600202 Fictional Dialogue: Speech and Conversation in the Modern and Postmodern Novel Thomas 2012 10.2307/j.ctt1ddr5tg Under the Skin (2014) Review ThyCriticMan 2014 Laist Tse 2013 Spike Jonze’s Dystopic Vision of Los Angeles in ‘Her’ Alone Together: Why We Expect More from Technology and Less from Each Other Turkle 2011 Wired VanHemert 2014 Why Her Will Dominate UI Design Even More Than Minority Report Ordinary Pleasures: Couples, Conversation, and Comedy Young 2001 Los Angeles Times Zeitchik 2013 NYFF 2013: With voice-centric ‘Her’, Spike Jonze makes a statement