This work will try to refute this claim, persisting that class is an indefinable and merely personal criterion of post-war British movie. It will be spotted that especially the working-class is, by using typical speech patterns, a major marker when a film deals with the British class system.
To enlighten in which surrounding the British post-war movie is set, a brief introduction of the cinema history will be given. This will not only look at the development in British cinema, but also relate to the country’s historical and economical changes from the post-war to modern time. As cinema is always of international concern, relations to other developments in other countries will be given a short insight when necessary.
As already stated in the quotation above, class and class markers are not easy to confine. An overview will be given about the British class system and its importance throughout the history. As this is a characteristic of British culture and the way of life, some examples of how this self-assurance marks life will be given by quoting a native sociologist. The focus will lie on the working class, as this work deals with specific dialects that derive out of the same. This includes an overview over the history of London’s working class and special criteria it has to fulfil.
When operating with working class speech, the main dialects for south-east England will be described, as well as the fundamental idea of the term dialect. This will be included in the historical and sociological development of both examples being given – Cockney English as main emphasis and Estuary English.
Table of Contents
1. Introduction
2. History and Features of Post-War British Cinema
3. South-East English Working Class Speech
3.1 Cockney English
3.1.1 Social Aspects
3.1.2 Linguistic Aspects
3.1.2.1 Rhyming Slang
3.1.2.2 Phonological Aspects
3.2 Estuary English
4. Appearance of Working Class Speech in Films
4.1 Hue and Cry
4.2 Quadrophenia
4.3 Lock, Stock and Two Smoking Barrels
4.4 Chicken Run
5. Cockney as Dramatic Instrument
6. Conclusion
7. Bibliography
Research Objectives and Themes
This academic work investigates how working-class speech, specifically Cockney English, functions as a sociological and dramatic marker within post-war British cinema. The research explores whether social class can be effectively defined and identified in film through the analysis of linguistic patterns, such as phonological variations and rhyming slang, across different cinematic genres and decades.
- The historical development and specific features of South-East English working-class dialects.
- The linguistic and social differentiation between Cockney English and Estuary English.
- The role of class-specific speech as a dramatic tool for characterization and social commentary.
- A comparative analysis of four distinct post-war British films: Hue and Cry, Quadrophenia, Lock, Stock and Two Smoking Barrels, and Chicken Run.
Excerpt from the Book
3.1.2.1 Rhyming Slang
RS presents the lexicological part of CE. The current development is that the knowledge of RS terms is in decline. The younger the questioned people are, the fewer examples they are able to give. It is estimated that about thirty expressions are frequently used at the present, and even they are about to disappear soon. In terms of linguistics this would put the main focus on the pronunciation of CE. As this work deals with the appearance of CE in post-war cinema, RS is of main importance; it proves a definite intent when used in films. Compared to the use of phonological aspects, it presents a more noticeable form of changed speech.
The make-up of RS is simple and always the same; a word is replaced by another word, a binary expression or a phrase that rhymes with it. What makes it particularly difficult for a non-rhymer to fathom the meaning, is the fact that often the last part of the phrase or the expression is omitted (e.g. mate = China Plate = China). As this is in either case the part that rhymes with the initial word, it is hardly possible to ascertain its origin. Hence many people reviewed this as a proof for the secrecy and bondage to delinquency of RS. Modern studies assume simple, economic reasons behind the shortening.
Summary of Chapters
1. Introduction: Introduces the research question concerning class definition in British film and outlines the methodological focus on dialects as social markers.
2. History and Features of Post-War British Cinema: Provides an overview of the development of British film from the documentary movement and the Ealing Comedies to the crises and transformations of the 1980s and 90s.
3. South-East English Working Class Speech: Defines the linguistic scope, focusing on Cockney English and Estuary English, and establishes the theoretical framework for dialects, accents, and slang.
3.1 Cockney English: Details the historical, social, and linguistic origins of the Cockney dialect, including a breakdown of its social identification and linguistic components.
3.1.1 Social Aspects: Examines the etymology of the term "Cockney," the geographical definitions of the East End, and the cultural identity of the Cockney community.
3.1.2 Linguistic Aspects: Explores the linguistic components of Cockney speech, setting the stage for analyzing lexis, phonology, and syntax.
3.1.2.1 Rhyming Slang: Analyzes the history, mechanics, and usage of Rhyming Slang as the primary lexical element of Cockney English.
3.1.2.2 Phonological Aspects: Examines the phonetic markers of the Cockney dialect, such as /l/-vocalization, th-fronting, and glottalling.
3.2 Estuary English: Discusses the emergence of Estuary English as a blended variety and its distinction from traditional Cockney and Received Pronunciation.
4. Appearance of Working Class Speech in Films: Transitions to the practical analysis of how cinematic works mirror British society through class-based language.
4.1 Hue and Cry: Analyzes the use of language in the first post-war Ealing Comedy and why it largely avoids explicit Cockney speech.
4.2 Quadrophenia: Investigates the use of Cockney as a signifier of class division and social criticism in the late 1970s youth culture.
4.3 Lock, Stock and Two Smoking Barrels: Examines the extensive use of Cockney as a stylized dramatic instrument within the modern gangster comedy genre.
4.4 Chicken Run: Explores how animated film uses stereotypical Cockney speech to characterize figures and provide humor for a broad audience.
5. Cockney as Dramatic Instrument: Synthesizes the findings on how different films utilize Cockney traits to achieve varying dramatic, social, or comedic effects.
6. Conclusion: Summarizes the findings, asserting that speech remains a vital tool for the cinematic representation of social class and cultural identity in Britain.
7. Bibliography: Lists the academic sources and research literature used throughout the work.
Key Terms
Cockney English, Estuary English, Post-war British cinema, Rhyming Slang, Social class, Dialect, Phonology, Glottal stop, Ealing Comedies, Working class, Cultural identity, Linguistic markers, Code-switching, Urban pastoral, Class consciousness
Frequently Asked Questions
What is the core focus of this work?
This work examines the relationship between working-class speech—specifically Cockney English—and social class representation in post-war British films, analyzing how language serves as a marker for identity and social standing.
Which linguistic fields are covered?
The research explores phonology (e.g., glottal stops, /l/-vocalisation), lexicology (specifically Rhyming Slang), and grammatical structures found within the Cockney and Estuary dialects.
What is the primary objective?
The goal is to determine how filmmakers utilize specific dialects to reflect social realities or construct dramatic personas, effectively using speech as a tool to convey class status and societal themes.
Which scientific methods are employed?
The paper employs a qualitative analysis of post-war British films, combined with sociolinguistic theory and historical research into the evolution of London's working-class language and cinema history.
What is treated in the main body of the work?
The main body systematically analyzes four films: Hue and Cry, Quadrophenia, Lock, Stock and Two Smoking Barrels, and Chicken Run, evaluating how each film uses Cockney features in unique ways to serve its specific genre and audience.
What characterizes the identified keywords?
The keywords reflect the intersection of linguistics and film studies, ranging from specific dialectal features like "glottal stop" to sociocultural concepts like "class consciousness" and "urban pastoral."
How does "Rhyming Slang" function in the films discussed?
Rhyming Slang is analyzed as a lexical code that not only provides authenticity to working-class characters but also acts as a dramatic tool for humor or to signal belonging to an "underworld" subculture.
In what way does the author distinguish Cockney from Estuary English?
The author distinguishes them by highlighting that Cockney English is deeply rooted in class structure and community history, whereas Estuary English is a more fluid, nationalized accent that is not bound to a specific class.
Why was the film "Chicken Run" included in the analysis?
It was included to demonstrate how Cockney stereotypes are simplified and applied even in non-human, animated characters, showing the versatility of the Cockney dialect as a comedic trope.
What conclusion does the author reach regarding class in cinema?
The author concludes that class can indeed be effectively represented in cinema through linguistic markers, and that these dialects are essential components for accurately or stylistically mirroring the British social landscape.
- Quote paper
- Simone Staake (Author), 2008, South-East English Working Class Speech in Film, Munich, GRIN Verlag, https://www.grin.com/document/117478
