The uses of spoken language vary in different contexts. We have come to rely on chat shows for new personal information about our favourite celebrities. These exclusive interviews are the only way the public can get a look into the ‘behind the scenes’ of celebrity life. Alan Carr, Graham Norton and Big Brother are all recent and well known examples of chat shows.
Normally chat shows have very colloquial settings to try and make the superstar feel more at ease. These stings are utilised by celebrities to enhance their more down to earth persona to the public. Whilst appearing on a chat show celebrities not only satisfy their current fan-base they also gain more through advertising and disclosing the ‘human’ side of them o try and give…show more content… This sneaky declarative sentence carries on the casual conversation as Jonathan compliments his guest to make them feel more at ease therefore disclosing more of the wanted information.
After Jonathan’s quick complimenting introduction there is a slight menopause for him to collect his thoughts and think of more topics to talk about that will impress Gaga. Once again he compliments how ‘spectacular’ Gaga is, this comment is emphasised by a loud applause from the audience which shows she has a lot of supporters with her.
Throughout the interview Ross names Lady Gaga, using her full celebrity name. This repetitive vocative emphasises she is the star and is the centre of the show. Therefore by reiteration the attention is also drawn back and focused on her.
When transcribed, spoken language often appears elliptical, defying the syntactical rules that govern Standard English. Subsequent to the compliments to Gaga someone in the spectators yells out ‘love you Gaga’ which demonstrates that we often speak in elliptical ways that exclude standard pronouns like ‘I’ and or ‘we’.
As Lady Gaga walks over to the couch Jonathan Ross warns her about the step ‘wow, mind that step.’ This imperative sentence shows he’s the boss. These sorts of words- ‘wow’, ‘um’, ‘err’- can arguably be described as emotive fillers since they don’t convey any other detailed meaning other than their emotive significance.
The spontaneity of Ross’ language can be seen though his