Spoken Language Study 2013

The language of TV sports commentators

Television sports commentaryHow do TV sports commentators

adapt their talk to inform and entertain their target audiences?

Spoken Language: About the next Controlled assessment...

•10% of GCSE language total•Up to about 1,000 words•Up to 4 lessons/3 hours writing•You should have some of your own data... •Topic (for ALL Yr 10 classes) is based on TV sports commentators

Band 2 5–8 marks (Notional D/E)• some awareness of how TV sports commentators use and has adapt spoken language to suit their purpose• some understanding of significant features found in the spoken language of the transcript and video• some awareness of public’s responses

Band 3 9–12 marks (Notional C/D)• explore how TV sports commentators use and has adapt spoken language to suit their purpose/message• explore some of the features found in the spoken language in the transcript and video• explore some of the public’s responses and attitudes

Band 4 13–16 marks (Notional B/C)• confidently explore and analyse how TV sports commentators use and adapt spoken language for specific purposes• confidently analyse and reflect on features found in the spoken language in the transcript and video (data)• confidently analyse some of the public’s response and attitudes to commentaries like this.

Band 5 17–20 marks (Notional A*/A/B)• perceptive analysis and evaluation of aspects of how spoken language is adapted for specific purposes• sustained and sophisticated interpretations of key features found in spoken language data• sophisticated analysis and evaluation of the public’s responses and attitudes to such commentaries

The Criteria

Two basic modes of Language:

Written

Spoken•Planned

•Unplanned/spontaneous

Transcript annotation

Annotation Meaning(.) = a “micropause”

(2) = a longer pause, with the time delay shown in seconds

Word in capitals Spoken louder (like shouting in texting)

/ / or * * or [ Shows overlapping speech

(italics) eg (accel) (laughs) (coughs) Shows a non-verbal sound or “direction”

… The utterance stops – trails off or is interrupted

Underlining That word or part of the word is stressed

:: Elongation of a word – number of :: shows length

Features of spoken language

Term Meaning

Fillers Words or noises fitted into an utterance to allow the speaker time to think, e.g. “Umm” or “Err” or “like”!

Paralinguistic features

Related to body language: the use of gestures, facial expressions, laughter etc which adds meaning to the speaker’s message

Topic-specific lexis

Words or phrases used in relation to a topic or profession – typical conversation. Different sports have their own terms – some more than others. A commentator will use these terms to show their knowledge of the sport: the audience will trust and value their comments more, if they appear knowledgeable. However, too much terminology would go over the heads of a more general audience (e.g. London paralympics, F1, cricket...) – who is the target audience?

Looking at a TV sports commentary

Jeff: we’re off to fratton park where (.) there has been a red ca::rd but for who chris kamara

Chris: (2) I dunno jeff (.) has there (1) i must have missed that (1) is there a red card (2)

(laughter from studio, different people)

Jeff: chris (1) have you not been watching i: haven’t (1) uh i dunno where thats come from chris i: have no:: idea:: what has happened there whats happened chris (2)

Chris: (1) err i dunno * jeff (2)*

*(laughter and clapping from studio)*

(laughing and clapping fr o) i don’t know (.) the sun must’ve* got in my eyes jeff (laughing)

Jeff: chris (.) chris (.) let me tell you (.) accor- according to our sources (.) anthony vanden borre has been sent off for a second bookable offence (.) ge- get your fingers out and count up the number of portsmouth players on the field

Chris: no:: you’re right i saw him go off but I thought they were bringing on a sub on * jeff *

*(laughter from studio)*

(laughter from chris and studio)

Jeff: as professional as ever cabbage (1)

Chris: still *nil-nil* (laughing fades) *(laughter)*

Jeff: ohh dear (1) cutting edge reports there from gillette soccer cup saturday

Chris Kamara – Blackburn vs Portsmouth – 3rd April 2010 – Sky Sports Soccer Saturday Kamara!

Watch again and look at how prosodic features add to the delivery/how the report is received. Kamara!

Watch again – twice - and look at what the paralinguistic features add to the commentary when the reporter is on-screen. What difference do these features make to the audience response?Kamara!

Jeff: we’re off to fratton park where (.) there has been a red ca::rd but for who chris kamara

Chris: (2) I dunno jeff (.) has there (1) i must have missed that (1) is there a red card (2)

(laughter from studio, different people)

Jeff: chris (1) have you not been watching i: haven’t (1) uh i dunno where thats come from chris i: have no:: idea:: what has happened there whats happened chris (2)

Chris: (1) err i dunno * jeff (2)*

*(laughter and clapping from studio)*

(laughing and clapping fr o) i don’t know (.) the sun must’ve* got in my eyes jeff (laughing)

Jeff: chris (.) chris (.) let me tell you (.) accor- according to our sources (.) anthony vanden borre has been sent off for a second bookable offence (.) ge- get your fingers out and count up the number of portsmouth players on the field

Chris: no:: you’re right i saw him go off but I thought they were bringing on a sub on * jeff *

*(laughter from studio)*

(laughter from chris and studio)

Jeff: as professional as ever cabbage (1)

Chris: still *nil-nil* (laughing fades) *(laughter)*

Jeff: ohh dear (1) cutting edge reports there from gillette soccer cup saturday

You need to show you know and can analyse:

• The aims of sports radio broadcasters – the ways they use language in spontaneous talk

• The attitudes of the presenters towards their sport and their audience (relationships) and how their language is adapted as a consequence

• The reasons anyone might have for listening• The ways audiences might respond to the cues given by

commentators• What the changes in sports broadcasting reveal about changes in

society and changes in attitudes to spoken language – do sports commentaries mirror society? (e.g. More women, more regional accents rather than RP (received pronunciation) of old

The CARP – context, audiences, relationships, purposes

What language and prosodic features should you be considering?

• Where spontaneous speech does not necessarily obey rules of syntax• Subject specific vocabulary – jargon (e.g. For F1 or for cricket – click on link) • Use of first and second person• The degree of formality: colloquial expression v authority• Naming of competitors/venues/countries• Evidence of patriotic fervour – engendering a feeling of pride, sense of unity,

belonging to a nation. • The effect of the context (e.g. Anniversary year, Jubilee Year, local derby, Olympics...)• The effect of expectations fulfilled/disappointment• Pace, intonation and rhythm of delivery• Pitch and tone• Pauses – spontaneous or for effect – and overlaps if more than one commentator is

present• Repetition• Metaphorical language in expected clichés or in description• Ambiguities and “bloopers” (humorous blunders)

Your titleWhatever your main title you must consider:

•Use of language

•Features of speech

•Paralinguistic features (if commentator is onscreen)

It is crucial to consider how the commentators ADAPT their speech to suit the context (the occasion, the sport) and to meet different purposes and target audiences. They may have their own style of delivery which makes them individual/popular.

You need to think about:•How the commentator’s messages/ideas are developed throughout their item•How language is used to express those ideas and the intended effect on viewing audience•How features of speech and paralinguistic features – what you hear and what you see – reinforce the message

Features of language to pick out 1 – use terms where possible and PQE the effect

• Use of names – convention is to use surname, but sometimes full names are used (when/why?) or even just first names (when/why?). Sportsmen can even have nicknames (why?)

• Use of “you” and “we” – inclusive pronouns are a typical rhetorical device to involve listeners (why used in TV commentaries?)

• Use of ellipsis, where utterances are left incomplete (why?)• Use of elliptical constructions (where non-vital words are left out) often combined

with changes in the usual word order so the most important information (who, location/position) comes first (why?)

• Lapses in grammar – what might cause this?• Frequent use of “Well” to start a commentary – conversational (why?) and used to

signal the start of a comment to a listening audience – to get their attention. • Use of comparative and superlative adjectives to describe and evaluate action (e.g.

fast (adjective), faster (comparative form), the fastest (superlative form) – superlatives often used in praise at end of events (why?)

• Use of metaphorical language – as if the event is more than just a race/ competition; e.g. as if it is a battle or war or life threatening... (why?)

Features of language to pick out 2 – use terms where possible and PQE the effect

• Look for DEGREES of formality. You can’t just say a commentary is “formal” or “informal” – HOW formal is it, and why? Think of the context, the target audiences and the purpose of the commentary. Are there lapses into less formal language – slang or exclamations? Why? How formal is the TONE – serious or casual?

• How far is Standard English used? That means no dialect, no slang, nothing obviously ungrammatical. Would the channel broadcasting be more or less likely to use Standard English? (e.g. BBC v. Channel 4 or a cable channel) Would the target audience be expecting to hear Standard English or perhaps be put off by a “posh” voice? E.g. Golf or cricket v. BMX or surfing.

• Does the commentator have any accent – shown by phonetic representation on transcripts? (Perhaps part of TV broadcasters’ mission to be more inclusive, reflect and appeal to more of the population, appear less elite...) How far are accents acceptable?

• Look for spontaneous expressions of delight like “Wow” or “Fantastic” or even the goalgasm, which show the commentator’s genuine enthusiasm and admiration coming through – think about how an audience warms to a commentator who shows they are human.

HOW is the spoken commentary reinforced by the commentator’s use of features of speech (and paralinguistic features)?

Watch the relevant clips in sections and annotate your script.

Think: How do features of speech (pauses, hesitations, elongations, trailing off, overlaps/interruptions, changes in pace/pitch/volume, use of emphasis, non-verbal sounds) help convey the content and attitudes in the commentary? What do they add to a commentator’s delivery and to the effect of his/her comments on viewers?

Think: How do paralinguistic features (facial expressions, eye contact, gestures, stance) reflect the use of language? What do they add to the commentator’s delivery and to the effect of the comments on the TV audience?

WHAT THEY ARE SAYING

(INFO)

HOW – DELIVERY (GESTURES, FACIAL EXPRESSIONS) WHICH

ACCOMPANIES THEIR LANGUAGE

HOW EFFECTIVE WAS THEIR DELIVERY OF INFORMATION, IDEAS

AND FEELINGS AT THIS POINT?

You need to practise the PQE skill• How is the commentator’s language – choice of words

and syntactical constructions – adapted to suit the sport and the pace of the event?

• How does the commentator use prosodics to entertain the audience and enhance the viewing experience?

- You must pick out some clear features of the commentator’s delivery – where the language was adapted and their voice changed – then use this as evidence to analyse the impact on the audience

Aims of the TV commentator• To convey accurate information about a sporting event• Analyse the skills and attitudes of competitors• To convey atmosphere – of the ground/pitch setting – by painting a

picture in words; creating a rapport /relationship with listening audience

• To “add colour” when there is less action, avoiding silences on the radio

• To entertain and to generate excitement and passionate energy which will help listener identify with programme (offer an authentic emotional experience)

• To create a mini-culture: a sub-culture with its own idiolect which offers a sense of inclusion to the listener – a world of knowledge and shared interests

• Share pleasure and love for a particular sport or event

What commentators say...• “We are very much at the sharp but unglamorous end of sports

broadcasting, following our teams wherever they go. It is a labour of love. Sometimes the long journeys home can be late into the evening when we’re tired, hungry and, if Essex have had a bad day, somewhat dispirited. But it’s worth it all because we love what we do and I think that comes across in the commentaries. (Cricket commentator)

• “Via their e-mail comments, the appreciative response from listeners is overwhelming and, on occasions, quite humbling: we know that we are conveying the atmosphere of a match, as well as the basic score information, to enthusiasts in every corner of the globe. It’s the e-mails from servicemen and women in areas of conflict abroad which probably give us the most satisfaction and the greatest sense of achievement.” (Football commentator)

What does the audience expect from a TV sports broadcast?

Information about sporting event Appreciation/enjoyment/better understanding of

events through the nature of the broadcaster’s delivery (content and prosodics)

To feel part of the event; gaining a sense of identification/belonging with others in society

To gain a basis for conversation and interaction with others

Fulfil a need – fill spare time, provide an escape from everyday life, give opportunity for emotional release...

Context, attitudes, values

• The context of the spoken language is very important – so for example what type of race, what kind of event (international, Olympic?) -how important is the race/event for individuals or for the nation?

Historical change

• Legendary Czech Emil Zatopek losing his race... Britain loves the underdog!

1948 Olympics featuring BBC RP (received pronunciation)

(go from 2.25 to end)TV technology, 1948The commentators - what do you notice?

Usain Bolt Olympic Victory 2012

Bolt wins• Look for: • Tension/ suspense – created how? where?• Emotional tones of the voice (prosodics)• Metaphor• Repetition• superlatives• Emotive language• Attempt to convey wonder/awe/ invite audience into the

power of the moment

Gender issues – Olivia Breen

Paralympian runner Breen• Do you think there is a difference between the

way the commentator treats Olivia Breen through his tone, his use of language and his selection of detail and the way the men’s paralympic races were described?

• What matters most to the commentator about this race and does his commentary meet audience expectation?

Adulation of a national hero

Cyclist Chris Hoy• Chris Hoy wins gold at the Keirin.• How does the commentator use prosodics to

entertain the audience and enhance the viewing experience?

• See the next slide...

Made-up modelled response

As the race nears the end, the use of (accel) and the dramatic micropauses (.) in the transcript show how the speed and intensity of the commentary really picks up. The commentator himself is clearly involved in events on the track and tries to communicate this feeling of tension through his sharp, clipped tones as he says ‘Chris Hoy sees the danger’. At this point his voice is clear and fast but still quiet as he picks out the crucial stages of the final battle between the cyclists – he only increases the volume, as shown by use of capitals “HE’S DONE IT” and stresses words like “DONE” once the race is over. His use of the word “danger” for the threat of being overtaken makes the race seem more dramatic – almost as if there was a battle going on and Hoy’s life was at risk. The commentator makes us feel the drama of the moment while remaining clear and informative. Did it make a difference that Hoy was expected to win, rather than being a surprise victory? Perhaps: if Hoy had won unexpectedly perhaps there would have been more evidence of surprise and delight – shouting, incomplete phrases, exclamations - in the commentator’s delivery.

Idolising stars

• Looking at the ways in which sports commentators help to create the idolisation of specific stars – giving them iconic status

Sporting heroes

... Also pin-up poster boys

Football – almost a kind of religion?

Bend it like Beckham• Do-or-die glory moment... progression to

finals of World Cup• Context – all hope was fading – last moments of

match - huge weight of pressure and expectation - all focused on one star player

• 30 yard free kick from Captain

Rugby England v Australia

Jonny Wilkinson• Context - last few seconds of match after

extra time – using his right foot - his non-kicking foot - won England the World Cup

• Johnny Wilkinson’s drop goal 2003

Paralympics/ an athlete fails to meet expectations

• Pistorius loses (from 1.55)• Think about context-attitude-relationship-purpose• This extract contains many prosodic and language features which

are notable for their poor professional standard.• How does this commentary fail to give the audience what we (and

the athletes) might have expected from a professional commentary?

• Are the paralympics different to the main Olympics? How? Are they of equal standing? Should they be? Is the atmosphere different? What difference does C4 rather than BBC make, or the use of ex-paralympians as commentators? Rather than professional commentators?

Motor Racing

• Listen to the prosodics here. What do they add to the drama?

F1 Italian Grand Prix with car crash

Evaluate to achieve highest grades

• How effective is the commentary of the Italian Grand Prix?

• What is professional and good for the audience about it and where, in you opinion, does it fall short?

PQE

Modelled writing using PQE with terms The noise, speed and drama of a Grand Prix is matched by the delivery of the commentator who often shouts in rapid

bursts, as if the race on the track is a life-and-death battle. The micropauses (.) make him sound breathless but determined to continue. In fact, there are two commentators, so each can have a break and time to recover. Also, their styles of delivery are different: one is more enthusiastic while the other is calmer (e.g...)

F1 has cult status and represents a rich, powerful and glamorous world beyond our own everyday lives. The drivers, whose names are known around the world, seem fearless and their cars represent millions of dollars of investment. This status is reinforced by the fact that the victors receive a laurel wreath and a magnum of champagne to waste!

The main commentator‘s voice is full of urgent excitement from the start, as if he has been longing for this great race to start. His infectious enthusiasm is communicated through his voice which is intense, loud and really excited, as shown by the use of capitals (for raised volume), underlining (for stressed words) and micropauses (.) where he seems to snatch a breath:

‘your chosen short quote showing linguistic/prosodic features’ The elliptical construction of the sentences – where less important words are missed out – suggests the tension of the

opening, which is the most dangerous part of the race. The use of names and of words to describe positions in the race and location on the track (e.g.s) is a typical feature of a fast paced competitive sport, like a 100m sprint or a horse race, where contestants are racing against each other – but here the competitors are travelling much faster and making far more noise, so the commentary has to match the speed (e.g. of ellipsis and/or accel) to keep the viewers informed about what is happening and their voices are raised (e.g. of use of capitals) so they can be heard above the revving of the engines. The drivers’ names are used alongside the manufacturer’s cars as both are of importance in this highly competitive event. The fact that the commentators can name cars and drivers at speed shows how well they prepare for races and how professional they are.

As the commentary progresses you hear field-specific lexis such as (separate e.g.s of technical terms) which helps the commentator describe the action more precisely, informing true enthusiasts as they would expect – the more knowledgeable the commentator sounds, the more the audience would trust their opinions.

In this extract you also hear the commentators witness an accident – potentially fatal for the driver – and the exclamation (quote) is a reminder that this is live TV and they can say nothing which would offend viewers....

Onscreen or vocals only?

• Live commentaries tend to be vocal only – the action is shown.

• If the commentator is reporting on events – summarising and offering opinions, as in Sky Soccer Saturday – he may be onscreen...so you get the Paralinguistic features, too.

WHAT SPEAKER WAS SAYING

HOW THE SPEAKER SAID IT - THE ACTIONS WHICH ACCOMPANIED HIS

LANGUAGE

HOW EFFECTIVE WAS THE SPEAKER’S DELIVERY OF HIS MESSAGE AT THIS POINT?

Facial expressions Eye contact

Gestures Stance, movement

Mo Farah 5000 m gold Brendan Foster

Former runner Foster on Farah (prosodics)• How does Brendan Foster add to the audience enjoyment of

this moment? How does he use language voice and body to communicate?

• Meanwhile off camera (or so they thought) Colin Jackson, Denise Lewis et al....

Studio reactions to Farah's win (paralinguistics)• What paralinguistic features can you comment on in the

above extract?

Chris Kamara• A cult TV presenter in spite of his total failure to meet the

usual requirements of a commentator! Demonstrates one aspect of audience expectation – to be entertained!

• Lack of formality and professionalism: the relationship between the studio presenter and Kamara is highly watchable.

Has there been a sending off? • Kamara may be ineffective as a commentator but he is

entertaining. Perhaps he helps football reach a wider audience?