Christian Hoffmann is Senior Lecturer at the University of Augsburg, Germany.Monika Kirner-Ludwig is Assistant Professor at the University of Innsbruck, Austria

• 1. Introduction: introducing telecinematic stylistics, Christian R. Hoffmann (University of Augsburg, Germany) and Monika Kirner-Ludwig (University of Albany, State University of New York, USA)2. Adapting Medieval stuff to fit the Modern Screen: a cognitive-pragmatic approach to strategies of evoking and ridiculing obsolete frames to entertain today’s recipient, Monika Kirner-Ludwig (University of Albany, State University of New York, USA)3. “Drucilla, we need to talk”: The formulaic nature of problem-oriented talk in soap operas, Sabine Jautz (Universität Siegen, Germany) and Verena Minow (Ruhr-Universität, Germany)4. On the usefulness of the Sydney Corpus of television dialogue (SydTV) as a reference point for corpus linguistic and stylistic analyses of TV series, Monika Bednarek (University of Augsburg, Germany)5. “I shouldn’t have let this happen”: demonstratives in film dialogue and film representation, Maria Pavesi (Università degli Studi di Pavia, Italy)6. Ideology in the multimodal discourse of television documentaries on Irish travellers’ and gypsies’ communities in the UK, Roberta Piazza (University of Sussex, UK)7. Voice-over and presenter narration in TV documentaries, Jan Chovanec (Masaryk University, Czech Republic)8. How comics communicate on the screen: telecinematic discourse in comic-to-film adaptations, Christina Sanchez-Stockhammer (Ludwig Maximilian University of Munich, Germany)9. A multimethod analysis of autism spectrum disorder representation in fictional television, Susan Reichelt (University of Lancaster, UK)10. Metatextual devices in Alfred Hitchcock’s Notorious (1946), Adriana Gordejuela (Universidad de Navarra, Spain)11. The Visual Discourse of Shots and Cuts: applying the Cooperative Principle to horror film cinematography, Christoph Schubert (Universität Vechta, Germany)12. Repetition in sitcom humour, Thomas Messerli (University of Basel, Switzerland)13. ‘Subtitles have to become my ears not my eyes’: pragmatic and stylistic choices behind Closed Captions for deaf and hard-of-hearing people: the example of the television programme Breaking Bad, Annie Dahne (Chatteris Educational Foundation (Hong Kong) and Roberta Piazza (University of Sussex, UK)14. Relevance in film trailer communication: a multimodal account, Heike Krebs (University of Augsburg, Germany)BibliographyIndex

Featuring rigorous stylistic analysis of a range of text-types – TV shows (including soap operas, documentaries, sitcoms and dramas), films, trailers and multimodal adaptations – this book demonstrates the increasing prevalence and importance of stylistic attention to telecinematic discourse.

Christian Hoffmann is Senior Lecturer at the University of Augsburg, Germany.Monika Kirner-Ludwig is Assistant Professor at the University of Innsbruck, Austria

• 1. Introduction: introducing telecinematic stylistics, Christian R. Hoffmann (University of Augsburg, Germany) and Monika Kirner-Ludwig (University of Albany, State University of New York, USA)2. Adapting Medieval stuff to fit the Modern Screen: a cognitive-pragmatic approach to strategies of evoking and ridiculing obsolete frames to entertain today’s recipient, Monika Kirner-Ludwig (University of Albany, State University of New York, USA)3. “Drucilla, we need to talk”: The formulaic nature of problem-oriented talk in soap operas, Sabine Jautz (Universität Siegen, Germany) and Verena Minow (Ruhr-Universität, Germany)4. On the usefulness of the Sydney Corpus of television dialogue (SydTV) as a reference point for corpus linguistic and stylistic analyses of TV series, Monika Bednarek (University of Augsburg, Germany)5. “I shouldn’t have let this happen”: demonstratives in film dialogue and film representation, Maria Pavesi (Università degli Studi di Pavia, Italy)6. Ideology in the multimodal discourse of television documentaries on Irish travellers’ and gypsies’ communities in the UK, Roberta Piazza (University of Sussex, UK)7. Voice-over and presenter narration in TV documentaries, Jan Chovanec (Masaryk University, Czech Republic)8. How comics communicate on the screen: telecinematic discourse in comic-to-film adaptations, Christina Sanchez-Stockhammer (Ludwig Maximilian University of Munich, Germany)9. A multimethod analysis of autism spectrum disorder representation in fictional television, Susan Reichelt (University of Lancaster, UK)10. Metatextual devices in Alfred Hitchcock’s Notorious (1946), Adriana Gordejuela (Universidad de Navarra, Spain)11. The Visual Discourse of Shots and Cuts: applying the Cooperative Principle to horror film cinematography, Christoph Schubert (Universität Vechta, Germany)12. Repetition in sitcom humour, Thomas Messerli (University of Basel, Switzerland)13. ‘Subtitles have to become my ears not my eyes’: pragmatic and stylistic choices behind Closed Captions for deaf and hard-of-hearing people: the example of the television programme Breaking Bad, Annie Dahne (Chatteris Educational Foundation (Hong Kong) and Roberta Piazza (University of Sussex, UK)14. Relevance in film trailer communication: a multimodal account, Heike Krebs (University of Augsburg, Germany)BibliographyIndex

Featuring rigorous stylistic analysis of a range of text-types – TV shows (including soap operas, documentaries, sitcoms and dramas), films, trailers and multimodal adaptations – this book demonstrates the increasing prevalence and importance of stylistic attention to telecinematic discourse.

Christian Hoffmann is Senior Lecturer at the University of Augsburg, Germany.Monika Kirner-Ludwig is Assistant Professor at the University of Innsbruck, Austria

• 1. Introduction: introducing telecinematic stylistics, Christian R. Hoffmann (University of Augsburg, Germany) and Monika Kirner-Ludwig (University of Albany, State University of New York, USA)2. Adapting Medieval stuff to fit the Modern Screen: a cognitive-pragmatic approach to strategies of evoking and ridiculing obsolete frames to entertain today’s recipient, Monika Kirner-Ludwig (University of Albany, State University of New York, USA)3. “Drucilla, we need to talk”: The formulaic nature of problem-oriented talk in soap operas, Sabine Jautz (Universität Siegen, Germany) and Verena Minow (Ruhr-Universität, Germany)4. On the usefulness of the Sydney Corpus of television dialogue (SydTV) as a reference point for corpus linguistic and stylistic analyses of TV series, Monika Bednarek (University of Augsburg, Germany)5. “I shouldn’t have let this happen”: demonstratives in film dialogue and film representation, Maria Pavesi (Università degli Studi di Pavia, Italy)6. Ideology in the multimodal discourse of television documentaries on Irish travellers’ and gypsies’ communities in the UK, Roberta Piazza (University of Sussex, UK)7. Voice-over and presenter narration in TV documentaries, Jan Chovanec (Masaryk University, Czech Republic)8. How comics communicate on the screen: telecinematic discourse in comic-to-film adaptations, Christina Sanchez-Stockhammer (Ludwig Maximilian University of Munich, Germany)9. A multimethod analysis of autism spectrum disorder representation in fictional television, Susan Reichelt (University of Lancaster, UK)10. Metatextual devices in Alfred Hitchcock’s Notorious (1946), Adriana Gordejuela (Universidad de Navarra, Spain)11. The Visual Discourse of Shots and Cuts: applying the Cooperative Principle to horror film cinematography, Christoph Schubert (Universität Vechta, Germany)12. Repetition in sitcom humour, Thomas Messerli (University of Basel, Switzerland)13. ‘Subtitles have to become my ears not my eyes’: pragmatic and stylistic choices behind Closed Captions for deaf and hard-of-hearing people: the example of the television programme Breaking Bad, Annie Dahne (Chatteris Educational Foundation (Hong Kong) and Roberta Piazza (University of Sussex, UK)14. Relevance in film trailer communication: a multimodal account, Heike Krebs (University of Augsburg, Germany)BibliographyIndex

Featuring rigorous stylistic analysis of a range of text-types – TV shows (including soap operas, documentaries, sitcoms and dramas), films, trailers and multimodal adaptations – this book demonstrates the increasing prevalence and importance of stylistic attention to telecinematic discourse.