Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

theatre / theater

The most obvious difference in American and British theat{er/re} is the spelling, but on top of that there are a number of meaning differences. And then the meanings interfere with the spellings again. Much fun, but this is why I can't write short blog posts. Here we go...

the spelling

Theater is one of those American spellings that is attributed to Noah Webster.* But like most of successful American spelling reforms, it wasn't made up by an American. It was a long-standing spelling in England, and the predominant spelling at the time when the English colonies in America were first being settled. The OED says:

The earliest recorded English forms, c1380, are theatre and teatre; from c1550 to 1700, or later, the prevalent spelling was theater (so in Dictionaries from Cawdrey to Kersey), but theatre in Holland, Milton, Fuller, Dryden, Addison, Pope; Bailey 1721 has both, ‘Theatre, Theater’: and between 1720 and 1750, theater was dropped in Britain, but has been retained or (?) revived in U.S.
The word started as theatrum in Latin, and in French it lost its -um. The French pronunciation makes sense with the -re spelling, but the modern English pronunciation does not. However we pronounce that syllable, in whichever English accents we have, it is the same syllable that is spel{led/t} -er in words like butter or later. It's thus no wonder that English writers preferred the -er for some time (and Americans have preferred it for most times), since it is the more Englishy spelling, if by 'Englishy spelling' we mean (as I do) 'spelling that reflects English pronunciation'.

The fashion (for these things are fashion) of using the French spelling has won out in Britain for this and many other words of its ilk: centre, calibre, litre, lustre, sombre, etc. But the fashion is not consistent. Cloister, coriander, and disaster (among others)  have -re spellings in French from -rum spellings in Latin, but -er spellings in all standard contemporary Englishes. And then there's metre and kilometre but perimeter and thermometer, etc. Note, though, that despite their common Latin/Greek etymology (metrum), they have different vowels in the me syllable in BrE. American pronunciation of kilometer as 'kill LAH mitter' drives some Brits I know batty, as it obscures the relation between the met{er/re} and the kilomet{er/re}. They prefer 'KILL-o-meetah'. (I just tried to get Better Half to say it. He said 'kill LAH mitter' and explained 'I'm disarmingly transatlantic'.)

This particular difference has a lot in common with the -or/-our difference: variant spelling in early modern English, then American English settling on the more phonetic spelling, and British English settling on the more French spelling. I've more to say about that, but that's going in the book.

(By the way, I'm trying to get into the habit of listing BrE/AmE variants alphabetically. I may not always succeed, but it's why the ones in this post are listed in those particular orders. I'm also trying to alternate which goes first in British/American, US/UK, BrE/AmE, etc. )

the meanings

Let's be quick and put them in a table.
place where you... What Americans usually say What the British usually say
watch a play theater*  theatre
watch a film/movie (movie) theater* cinema

hear a (university) lecture
lecture hall, auditorium lecture theatre
have surgery operating room; OR (operating) theatre

There are of course other uses of theat{er/re} that extend from the 'drama place' use--e.g. political theat{er/re}. They are generally the same in both countries, but for spelling.

spelling again!

Photo by Kevin Dooley (Flickr)
While theater is the general American spelling, one does see theatre in the US in place or organi{s/z}ation names, like the Signature Theatre Company in Arlington, Virginia. The same happens with centre in American place names (but never for the 'middle' meaning of center), such as Robinson Town Centre, a (AmE) outdoor mall, or power center/(BrE) retail park in Pittsburgh.  The namers of these places are taking advantage of the fact that you can spell names however you like, and using the British spelling to make the place sound ‘classy'. Needless to say, we don’t see the reverse in the UK.


I particularly like the Shakespeare Theatre Company at the Harman Center for the Arts in Washington, DC, which just mixes it all up. And movie theatres like the one above are to be congratulated for combining a British spelling and an American meaning. Crazy fun.

* This post originally said theater was in Webster's 1828 dictionary, but, as David Crosbie points out in the comments, it was not, though center and caliber and maneuver (vs. BrE manoeuvre) are there. (Sorry--I'd depended on and possibly overinterpreted someone else's work. You can consult the 1828 dictionary here.) The word does not occur at all in Webster's 'Blue-backed speller'.
Read more

resources on regional accents

We have American houseguests at the moment, so not a lot of time to blog, but lots of time to sit around and listen to other Americans' impressions of BrE. So far, we've discussed pudding/dessert, Jell-o/jelly (both mentioned back here) and something else that we discussed for at least a few minutes and that I have now forgotten completely.

So, in the absence of time/presence of mind to write much more, here are some recommendations for resources on regional accents. The British Library has recently unveiled their Sounds Familiar? website. This is a wonderful resource, full of descriptions and recordings of various dialects in the UK.

Looking for something somewhat similar for the US, I found the Varieties of English website at University of Arizona. This covers other Englishes in addition to American--and doesn't cover the whole of America. (For instance, the English of white Arizonans isn't treated at all.) But if you click on 'Southern States' or 'Northeast US', you get some general description and sound samples. A classic (meaning that it already existed when I started teaching) American dialect 'edutainment' is the film American Tongues. If you can find a copy, it's definitely a good one.

If you have other dialect audio-visual resources to recommend, please do so!
Read more

the names of the games, part 1: board games

Better Half has found himself surrounded by out-laws (not quite in-laws) who like to get together and play games. My out-laws (BH's family) think this is hilarious, because of BH's reputation as a games-hater, which stems from several throwing-over-the-board-in-disgust incidents from when he was a child. When I met him, he was willing to play Connect Four with his godchildren, but only because he could still obliterate them. I count it as great progress that he now actually volunteers to play Yahtzee and Cribbage and will tolerate a few more games. (God, I've been good for him.) But games still remain a source of transatlantic miscommunication in the family since they, as we've seen already, frequently have different names in different places. The ones I'll cover in this series don't require a lot of discussion, hence my putting them all together like this.

Most of you will know that (BrE) draughts is (AmE) checkers. Or checkers is draughts -- I can't figure out whether I think the earlier term should go first or last in that equation, I can see the connotations going either way. You may also know that Americans spell draught as draft, reflecting the fact that the 'gh' is pronounced 'f', but while I have seen the board game sold as Checkers/Draughts in the US, I've never seen the BrE name of the game translated into AmE spelling. (I'm not going to get into the pronunciation of the vowel...suffice it to say that it too is different in different places.) Where do these names come from? It's a tricky question, since the OED, amazingly enough, includes neither draughts nor checkers. (No, what's amazing enough is my poor dictionary search skills in this instance--see the comments.) The Online Etymology Dictionary tells us that draughts is related to dragon and goes back to about 1400. Checkers, alluding to the appearance of the board, arose in America in the 18th century. That "OED" (shall I call it OnEtyD?) also notes that "British prefers [the spelling] chequer, but the U.S. form is more authentic." Another case (cf. -ise) of British spelling being influenced by French. So, (AmE) Chinese checkers is known (though not very widely, it seems) in BrE as Chinese chequers. (Chinese draughts seems much less common, and seems mostly to be used by non-native speakers).

BrE Ludo (left, from Wikipedia), from the Latin for 'I play', is the game that Americans call Parcheesi (right, from Robby Findler's software construction course), though as you can see their boards are slightly different. It derives from an Indian game, and the AmE name is based on the Hindi name--which has been spelled in many ways in English, with pachisi sometimes regarded as 'most authenthic'. Parcheesi is the most familiar spelling in the US, as that's how the game was marketed by Selchow & Righter, 'the house that Parcheesi built'.


Once you know about Ludo, it makes more sense that the game that is called Clue in AmE is called Cluedo in BrE. Cluedo came first, as it was invented, A.E. Pratt of Birmingham, in the 1940s (though he had originally called it Murder). Since the pun wouldn't be appreciated in the US, it was marketed there as Clue. The game is the same, except for the names of some of the characters, weapons and rooms. There are a few linguistic differences in the game:

  • Miss Scarlett (UK) v Miss Scarlet (US)
  • Rev Green (UK) v Mr. Green (US)
  • Mrs(.) White has recently been replaced in US by Dr. Orchid
  • According to Wikipedia, the dagger is called the knife in some US editions (it was dagger in mine growing up, so I don't know...)
  • The lead pipe was originally called lead piping in BrE
As far as I know, the names of all the rooms are the same, but it's worth noting that conservatory is often pronounced differently in the two. You can hear the difference here. Boards even within countries seem to vary in whether they consider the conservatory to be a glass-enclosed room full of plants or a music room. The original board just had blank areas label(l)ed by room names, but more recent ones illustrate them. I've seen this one on both Clue and Cluedo boards:



The Hollywood film based on the game, incidentally, was called Clue internationally and used the American character names.

I've got other board games to cover under part 2—children's games. There may be a part 3 on card games, if I can find more to mention. Email me if you have any suggestions.

[This post was updated 23 March 2020 with the details of US/UK Clue(do) differences, replacing a no-longer-working link on the topic.]
Read more

citizenship and school

Americans have a well-established distaste for taxation without representation. This is part of the reason why, this past Wednesday, I became a British citizen (while retaining my American citizenship as well). Since 2004, the naturali{s/z}ation process has involved a test on "Life in the UK" (which serves as an indirect way of making sure you have some knowledge of the English language as well) and a citizenship ceremony at the end of the process. This is based on the US system and strikes some native Britons as un-British. I was hoping to have some good SBaCL stories to tell about the experience, but there was little of linguistic interest at the ceremony. But I did affirm my allegiance to the Queen, her heirs and successors. My UK-born friends think this is hilarious, as they've never had to do so, and are confident that they would get a lot of questions wrong if tested on the details of the history and structure of their government. But they know the answers to the questions that really matter if you want to get along in British culture, like: What is Blue Peter? Who is David Essex? Who has right-of-way at a roundabout? and Who's paying for the next round?

Two days after becoming a citizen, I was on my way back to the US. What a fickle soul I am. Better Half and I have just had a lovely weekend in New York City, which was only marred for BH by the fact that the place is crawling with Englishpeople. "But I used to be special!" he cried. "People used to love my accent! Now everyone's got one!" BH's loss of specialness is directly attributable to the pathetic condition of the American dollar. After it dipped to nearly $2 to £1, British Airways added an extra flight a day to accommodate British Christmas shopping trips, and the UK newspapers are full of price comparisons of iPods and designer handbags/purses in London versus New York, with analyses of whether it's worth the trip, once you've paid airfare and import duty. Depending on what and how much you're buying, it very well may be worth it. On other comparisons of NYC and London, BH and I agreed that NYC wins on the politeness and helpfulness of its citizenry (one cannot open a map/guidebook in public without someone approaching you to offer their help), while London wins on the relative pleasantness of its underground (=AmE subway) trains and stations--though NYC definitely wins on the cost of public transport(ation).

While we don't turn our noses up at the bargains, our reason for being here is to visit family and friends for the holidays. While visiting with the first couple, The Interpreters, I had my first cross-cultural miscommunication of the trip. BH was telling tales from our previous busy day, during which we went to the theatre and the cinema. After asking for a repetition of "the theatre and the cinema", Interpreter S noted to Interpreter K "I would've said we went to the movies and a play. Theatre and cinema sounds so much better." We had seen the new Christopher Guest film For Your Consideration, which BH liked better than I did, though I told The Interpreters about my continued affection for Parker Posey. Upon hearing this, Interpreter S said "I went to school with Parker Posey." Since I'd been under the impression that Parker Posey had grown up in Mississippi, and that Interpreter S most certainly hadn't, I was (BrE informal) well confused and asked which school that was. "SUNY Purchase," IS responded. And there was my "a-ha" moment. When AmE speakers say "I went to school there," they often mean 'I went to (BrE) university/(AmE) college there'. (SUNY Purchase = State University of New York at Purchase.) In BrE, school denotes primary or secondary school, but not university.

It's not common for me to misunderstand Americans speaking AmE. Perhaps I became more British than I reali{s/z}ed last Wednesday!
Read more

Babel and Clerks (II)

Previously, we've discussed how the pronunciation of names differs, and the commentators' consensus was that people's names should be pronounced the way they themselves pronounce them. But what if it's a place whose name we're talking about? A fictional place or one whose inhabitants have long been dead? Whose pronunciation is 'right' then?

A new (BrE) film/(AmE) movie coming soon to a (BrE) cinema/(AmE) movie theater near you is called Babel. (And yes, of course film and cinema are words in AmE too. But they're not as basic/everyday in the AmE vocabulary as they are to BrE.) In BrE, this is pronounced 'BAY-bel'. In AmE, it usually sounds like babble. (American Heritage gives the BrE pronunciation as a second alternative. Oxford doesn't acknowledge the AmE pronunciation.) If any name should be pronounced differently in different places, it's most fitting that it should be this one. According to the story in the Bible, it was at the Tower of Babel that humanity came to all speak different languages and misunderstand each other.

Another film around these days is Clerks II. Better Half calls the original Clerks 'clarks' (as the word is pronounced in BrE), and I always "correct" him, because sales clerk (the clerks of the title work in a convenience store) is an Americanism--thus the AmE pronunciation is more fitting. (I can't hear the 'clarks' pronunciation without thinking of someone who looks like the man to the right.) In BrE the people who ring up your purchases at the (BrE) till/(AmE) cash register are called shop assistants. (The words till and cash register are used in both countries, but in AmE till refers only to the drawer with the money in it [or the removable tray in that drawer], not to a location in the shop/store where you pay for things.)

So, anyhow, having heard BH talk about going to see 'clarks two', I asked for tickets to 'clarks two' when we went to see it this weekend. The (English) box office person didn't understand me at first, then said "Oh, Clerks", using the AmE pronunciation. I thought "Here's a woman who knows her American independent cinema." Then we handed our tickets over to the ticket-ripper and he said "What's this movie about?" and I realised that everyone working in the cinema/theater was no older than 10 when the original Clerks came out. I was already a university lecturer by that time. You know you're old when the films you think are hip are actually twelve years old already.

(If you're a fan of Clerks, then it's worthwhile to see the sequel for the warm-fuzziness of it all--if one can say such a thing about a film that features an 'interspecies erotica performance'. If you haven't seen the original, you won't see the point and will only be offended by the terrifically horrible acting by Bryan O'Halloran.)
Read more

sounding English/American

Bbrug pointed out an article on British and American authors' renditions of the other dialect's speech on the Telegraph website. Not being a Telegraph reader, I was grateful for the link.

The author starts with the following premise (BrE: premiss):
America has become more interested in the outside world since September 2001. If their first, bewildered question was "Why do they hate us so much?" it has, in time, been followed up by questions about what life in the outside world is actually like.
This premis{e/s} itself may be the most faulty part of the article. There have always been people in the US who are interested in what the outside world is like. But, having been an expat both before and after September 11th, I've felt that the proportion of 'what's it like to live there?' to 'why do they hate us?' conversations has changed in the opposite direction of that suggested by the author. Just in March, I was trapped in a conversation at an American party, where a man who'd never needed a passport kept drilling me on the hatred subject, refusing to believe that I didn't suffer as an American abroad. On the two occasions in which I've had dental work in the US since the terrorist attacks, I've been stuck with Dr Dentist's hands in my mouth while he lectures me on why he'll never return to France because of its government's stance on the war. When travel(l)ing with Better Half in the US, I'm always amazed when people ask where he's from and then say "That sounds nice. I have no interest in going there. There's enough of America to see." Why, exactly, did they feel the need to say that?

Anyhow, back to language. The author goes on:
There's an easy test to apply about how substantial this new interest is, or whether the outside world is actually being listened to. Can American writers reliably report the styles of speech of one of their nearest linguistic cousins?
By the end of the article, it's clear that this is not a very good test at all. As the author notes, creating realistic dialogue is one of the most difficult aspects of writing fiction, and few writers master it even in their own dialect. And while Europeans can't help but be exposed to a lot of American culture (through media, retail, politics and tourists), there are few British novelists who ably write American voices without crossing the border into parody.

The author's segue into the main discussion of dialogue in novels starts on a filmic tangent:
From Cary Grant to Dick van Dyke to Woody Allen's inadvertently hilarious Match Point ("I was raised in Belgravia"), English audiences have been retching in the stalls at American film's idea of English speech.
Dick van Dyke's portrayal of a Cockney chimneysweep in Mary Poppins remains a byword for American misapprehension of British speech, but seems a bit unfair here in relation to American writers' reportage of the British 'voice', since an Australian wrote the Mary Poppins books. While it is easier to come up with examples of British (and Australian and South African) actors taking on American accents than vice versa, this probably has at least as much to do with the "economic migration" of British film actors toward Hollywood as to do with the quality of American acting. Renée Zellweger's Bridget Jones was warmly embraced here, and Gwyneth Paltrow's English accents, while not perfect, are rarely marked as a distraction.

The article goes on to discuss the stereotyping of (particularly upper class) British speech as 'pompous' and overly wordy, and this is undebatable. One never hears Brits in American films or novels saying "I reckon...". The pomposity is linked to Americans' tendency to cast Englishmen (complete with ridiculously pompous speech styles) as villains. As Leo Benedictus in the Guardian notes, "Sophistication in all its forms is a sure sign of evil, and American audiences find nothing more sophisticated (or untrustworthy) than a snooty Brit." (I can't help but relate Americans' association of sophisticated, wordy language as a sign of untrustworthiness to the otherwise unfathomable electoral success of George W Bush. Well, that and Republican money an a crooked Supreme Court, of course.)

People here often say to me "you don't sound American" or "oh, I thought you were Canadian." One could believe that this is because British people have wonderful ears for accents and recognize a couple of features that are shared between my part of New York and Ontario. But that's pretty unlikely. The only time any American has accused me of sounding Canadian was when I moved to Massachusetts and was relentlessly mocked for saying eh? at the end of each utterance. (This was useful in South Africa, where I easily adapted to saying hey at the end of each utterance.) No, I think there are three reasons why I don't 'sound American' to some Brits, listed here in order of perceived importance:

  • I don't sound like a hick* or a mafiosa. That is, the British get their ideas of what Americans sound like from stereotyped performances, just as Americans do for the English.

  • Everyone lives in mortal fear of travel(l)ing Canadians, who go bonkers when accused of being American.

  • I make certain accommodations for British ears, namely avoiding intervocalic flaps. (Click here to hear a flap in the middle of the word letter and here to hear it with a regular /t/ sound.)


*AmE has lots of unflattering epithets for rural folk, including: hick, hayseed, hillbilly, redneck, rube, country bumpkin, yokel. The last couple aren't marked in my Concise Oxford as 'US', so presumably they are known in Britain too. (Better Half is not here to serve as my editor today!) But while hick is now considered to be an Americanism, it's another of those words that started out in England and was forgotten here. See The Word Detective on the subject.
Read more

The book!

View by topic

Twitter

Abbr.

AmE = American English
BrE = British English
OED = Oxford English Dictionary (online)