Observation 3 Site Location: Top Gear Observation 3 Monday, February 3rd 201 Ti!

e: ":00#M$%:00#M Disclaimer: The time span of the observation is approximately an hour long. Though the show does jump around and make the show seem longer than it actually is. Please suspend your disbelief of time to allow me to take notes appropriately. Description of Location: T&e 'ocation o( t&e actua' s&o) is in *aver'ey, Surrey, +n,'and- T&e studio is an o'd airport and business center t&at t&ey c&an,ed around to !a.e t&e s&o)- T&e studio is 'ar,e and open )it& no seatin, (or audience, &o)ever t&ere is a !ini sta,e t&at &o'ds a ,reen 'eat&er benc& seat t&at be'on,ed in so!e sort o( !ini van (ro! t&e seventies and a c&air- +very episode t&e actors sit in t&e sa!e seats- /a!es May and 0ic&ard 1a!!ond sit ne2t to eac& ot&er on t&e ,reen 'eat&er benc& seat and /ere!y sits across (ro! t&e! )it& a co((ee tab'e in bet)een- T&e cei'in, o( t&e bui'din, is 'ar,e at 'east 30 (eet- 3t 'oo.s 'i.e it )as an o'd &an,er (or airp'anes- 3n t&is particu'ar episode, nu!ber 3 season 14, 0ic&ard 1a!!ond and /a!es May c&a''en,e /ere!y 5'ar.son to a race, #ub'ic transportation vs car- T&ey trave' (ro! +n,'and to Mi'an, 3ta'y )it& c'ips in bet)een o( a ce'ebrity in a reasonab'y priced car, and T&e 6e)s- See i( 5'ar.son can .eep up )it& May and 1a!!ond on t&eir 7ourney to Mi'anFigured orld: ! social and cultural world where different characters are interpreted and recogni"ed for doing different things# and some states are preferred over others. T&e (i,ured )or'd 3 a! observin, is t&e second episode o( t&e 14t& season o( Top GearT&e purpose o( t&e s&o) is entertain!ent- 1o)ever, t&e s&o) is in(or!ative on t&e pro,resses o( t&e car )or'd t&rou,& di((erent c&a''en,es and overa'' revie)s o( cars t&at t&e actors &ave actua''y driven- T&e cro)d in t&e audience is typica''y !a'e )it& a 'ar,e a,e ran,e, t&ou,& t&ere are )o!en t&at ,o to )atc& as )e''- T&e cro)d 3 )ou'd assu!e are &u,e car (ans and peop'e )&o rea''y 'ove t&e T-8- s&o)9 5onsiderin, t&ere is a )aitin, 'ist (or t&ree years to ,et tic.ets to be in t&e audience- :s t&e audience t&ey rea''y do not &ave a set purpose and t&ey a'' ,at&er around )&oever is spea.in, at t&e ti!e3t is &ard (or !e to i!a,ine anyt&in, not bein, a''o)ed at t&e studio- 3 a! sure, &o)ever, t&at t&e actors )ou'd be uni!pressed i( an audience !e!ber spo.e out )&i'e (i'!in,- 3 t&in. t&e reason (or t&at is because it )ou'd ta.e a)ay (ro! t&e overa'' sub7ect t&at t&e actors are tryin, to ,et across to t&e rest o( t&e audience on set and in &o!es- 3 a'so noticed t&at i( t&e audience c'aps (or too 'on, t&e actors &ave a si,na' t&at !a.es t&e! stop so t&ey can continue on )it& t&e rest o( t&eir s&o)- 3 ,uess t&e over a'' t&e!e o( ru'es )ou'd be use co!!on sense 'i.e do not touc& t&e cars, ,rab t&e actors, do anyt&in, t&at you )ou'd not do in c&urc&- 6ot t&at it is t&at stuc. up o( a settin, but t&e cast and cre) )ant to ,ive as ,reat o( a s&o) as t&ey can and t&ose t&in,s rea''y ta.e a)ay (ro! t&eir abi'ity to do t&at- 3t is acceptab'e to c'ap, s!i'e, and 'au,&- 3 )ou'd not ,o as (ar to say a person cou'd ta'. to t&eir nei,&bor but i( t&ey did 3 )ou'd not )ant t&e!

near !e because o( &o) 'on, it too. to ,et tic.ets in t&e (irst p'aceT&e !ain actors o( t&e s&o) are /ere!y 5'ar.son, 0ic&ard 1a!!ond, and /a!es MayT&ey contro' a 'ot o( )&at ,oes on, t&ey do &ave to (o''o) ru'es (ro! t&e producin, co!pany but ot&er t&an t&at t&ey pretty !uc& do )&at t&ey )ant, suc& as .ic.in, so!eone out o( t&e cro)d etc: discourse co!!unity in t&e s&o) is t&e (ans o( certain c&aracters- ;sua''y t&ere are peop'e )&o &ave a (avorite actor, t&e audience 'i.es t&e! a'' but one stands out in particu'ar- 3t p'ays a 'ot into certain episodes )&ere t&ere are c&a''en,es and you &ope your (avorite actor )ins!ctors: !ctors make up the meat of any kind of production whether it is a book# movie# maga"ine article# T.$. show# etc. %n my case the actors in the T.$. show provide entertainment as well as reliable and informative information. &elow are the main actors in the figured world of Top 'ear. There are sometimes other characters that will appear in my writing( typically these are guests on the show that have no real significant part in the actual show besides entertainment. Jeremy Clarkson: 1e is .no)n (or &is s&arp )&it and deep voice- 3n t&e (i,ured )or'd, 5'ar.son is t&e !ain &ost, creatin, t&e !ood and settin, t&e e!otions o( t&e audience- 1e ta'.s to ce'ebrity ,uests in a )ay t&at !a.es t&e! co!(ortab'e and ab'e (or t&e! to ta'. about t&e!se'ves and t&eir car bac.,round )it& ease1is ro'' o( actor in t&is figured world is t&e rin,'eaderRichard Hammond: : co$&ost o( Top Gear- 1e is .no)n (or startin, bets and constant'y c&a''en,in, t&e ot&er cast !e!bers- 1is ro'' o( actor in t&is figured world is car ent&usiast &e &as an abi'ity to ta'. about a car and portray eit&er t&e 'ove or disdain o( it in a )ay t&at )ou'd !a.e a person t&in. t&e car &ad a persona'ity, and one a person )ou'd not !ind payin, a pretty penny (orJames May: T&e second co$&ost o( Top Gear- 1e is .no)n (or &is 'ac. o( up to date sty'e and &is overa'' no crap 'o,ic- 1is ro'' as an actor in t&is figured world is in(or!ant- 1e a')ays &as so!et&in, inte''i,ent and s!art to say about t&e cars or &is co$&osts, or rea''y any situation- 1e is very 'o,ica' and creates ,reat ar,u!ents (or )&at &e t&in.s and be'ieves-

!rtifacts: emotional feelings and tangible possessions that is culturally or socially specific to the actors or all of them as one. Ford Shelby GT !!: T&is car is t&e car t&at /ere!y pic.ed- 1e c&ose it because it )as t&e c&eapest car under 3<,000 =uid )it& t&e !ost &orsepo)er- T&is car is i!portant to &i! because &e be'ieves it )i'' &e'p &i! )in t&e race (ro! +n,'and to Mi'an, 3ta'yToyota GT"#: T&is car is t&e car /ere!y is revie)in,- 1e c&ose t&is car because it is t&e c&eapest rear )&ee' drive, 0*>, car t&at is on t&e !ar.et ri,&t no)- T&is car is i!portant to t&e ,roup to ,et &is revie) and opinion o( t&e ne) carS$bar$ %R&: T&is is t&e car t&at /ere!y is a'so revie)in,? &e is co!parin, t&is car to t&e GT@" because t&ey are essentia''y t&e sa!e car because t&e sa!e peop'e and co!pany !a.e t&e t)o cars in t&e sa!e (actory- T&is is i!portant to t&e

,roup as a )&o'e because it ,ives so!et&in, to co!pare t&e ot&er car too a't&ou,& t&ere is no rea' di((erenceTrain: T&is is an i!portant arti(act to May and 1a!!ond because it is t&e !eans o( transportation in )&ic& is supposed to beat 5'ar.son to Mi'an, 3ta'y- T&ey c&ose t&is because it &as been an on,oin, batt'e to see )&ic& one is (aster: cars or pub'ic transportation- #ub'ic transportation &asnAt )on yet so May and 1a!!ond are out to try to prove one !ore ti!e t&at pub'ic transportation is actua''y (aster t&an drivin, a car-

Discourse )ommunities: groups of people that have certain ways of communication as well as common interests The Hosts: /ere!y 5'ar.son, 0ic&ard 1a!!ond, and /a!es May- +ac& o( t&ese peop'e s&ares t&e spot'i,&t o( &ostin,- T&ey typica''y co!!unicate )it& dry Britis& &u!or or on occasion t&eir deep passion (or anyt&in, t&at &as a !otorThe '$dience: T&e cro)d )atc&in, as t&e s&o) is p'ayin, is t&e on'y ot&er discourse co!!unity 3 cou'd t&in. o(- T&ey co!!unicate by 'au,&in,, c'appin,, or on t&e opposite end o( t&e spectru!, do not&in,- T&e peop'e o( t&e cro)d &ave a co!!on interest and passion o( cars-

*iterary Practices: The ways in which people communicate verbally and non+verbally The (e)s: T&e &osts a'' sit to,et&er around a T-8- and discuss t&eir adventure in 6evada so (ar, as )e'' as ne) cars t&at &ave interested t&e!- T&is is a very i!portant 'iterary practice because it 'i,&tens up t&e s&o) and ,ives t&e audience a c&ance to 'au,& )it& t&e actors and t&eir reactions to t&e ideas t&at co!e out o( t&eir !out&s-

The *bser+ation: ":00#M: /ere!y opens in t&e !idd'e o( t&e studio )it& t&e ne) Scion F0S or .no)n to every ot&er country in t&e )or'd as t&e Toyota GT@"- T&e screen t&en turns to &is revie) o( t&e car- 1e (irst e2p'ains t&e di((erence bet)een under steer and over steer- 1e ,oes on to ta'. about t&e GT@" t&at is not as e2pensive as t&e ot&ers and t&e (act it 'i.es to ,et side)ays as )e''- 1e ta'.s about t&e per(or!ance and specs o( t&e car- 1e t&en ,oes to te'' t&e audience about t&e ne) Subaru B0C and &o) t&e cars are essentia''y t&e sa!e car )it& t&e sa!e specs !ade by t&e sa!e peop'e":0%#M: T&e audience is transported bac. into t&e studio )&ere /ere!y starts ta'.in, about (indin, out &o) (ast t&e t)o cars are and introduces t&e Sti,, to drive t&e t)o cars around t&e trac. to (ind out )&ic& one is (aster- /ere!y narrates t&e Sti,As 'ap and t&en p'aces t&e car on t&e po)er ti!e 'aps":04#M: T&e screen is t&en s&i(ted to May and 1a!!ond on t&e ,reen benc& startin, t&e ne)s- Subaru announces t&ere )i'' be a ne) 3!prenDa t&ou,& it )onAt be so'd in

+n,'and- 1a!!ond ,oes on a rant because &e t&in.s t&at Subaru is ridicu'ous (or not se''in, t&e 3!prenDa in +n,'and- May ,oes on to ta'. about t&e a,ree!ent t&at Toyota and Subaru &ave )it& t&e identica' cars- T&en t&ey ,o on to ta'. about a ne) &ot )&ee's version o( a 5a!aro- :nd t&en t&ey start to ta'. about )&ic& one &urts !ore steppin, on a &ot )&ee's car or a Le,o in t&e !idd'e o( t&e ni,&t- T&ey t&en ,o on to ta'. about t&e increase in prices (or c'assic cars- T&ey ,o on to ta'. about t&e Maserati Euarto #orte and &o) 5'ar.son does not 'i.e t&e &ead'i,&ts":1<#M: 5'ar.son starts ta'.in, about &o) t&ey 'i.e to do races and one t&at &as been ,oin, on (or a )&i'e is t&e race o( a car vs- pub'ic transport- ;p (or ,rabs is one tic.et (or a (ootba'' !atc& in Mi'an 3ta'y- To !a.e it interestin, t&e producers !ade 5'ar.son use a car 'ess t&an 3<,000 pounds, )&i'e May and 1a!!ond use pub'ic transportation*&oever ,ets t&ere (irst )ins t&e tic.et":1%#M: T&e ,uys &ave ta.en t&e audience to *e!b'y stadiu!- May and 1a!!ond try to (ind out )&at .ind o( car 5'ar.son ,ot- 5'ar.son s&o)s up )it& a Ford Mustan, S&e'by GT<00- T&en t&e race starts- 5'ar.son starts ta'.in, about t&e car and so!e o( its specs and t&en onto &is p'an o( transport to France- T&en t&e ca!era ,oes bac. and (ort& (ro! 5'ar.son drivin, to May and 1a!!ond on t&e train":2 #M: 5'ar.son !a.es it to t&e (erry in >over )&ere &e notices &o) !uc& attention t&e car ,ets, despite a'' t&e ne,ative notions t&e car ,ets (ro! t&e e2perts- May and 1a!!ond are a'ready near #aris, France )&en 5'ar.son is sti'' not even to t&e border o( France- Once o(( t&e (erry 5'ar.son sets o(( in a b'aDe o( (urry to #aris, France1a!!ond and May t&en &ad to ,o catc& t&e ne2t train t&at &ad an ei,&ty$!inute )ait5'ar.son starts to ta'. about !ore specs o( t&e GT<00- May and 1a!!ond &ave t&e 'ead &eadin, out o( #aris )&en t&e ca!eras are turned bac. to t&e studio":30#M: 5'ar.son is bac. at t&e studio ta'.in, about )&o &as t&e advanta,e and spea.in, about )&at &is concerns are- T&en &e ,oes on to introduce a ce'ebrity in a reasonab'y priced car- 1er na!e is :!y Mc>ona'd- S&e is a Scottis& son,)riter- T&ey ,o on to ta'. about &er career and t&en onto t&e di((erent .ind o( cars s&e &as &ad- T&en t&ey ,o on to see &er 'ap and ana'yDe it": 0#M:T&e screen t&en ,oes bac. to May and 1a!!ond e2p'ainin, t&e situation o( t&e race to t&e audience reiteratin, t&at 5'ar.son is ,oin, to 'oose- *eAre t&en transported bac. to 5'ar.son on t&e road to #aris, France and May and 1a!!ond &eadin, to Mi'an5'ar.son ta'.s !ore about t&e interior o( t&e car and t&e en,ineerin, o( it as )e''- 1e t&en ,oes into a description o( t&e &istory o( t&e car and &o) it ,ot to )&ere it is today- T&e train &as stopped due to a tec&nica' !a'(unction, )&i'e May and 1a!!ond )ait t&ey )atc& as 5'ar.son ,ains on t&e!- 1a!!ond ca''s to ,ive ,ood ne)s to 5'ar.son about &o) (ar &e &as co!e since t&e train t&ey are on &as to ,o t&rou,& !ountains at an increasin,'y s'o)er rate t&an nor!a'- 5'ar.son t&en ,ets a ,'i!!er o( &ope t&at &e cou'd )in t&e race- 5'ar.son continues to !a.e &is )ay t&rou,& t&e Frenc& a'ps- May and 1a!!ond ,et o(( t&e train t&en to t&e !etro and t&en sp'it up to !a.e it to t&e restaurant )&ere t&e c&a''en,e ends- T&e s&ots ,o bac. and (ort& to May and 1a!!ond to 5'ar.son

and it co!es do)n to t&e (ina' scene )&ere 1a!!ond )ins, May second, and 5'ar.son t&ird-