THE PRAGMATICS OF DIRECTIVE SPEECH ACTS IN ACTION-COMEDY FILM: AN ANALYSIS OF BAD BOYS: RIDE OR DIE

Abstract

This study examines directive speech acts in the action-comedy film Bad Boys: Ride or Die to identify their types, strategies, and pragmatic functions. Directive speech acts are essential in film dialogue because they guide actions, express authority, and create humor, especially in high-stakes action-comedy contexts. The research uses a qualitative descriptive method, with data collected from the utterances of the two protagonists, Mike and Marcus, which were transcribed and classified. The analysis applies Searle's classification of directive speech acts, which includes commanding, requesting, suggesting, advising, and forbidding. It also refers to Cutting and Fordyce's framework of direct and indirect strategies, as well as Crabtree's model of context, which covers physical, social, linguistic, and epistemic aspects. The findings reveal a total of 72 directive speech acts, with commanding as the most dominant type. These directives are expressed through both direct and indirect strategies, showing a preference for clear and explicit communication while also using indirectness for humor or subtlety. The pragmatic function of directives is seen in coordinating actions, asserting authority, and creating a balance between tension and comedy. This study shows that directive speech acts in Bad Boys: Ride or Die not only function linguistically but also narratively, supporting the film's dual identity as both action and comedy. The novelty of this research lies in the pragmatic analysis that connects speech strategies with the role of dual film genres, thus enriching the study of speech acts in popular discourse.