UO Communications Nonverbal Cues The Office Series Essay

Interpret the Non-Verbal Codes from two one-minute clips from The Office U.S. The two clips are from Season 3 Episode 10 [Youtube (3:18-4:188) Netflix (25:42-26:42)] and Season 2 Episode 20 [Youtube (2:00-2:53)]. The Non-Verbal codes have already been identified in an excel sheet.

Introduction
This paper will outline an analysis of two clips selected from the acclaimed television
series, The Office. Each clip is approximately one minute in length and will be assessed
based on multiple categories of non-verbal communication behaviours. The clips will then
be analyzed and compared in an effort to determine the efficacy and quality of
communication present in each clip.
Methods
Clips were identified based on the extent of non-verbal communication behaviours
present in the scene through collective brainstorming and a review of familiar source
material. Once selected, each clip was coded in Excel based on pre-determined categories
of non-verbal communication through a collaborative coding process. Coding was then
completed through subsequent independent coding once inter-coder reliability was
established (Dainton & Lannutti, 2020).
Analysis
Clip #1
The first clip is from season 3 episode 10 of the US version of The Office, the
episode is entitled “A Benihana Christmas”. This clip offers a rich site for the examination of
non-verbal communication based on a variety of factors. The context in which the clip
takes place is set in a busy, crowded restaurant where the guests are dining at semicommunity tables. The communication that occurs throughout this clip takes place
between a total of 7 characters seated together for a meal, two of which are strangers
seated in the middle of a group that came to dine together. These situational and
environmental factors affect the efficacy and quality of communication that occurs
throughout this clip.
Kinesics:
Proxemics:
Oculesics:
Vocalics:
CLIP #2 S2E20
CLIP TIMELINE
Person #1: Jim
Person #2: Pam
Person #3: Michael
KINESICS
Facial Expressions
Annoyance
Entertainment
Pain
Sympathy/Reassurance
Body Movements
Illustrators
Regulators
Adaptors
Body Orientation
HAPTICS
OCULESICS
Gaze Behaviour
Emotional Displays
VOCALICS
Vocal Properties
Vocal Qualities
Silence
0:00
0:01
0:02
0:03
0:04
0:05
0:06
I know that Jim has an amazing story about a relative of his who got caught up in the world of d
Hand raised
Eyebrows raised/eyes widened slightly to convey sympathy
Breathiness as she feigns the delicacy of the topic
0:07
0:08
caught up in the world of drugs.
Really?
0:09
0:10
0:11
0:12
0:13
0:14
0:15
Mmhmm
Jim it’s okay you can, this would be a good place to let it out Jim, these are people you can
Jim
Pam
Shakes head to dismiss Pam
Jim looks over at Pam, mutual eye contact is maintained
Jim and Michael hold mutual eye contact
Threat conveyed
0:16
0:17
0:18
0:19
0:20
0:21
0:22
0:23
0:24
out Jim, these are people you can trust these are people who care about you, its just okay we will not judge you we are here to not judge
Michael
Rasied eyebrows for emphasis
Shakes head
Stands up to communicate his intent to spea
Licks lips
Stands up to communicate his intent to spea
chael hold mutual eye contact
Pitch/intonation changes on “oh”
0:25
0:26
0:27
0:28
0:29
dge you we are here to not judge you oh hes doing it okay
0:30
0:31
0:32
0:33
It’s okay
Jim
Michael
o communicate his intent to speak
Nods to illustrate his intention to speak
o communicate his intent to speak, turns to Pam
Glances at Pam
Threat
Pitch/intonation changes on “oh” as Michael is surprised as Jim stands
Whispers
Silence as the room makes space for Jim to t
0:34
0:35
0:36
0:37
0:38
0:39
0:40
0:41
0:42
Pam
Jim
Nods in reassurance
Jim
Shakes head
Licks lips
he room makes space for Jim to tell his story
Raises eyebrows, shakes head, scrunches face, feigns an
Touches face
0:43
0:44
0:45
0:46
0:47
0:48
0:49
Oh Okay are you sure, that looked like it was going to be good
Pam
es head, scrunches face, feigns an attempt to speak, mouthes sorry in sequence
Touches face
Touches face
Kevin pats Jim’s shoulder
0:50
CLIP #1 S3E10
CLIP TIMELINE
Person #1: Michael
Person #2: Andy
Person #3: Cindy (Waitress)
Person #4: Jim
Person #5: Male Diner
Person #6: Female Diner
Person #7: Dwight
KINESICS
Facial Expressions
Happy
Tentative
Feigned shock
Shocked
Annoyed
Body Movements
Illustrators
Regulators
Adaptors
Body Orientation
PROXEMICS
Zone 1: Personal
Zone 3: Social
OCULESICS
Gaze Behaviour
VOCALICS
Vocal Properties
Vocal Qualities
Silence
OLFACTICS
Passive
ENVIRONMENT
Fixed
Semi-Fixed
0:00
0:01
0:02
0:03
0:04
0:05
0:06
I want you to close your eyes and imagine your dream house.
Michael and Andy look thrilled for duration of clip
Andy uses his hands to get Cindy’s attention
Andy shifts to face Cindy
Situationally, they may be more comfortable with the crowded location and situational proxe
The rest of the party is operating within the personal zone
Dwight relegated to social space, with barriers
* extra diners gaze avoidance
Cindy and Andy hold eye contact
Cindy – Pause
Extra diners do not speak to one another
Smells from restaurant
Furniture, fixed seating arrangement
Busy, loud, lighting, community seating with their party broken up (people sitting inbetween
0:07
0:08
0:09
0:10
0:11
0:12
[laughs] What are you doing?
Come on! Do it for Michael. He’s has a really long day
This is great.
0:13
0:14
0:15
Jim! Jim!
Cindy
Andy gestures to Michael so Cindy knows who he is talking about
Jim sips drink in discomfort
Andy turns to face Michael
ion and situational proxemic violations due to the context convention
Dwight waves his hands to get Jim’s attentio
Dwight faces Jim
Jim glances at camera
Dwight – raised volume to combat environm
Andy – Pitch range (whine?)
eople sitting inbetween them)
0:16
0:17
0:18
0:19
0:20
0:21
0:22
0:23
0:24
Oh, she’s asleep.
What — what’s happening?
Dwight points to Cindy with his chopsticks
ves his hands to get Jim’s attention
Jim turns to face dwight, Jim moves forward and back as he tries to catch dwight’s eye around the extras
ised volume to combat environmental
Dwight
noise
– raised volume to combat environmental noise
0:25
0:26
0:27
0:28
0:29
0:30
0:31
0:32
0:33
Okay, now open your eyes and describe it to me.
I don’t know. It has four bedroom
Probably.
Oh, narcolepsy!
Dwight
Extra Diners
nd the extras
Throughout the conversation with Cindy, Andy keeps turning back toward Michael to keep
Cindy – rate changes as she show
Dwight- Emphasis, articulation, raised volume
0:34
0:35
0:36
0:37
0:38
0:39
0:40
0:41
0:42
I don’t know. It has four bedrooms and a loft.
Oh my God. Now she’s And
up, she’s trying to describe how to correctly butcher a goose, but s
Yeah
Jim
Dwight
Jim gestures to Cindy with his chopsticks
ning back toward Michael to keep him included and engaged in the conversation
(Jim) Widens his eyes and holds eye contact with Dwight to express his sarcasm
Cindy – rate changes as she shows hesitation in her speech
0:43
0:44
0:45
0:46
0:47
0:48
0:49
0:50
0:51
o correctly butcher a goose, but she’s having trouble coming up with it
Okay, Cindy! Yo, Cindy, Cindy. Hold its neck back, insert the knife beneath the jaw, bring it all the way around. The
Lady Diner
Dwight uses illustrators to emphasize his description of butchering a goose
Gestures to Cindy with his chopsticks and waves his hand to get Cindy’s attention
Female diner frowns and pauses eating, then puts her chopsticks down
to express his sarcasm Waits until Cindy catches his gaze and maintains eye contact while communicating
Dwight – raised volume to combat environmental noise
0:52
0:53
0:54
0:55
0:56
0:57
0:58
0:59
1:00
w, bring it all the way around. There’s gonna be a good amount of blood. Don’t let that bother you. Have a bucket there for the blood and
Cindy
e a bucket there for the blood and the innards and the feathers.