<> "The repository administrator has not yet configured an RDF license."^^ . <> . . . "A SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH"^^ . "This research is a sociolinguistic study of cross cultural communication style choice in multicultural society in Los Angeles as reflected in the script of Crash. The objectives of the study are: 1. Figure out the cross cultural communication style choice which occurs in the movie, 2. identifying the strategy of cross cultural communication style choice which occurs in the movie.\r\nThis research uses a descriptive qualitative research design. The data sources of the research are the script and original VCDs of Crash. It is applied three triangulation methods to check and establish validity in the research i.e. data triangulation, theory triangulation, and investigator triangulation. The findings of this research show that there are 68 data from 175 cross cultural communication style choice phenomena uttered by the characters in Crash. For the style it is divided into nine forms from four types (Direct-Indirect Type, Elaborate-Exacting-Succinct Type, Personal-Contextual Type and Instrumental- Affective Type) i.e. Direct Style, Indirect Style, Elaborate Style, Exacting Style, Succinct Style, Personal Style, Contextual Style, Instrumental Style and Affective Style. For the strategy it is divided into 18 points, i.e. overt expression and assert self face needs, Saving face and implicit/ambiguous, flashy and embellished language, not less or more than it is needed, concise statement, understatement and silence, first personal pronoun and informal, personal pronoun and formal, sender based and goal outcome based and receiver oriented and process oriented.\r\nThe data shows that the White people tend to use Direct, Elaborate, Personal, and Instrumental Style. The Black people use Indirect, Elaborate, Personal and Affective Style. Hispanic people tend to use an Indirect, Elaborate, Personal and Affective Style. Asian people use Indirect, Elaborate, Contextual and Instrumental Style.While Arabian use Direct, Exacting, Personal and Instrumental Style. For the most often occurs strategy are overt expression, implicit/ambiguous, flashy and embellished language, not less or more than it is needed, concise statement, first person pronoun, personal pronoun, influence/persuade, and receiver oriented strategy.\r\nIt is good for the English Lecturers, Linguistics Students and Further Researcher to go deeper with this research since cross cultural communicationonly discuss generally in books or classes. Moreover, cross cultural communication is really close to us that need to be explores more to minimize the misunderstanding."^^ . "2013-12-09" . . . "Universitas Negeri Yogyakarta"^^ . . . "Bahasa dan Sastra Inggris, Universitas Negeri Yogyakarta"^^ . . . . . . . . . "Dindadari Arum"^^ . "Jati"^^ . "Dindadari Arum Jati"^^ . . . . . . "A SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH (Text)"^^ . . . "Dindadari Arum Jati 09211141011.pdf"^^ . . . "A SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH (Other)"^^ . . . . . . "lightbox.jpg"^^ . . . "A SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH (Other)"^^ . . . . . . "preview.jpg"^^ . . . "A SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH (Other)"^^ . . . . . . "medium.jpg"^^ . . . "A SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH (Other)"^^ . . . . . . "small.jpg"^^ . . . "A SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH (Other)"^^ . . . . . . "indexcodes.txt"^^ . . "HTML Summary of #19403 \n\nA SOCIOLINGUISTIC ANALYSIS OF CROSS-CULTURAL COMMUNICATION STYLE CHOICE AS REFLECTED IN THE SCRIPT OF CRASH\n\n" . "text/html" . . . "Bahasa dan Sastra Inggris"@en . .