John Wick: Chapter 2

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John Wick: Chapter 2

Theatrical release poster

Directed by Chad Stahelski

 Basil Iwanyk
Produced by
 Erica Lee

Written by Derek Kolstad

Based on Characters
by Derek Kolstad

Starring  Keanu Reeves

 Common
 Laurence Fishburne
 Riccardo Scamarcio
 Ruby Rose
 John Leguizamo
  Ian McShane

Music by  Tyler Bates

 Joel J. Richard

Cinematography Dan Laustsen

Edited by Evan Schiff

Production  Lionsgate
company  Thunder Road Pictures
 87Eleven Productions

Distributed by Summit Entertainment

Release date  January 30, 2017(Arclight

Hollywood)
 February 10, 2017(United
States)

Running time 122 minutes[1]

Country United States

Language English

Budget $40 million[2]

Box office $166.8 million[3]

John Wick: Chapter 2 is a 2017 American neo-noir action thriller film directed by Chad
Stahelski and written by Derek Kolstad. The second installment of the John Wick series, the
plot follows hitman John Wick, who goes on the run after a bounty is placed on his head. It
stars Keanu Reeves, Common, Laurence Fishburne, Riccardo Scamarcio, Ruby Rose, John
Leguizamo and Ian McShane, and marks the first collaboration between Reeves and
Fishburne since appearing together in The Matrix trilogy.

Principal photography began on October 26, 2015, in New York City. The film premiered
in Los Angeles on January 30, 2017, and was theatrically released in the United States on
February 10, 2017. It received positive reviews from critics and grossed $166 million
worldwide, over four times its $40 million budget and nearly twice the $88 million gross of
the original film.[3][4]
 Contents
[hide]

 1Plot
 2Cast
 3Production
o 3.1Development
o 3.2Casting
o 3.3Filming
o 3.4Music
 4Release
o 4.1Box office
o 4.2Critical response
 5Sequel
 6See also
 7References
 8External links

Plot[edit]

Four days after the events of the first film,[5] former assassin John Wick (Keanu Reeves)
tracks down his stolen 1969 Ford Mustang Mach 1 at a chop shop owned by Abram Tarasov
(Peter Stormare), brother of Viggo and uncle of Iosef. John dispatches Tarasov's men in a
violent fight that heavily damages the Mustang. He then spares Tarasov under the auspices of
peace and returns home.

After Aurelio (John Leguizamo) takes John's Mustang for repairs, John is visited by Italian
crime lord Santino D'Antonio (Riccardo Scamarcio). It is revealed that to complete his
"impossible task"—which allowed him to retire and marry Helen—John asked Santino for
help. As a form of contract, Santino swore John to a "Marker," an unbreakable promise
symbolized by a "blood oath" medallion.[6]Santino presents the medallion to demand services
from John, but John refuses, claiming that he is retired. In retaliation, Santino destroys John's
house with a grenade launcher.
Winston (Ian McShane), the owner of the Continental hotel in New York City, reminds John
that if he rejects the Marker, he will be violating one of the two unbreakable rules of the
underworld: no killing on Continental grounds, and Markers must be honored. John accepts
his commitment and meets with Santino, who tasks him with assassinating his sister Gianna
(Claudia Gerini) so he can claim her seat on the "High Table," a council of high-level crime
lords. Santino sends Ares (Ruby Rose), his personal bodyguard, to surveil John.

In Rome, John infiltrates Gianna's coronation party and confronts her. Faced with certain
death, Gianna tries to commit suicide but is killed by John to save her from damnation. While
retreating, John is ambushed by Santino's men, who intend to "tie up loose ends" by killing
him. After killing most of them, John is pursued by Gianna's bodyguard Cassian (Common).
Their brutal fight is halted when they crash into the reception area of the Rome Continental,
which—like the New York Continental—prohibits any "business" on its grounds. As the two
share a tense drink, Cassian vows revenge for Gianna's death.

After John returns to New York City, Santino opens a $7 million contract for John's murder
under the guise of avenging his sister, leading numerous assassins to attack John. Cassian
confronts John once again in the subway. John wins the ensuing fight, but leaves Cassian
alive out of professional respect. Injured and desperate, John seeks help from the
underground crime lord The Bowery King (Laurence Fishburne), whose subordinates treat
his injuries and guide him to Santino's location. John kills Santino's bodyguards and mortally
wounds Ares, but Santino is able to escape to the Continental. Santino smugly makes it clear
that he intends to remain in its sanctuary indefinitely. Despite Winston's warnings, John
shoots and kills Santino in the Continental dining room.

The next day, Winston sends for John and explains that, per the High Table, the contract on
John has been doubled and offered globally. John is declared "excommunicado" from the
Continental, losing all access and privileges to underworld resources. Winston delays
announcing John's excommunication and global bounty by one hour to give him a head start
and provides him with a Marker for future use. Before leaving, John says to Winston: "Tell
them, tell them all, whoever comes, whoever it is, I'll kill them. l'll kill them all." Suspicious
of everyone as hitmen across New York set their eyes on him, John flees on foot with his dog
alongside.

Cast[edit]
 Keanu Reeves as John Wick, an ex-hitman[7][8]
 Riccardo Scamarcio as Santino D’Antonio, a camorra lord who forces Wick to perform
an assassination[9]
 Common as Cassian, Gianna’s chief bodyguard[10]
 Laurence Fishburne as The Bowery King, an underground crime lord[11]
 Ruby Rose as Ares, an assassin and Santino’s mute security enforcer[9]
 John Leguizamo as Aurelio, the owner of a high-end chop shop[9]
 Ian McShane as Winston, the owner and manager of the Continental Hotel in New
York[12]
 Bridget Moynahan as Helen Wick, John's deceased wife[9]
 Lance Reddick as Charon, the concierge at the Continental Hotel in New York[9]
 Thomas Sadoski as Jimmy, a police officer and friend of John's[9]
 David Patrick Kelly as Charlie, the cleaner[13]
 Peter Stormare[9] as Abram Tarasov, Viggo’s brother, Iosef’s uncle and a desk-bound
Russian gangster.
 Franco Nero[14] as Julius, the manager of the Continental Hotel in Rome
 Peter Serafinowicz[15] as the Sommelier
 Claudia Gerini as Gianna D'Antonio, Santino’s sister
 Tobias Segal[16] as Earl

Production[edit]

Development[edit]

In February 2015, directors Chad Stahelski and David Leitch stated that a John Wick sequel
had begun development.[17][18] The same month Jon Feltheimer, CEO of Lionsgate, stated
during a conference call that "We see John Wick as a multiple-title action franchise".
Additionally, it was reported that Kolstad would return to write the screenplay.[19] In May
2015, it was confirmed that a sequel was greenlit, and Lionsgate would be selling the film at
the Cannes Film Festival. Reeves and Stahelski appeared in a 30-minute Aol.build interview
in early February 2017 to discuss the development and casting of the film.[20]

Casting[edit]

It was announced that Keanu Reeves, Leitch, and Stahelski would return, with filming set to
begin in late 2015.[7][21][22][23] In October 2015, Common joined the film to play the head of
security for a female crime lord,[10] and Ian McShane was confirmed to return as Winston, the
owner of the Continental Hotel.[12] In November 2015, Bridget Moynahan,John
Leguizamo, Thomas Sadoski, and Lance Reddick were confirmed to return, while Ruby
Rose, Riccardo Scamarcio, and Peter Stormare were added to the cast.[9] In December 2015,
it was announced that Laurence Fishburne would appear in a supporting role.[24]

Filming[edit]

Principal photography on the film began on October 26, 2015, in New York City.[25] At the
end of first week, filming had taken place in Manhattan.[26] Filming moved
to Rome, Italynext,[12] and later resumed in Montreal, Canada on October 28, 2016.

Music[edit]

In 2016, it was announced that Tyler Bates and Joel J. Richard would return to write and
compose the film's soundtrack.

Also, it featured Alice In Chains guitarist and co-vocalist Jerry Cantrell in the song "A Job To
Do".

Release[edit]

John Wick: Chapter 2 premiered at Arclight Hollywood in Los Angeles on January 30, 2017,
and was theatrically released in the United States on February 10, 2017, by Summit
Entertainment.[27]

In the United Kingdom, the film was granted a 15 certificate by the British Board of Film
Classification, after 23 seconds of a bloody injury within a suicide scene were removed to
avoid an 18 rating.[1] The film opened in UK cinemas on February 17, 2017, and was
distributed by Warner Bros., with co-production from Lionsgate studio Summit
Entertainment.

Australia was one of the last major countries to receive the film, with a release on May 18.[28]

Box office[edit]

John Wick: Chapter 2 grossed $92 million in the United States and Canada and $74.8 million
in other territories for a worldwide gross of $166.8 million.[3] The film grossed $90.5 million
in its first nine days of release, surpassing the entire theatrical gross of the first film ($88.8
million).[29]
In the United States and Canada, the film opened alongside two other sequels, The Lego
Batman Movie and Fifty Shades Darker, and was projected to gross around $20 million in its
opening weekend.[30][31] It earned $2.2 million from Thursday night previews at 2,400
theaters, an improvement over the $870,000 made by its predecessor. It made $11 million on
its first day, nearly totaling the $14.4 million the first film made in its entire opening
weekend. It went on to open to $30.4 million, more than double the opening weekend of the
original film and finishing third at the box office behind The Lego Batman Movie ($53
million) and Fifty Shades Darker ($46.6 million).[2] In its second weekend the film grossed
$16.2 million (a drop of 46.7%), finishing 4th at the box office and making more in its second
weekend than the original film made in its first.[29]

Critical response[edit]

On review aggregator website Rotten Tomatoes, the film has an approval rating of 89% based
on 197 reviews, and an average rating of 7.3/10. The site's critical consensus reads, "John
Wick: Chapter 2 does what a sequel should—which in this case means doubling down on the
non-stop, thrillingly choreographed action that made its predecessor so much
fun."[32] On Metacritic, which assigns a normalized rating, the film has a score of 75 out of
100, based on 43 critics, indicating "generally favorable reviews".[33] Audiences polled
by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[34]

Scott Tobias of Uproxx said the film improved upon the original, writing: "For better or
worse—though mostly for better—it’s a full-scale assault on the senses, constantly pushing
itself to greater feats of excess. At this rate, a third John Wick might trigger the
apocalypse."[35] Mike Rougeau of IGN gave the film an 8.5/10, stating that it "takes joy in
expanding on the original’s lore", and praised the film as a vast improvement of its
predecessor, in terms of action set pieces, fight choreography, cinematography, and
writing.[36] Peter Travers of Rolling Stone called it "the real deal" and "pure cinema".[37]

Writing for Time magazine in February Stephanie Zacharek stated: "The pleasures of John
Wick: Chapter 2 may be even greater than those of its predecessor—itself a symphonic
achievement in scrappy, balls-out, action filmmaking—because in this one, there’s no puppy
murder to endure...it’s lovers of humankind who are put to the test. John Wick: Chapter 2
asks the classic pulp question—Are human beings worth saving?—and delivers, with the
right proportions of joy and sorrow, the classic pulp answer: Sometimes, no."[38]
Both Richard Brody writing for The New Yorker and Stephen M. Colbert writing for
screenrant.com saw secret societies as a significant motif recurring in the film. In his article
"The World of John Wick Explained", Colbert stated: "John Wick introduced audiences to a
dark, polished, and sharply dressed, underground criminal society full of assassins who
(mostly) abide by an unspoken code of conduct and two explicit rules. While the first movie
told a more intimate story that only hinted at the larger world of this secret society, John
Wick: Chapter Two takes the titular character through several of the corners of this complex
underworld, revealing even more about the world of John Wick. While very few of these
customs are explicitly explained, there are still enough hints about the inner functionings of
the various entities presented, giving us enough puzzle pieces to put together a loose sketch
of this mysterious world of assassins."[39]

Ignatiy Vishnevetsky of The A.V. Club complained that it "lacks the first film’s domino-effect
momentum", though overall he reacted positively. In part, he praised the action scenes as
"entertainingly surreal".[40]

Sequel[edit]

In October 2016, Stahelski stated that a third film is in the works.[41] In June 2017, it was
reported that Kolstad will return to pen the screenplay for the third film.[42]

CHAPTER II THEORITICAL FRAMEWORK This chapter relates to the theoretical

framework that is relevant to the topic of the study. This is too important because this theory
can be used as the basic of the analysis of the study. The writer also should find out some
related theories that correlate with the study. This chapter comprises the definition of
pragmatics and semantics, the definition of deixis and the four categories of deixis: person
deixis, spatial deixis, temporal deixis and discourse deixis. A. The Definition of Pragmatics
and Semantics Pragmatics is a branch of linguistics that is related with the meaning.
Semantics is a part of linguistics that studies about meaning (speaker meaning and sentence
meaning). Pragmatics and Semantics are described by Geoffrey Leech (1983: 3, in Jacob
1993) as follow: The view that semantics and pragmatics are distinct, though complementary
and interrelated field of the study, it is easy to appreciate subjectively, but is more difficult to
justify in an objective way. It is best supported negatively, by pointing out the failures or
weaknesses of alternative views. Pragmatics is a part of the study of language that
investigates technique with language is used for communicational purpose, studies how
language uses of their understanding in mind of the language structure and rules. Then, it can
be interested the process of producing language based on the context. Yule (1995:3) states
that pragmatics is the study of speaker meaning. It is concerned with the study of meaning as
communicated by a speaker (or writer) and interpreted by a listener (or reader). Pragmatics
can analyze what people mean by their utterances than what the words or phrases in those
utterances might mean by themselves. Levinson (1983: 9 in Mey: 37) says “Pragmatics is the
study of those relations between language and context that are grammaticalized, or encoded
in the structure language”. Pragmatics is the study of the conditions of human language uses
as these are determined by the context of society. Mey (1993:4) says that “Pragmatics tells us
that it is acceptable to use a language in various, unconventional ways, as long as we know,
as language user, what we are doing”. Thus, pragmatics is the study of utterance meaning,
sentences which are used in communication, and also the study of meaning in language
interaction between a speaker and a hearer. Yule (1995:4) says that semantics is the study of
the relationships between linguistics forms and entities in the world; that is, how words
literally connect to things. Semantics is the technical term used to refer to the study of
meaning, and since meaning is a part of language or semantics is the study meaning of
language. Really, Semantics is the study of word meaning and sentences without any relation
to context. Context is a dynamic, not a statistic concept: it is to be understood as the
surroundings, in the widest sense, that enable the participants in the communication process
to interact, and that make the linguistic expressions of their interaction intelligible. So,
depending on all the theories, the writer knows that Pragmatics and semantics both are
concern with meaning related to the language that is possessed by human groups. B.
Definition of Deixis Deixis is a technical term (from Greek) for one of the most basic things
we do with utterances (Yule, 1995: 9). It means “pointing via” language. Any linguistic form
used to accomplish this “pointing” is called a deictic expression. Deictic expressions are also
sometimes called indexical. They are among the first forms to be spoken by very young
children and can be used to indicate people via person deixis (me, you), or location via spatial
deixis( here, there), or time via temporal deixis (now, then) or discourse analysis or
demonstrative article or discourse deixis ( this, that, these, those). Deixis signals a referent
and it relates that referent to a common ground shared by the speaker and the addressee. It is
the ability to situate the speaker and hearer in relation to one another and to the world around
them. Levinson (1983: 55) says that deixis belongs within the domain of pragmatics, because
it directly concerns the relationship between the structure of languages and contexts in which
they are used. Lyon (1983: 275) argues that the notion of deixis (which is merely the Greek
word for ‘pointing’ or ‘indicating’ it becomes a technical term of grammatical theory) is
introduced to handle the ‘orientational’ features of language which are relative to the time
and place of utterance. Within linguistic view, deixis refers to the phenomenon where in
understanding the meaning of certain words and phrases in an utterance requires contextual
information. Then, deixis can give interpretation to the context of the utterance, such as who
is speaking, the time or place of speaking, the gesture of the speaker, the current location in
the discourse and the topic of the discourse. According to James (1983:63) Deictic word is
one which takes some element of its meaning from the situation (i.e. the speaker, the
addressee, the time and the place) of the utterance in which it is used. Deictic expression is an
expression that gets it is directly from the utterance context that makes reference to one or
more of the roles in the utterance context: the speaker, the hearer, the location, or the time.
Wagiman (2008: 66) says that deictic words occur in utterance meaning. In utterance
meaning, there are words of which referents are determined by the specific context in which a
speaker converses with a hearer about a particular topic of conversation, for example: It is
from the novel “Emma” by Jane Austen. "Ungrateful! -- What do you mean?" Then changing
from a frown to a smile -- "No, do not tell me -- I do not want to know what you mean. --
Where is my father? -- When are we to begin dancing?" This was spoken between Emma and
Harriet in the Cole’s party. They were talking about Mr. Elton. It has clear contexts there is
you refers to Harriet, I refers to Emma, and we means Emma and her father. Deixis
implicates not only the characteristic functions of the demonstrative pronouns but also tense
and person, and a number of other syntactically relevant features of the context of utterance.
As quoted from Levinson’s book “Pragmatics” there are five kinds of deixis, they are: person
deixis, time deixis, place deixis, discourse deixis and social deixis. Then, citation from Yule’s
book “pragmatics” there are three kinds of deixis they are: person deixis, spatial deixis and
temporal deixis. C. The Categories of Deixis 1. Person Deixis Person deixis clearly operates
on a basic three part division exemplified by the pronouns for first person (I), second person
(you), and third person (he, she or it). According to Yule (1996: 10) “The choice of one form
will certainly communicative something (not directly said) about the speaker’s view of his or
her relationship with the addressee.” Levinson (1983: 62) states: Person deixis concerns with
the encoding of the role of participants in the speech event, in which the utterance in question
is delivered: the category first person is the grammaticalization of the speaker’s reference to
himself, second person the encoding of reference to one or more addresses and third person
the encoding of reference to persons and entities which are neither speakers nor addresses of
the utterance in question. According to Levinson above, person deixis clearly operates on
basic three part division exemplified by the pronouns for first person( I), second person (you)
and third person (he, she or it). On the other hand, expressions like this person, this man, the
car, these houses, etc are also deictic because they require situational information for the
listener to make out the referents or the meanings. Tabel 1.1: Singular and plural pronoun
Person deixis engages basically the speaker, known as the first person, the addressee, known
as the second person, and other significant participants in the speech situation, neither
speaker nor hearer; these are known as third person. All of these, they come in singular and
plural pronoun. For example by using person deixis as follows: The pronoun I: Context:
Emma is talking to her father. She smiled up at him over her cup of tea in the living room. . "I
cannot agree with you, papa; you know I cannot” The pronoun you: Context: Emma is talking
to her father. She asked for James that he must go to solve the problems in Miss. Woodhouse.
“You may be very sure he will always like going to Randalls, because of his daughter's being
housemaid there” Pronoun Singular Plural First I We Second You You Third He, she, it They
The pronoun she: Context: When Mr. Knightley was dinner in Mr. Woodhouse, they talked
about Miss Taylor’s life after she was married with Mr. Weston. "But, I know she is really
very sorry to lose poor Miss Taylor to matrimony, and I am sure she will miss her even more
than she thinks for now." The personal pronoun I and We are said to be in the first person.
The speaker uses in the singular to refer to himself in the plural, to speak of a group people
covering the speaker. You are in the second person. It refers to the addressee. You are used in
both the singular and plural. All other pronoun and all nouns are in the third person.
According to Yule (1995: 11) says that there is in English a potential ambiguity in such uses
which allows two different interpretations. There is an exclusive “we” (speaker plus other (s),
excluding addressee) and an inclusive “we” (speaker and addressee included). It informs us
that deictic word does not have permanent reference. Deictic expression is an expression that
gets its meaning directly from the utterance context that makes reference to one or more of
the roles in the utterance context: the speaker, the hearer, the location, or the time. The
reference is depending on who is speaking up or the speaker, to whom the speaker is
speaking up or hearer, where are the speaker and the hearer located, when the conversation is
happened, and what are talking about. In deictic terms, third person is not a direct participant
in basic (I-you) interaction and, being an outside, is necessarily more distant (Yule 1995: 11).
Really, third person singular personal pronoun he/him, she/ her and it indicate gender
distinctions. Third person pronouns which say more or less about the referent than it does not
include the speaker or hearer. The explanation of gender distinctions are using pronoun
correctly. He refers to something that is perceived as male. She refers to something that is
perceived as female, and it refers to something that is perceived as non- human. The using of
third person pronoun depends on the hearer’s ability to interpret them. So the third person can
be called speaker orientation. 2. Spatial Deixis The concept of distance already mentioned is
clearly relevant to spatial deixis or place deixis, where the relative location of people and
things is being indicated. Levinson (1983:62) states: “Place deixis concerns with the
encoding of spatial locations relative to the location of the participants in the speech event.
Probably most languages grammaticalize at least a distinction between proximal (or close to
speaker) and distal (or non- proximal, sometimes close to addressee), but many make much
more elaborate distinctions so we shall see. Such distinctions are commonly encoded in
demonstratives (as in English this vs. that) and in deictic adverbs of place (like English here
vs. there)” Spatial deixis show itself principally in the form of location adverbs such as here
and there, and demonstrative such as this and that. English has a relatively impoverished
place deictic system, with two terms there are proximal and distal. The proximal term here
means something like” region relative close to the speaker”, and there means “relatively
distant from speaker”. It is very important to realize that relatively closeness is contextually
determined. Here represent an area less than square meter from the speaker is standing or it
could be something much large. For example: Emma is talking to Harriet: “Come here,
please!” Emma request to Mr. Kneithly: “Go there to Randalls!” In closing, spatial deixis is
important to remember that location from the speaker’s perspective can be fixed mentally as
well as physically. It may be that the truly pragmatic basis of spatial deixis is distance. 3.
Temporal Deixis Temporal or time deixis concerns with the encoding of temporal points and
spans relative to the time at which an utterance is spoken. Temporal deixis is commonly
grammatical zed in deictic adverb of time (like English now and then, yesterday and this
year) but above all in tense. English has two basic forms of tenses there are present and past
tense. Present and past tense in time deixis (temporal deixis as Yule called) differentiate
proximal and distal form (Yule, 1996: 15), for example: a. I live here now. b. I lived there
then. When somebody uttered (a), it means that the deictic center is close to him or is
considered proximal because he is still involved in a current situation at which he uttered the
utterance or the situation is still in a progress, while (b) is considered distal as the situation
does not exist anymore. The present is the proximal form and the past tense is the distal form.
The past tense is always used in English in those if clauses that events presented by the
speaker. We have to recognize that in temporal deixis the remote or distal can be used to
communicate not only distance from time, but also distance from facts. For example: I say “I
gave her a funny cat last week”, my point of time that is last week bases on the point of time.
Now, last week is the week that came before the current week. I cannot use last week for any
old week that has come before. Time or temporal deixis makes ultimate reference to
participant role. The use of the proximal form “now” as indicating what is the happening. In
contrast to “now”, the distal expression “then” applies to both past and future time relative to
the speaker’s present time. The forms of temporal reference are learned a lot later than the
deictic expression like tomorrow, today, yesterday, tonight, last week, next week, this week.
The all of expression are based on the interpretation of participants on knowing the relevant
utterance time. 4. Discourse Deixis Discourse deixis concerns with the use of expression
within some utterance to refer to some portion of the discourse that contains the utterance.
The deictic word used here are the demonstratives this and that. This can be used to refer to a
portion of the discourse and that to a previous portion. Demonstrative article divided into four
types there are this, that, these and those (Fromkin, Rodman, and Hyams, 2007: 202-203).
According Levinson (1983: 85) “Discourse or text deixis concerns the use of expressions
within some utterance to refer to some portion of the discourse that contains that the utterance
(including the utterance itself), for example: a. This is a great poetry. “This” refers to an
upcoming portion of the discourse. b. That was an amazing month. “That” refers to a prior
portion of the discourse. Discourse deixis deals with “the encoding of reference to portions of
the unfolding discourse in which the utterance (which includes the text referring expression)
is located” (Levinson, 1983: 62). Discourse deixis, somehow, is often compared to anaphora.
However, discourse deixis and anaphora is different since discourse deixis is located in a
pronoun which refers to a linguistic expression or part of discourse itself, while anaphora is
located in a pronoun which refers to the same entity as a prior linguistics expression refers to
(Levinson, 1983: 86). Let’s have a look at the following example: a. ) X: That’s a rhinoceros
Y: Spell it for me b. )John’s a sweetheart; he’s so considerate The example (a) above is an
example of discourse deixis. There, the word ‘it’ is not functioned to refer or replace the
entity, i.e. a rhinoceros, but it is used to mention the rhinoceros itself. It is different from the
concept of anaphora in (b) where ‘he’ is functioned to refer the referent ‘John’. Reference to
parts of a discourse which can be interpreted by knowing where the current coding or
receiving point is it. The demonstrative adjectives this and that are employed in definite noun
phrase. As we have known, the English demonstrative this and that, used as deictic. It can be
understood as instructing or inviting the hearer to direct his attention to a part region of the
environment in order to find out the individual or group of individuals) that is being referred
to something. The writer found many readers who are disoriented in understanding the
utterance in text, since they do not know about theory and the application of deixis in
conversation. As readers have a new text need to get information about who the participants
are and where and when the events take place. The information is a central role in
understanding the written text. That is why the writer uses the novel “Emma” by Jane Austen
as the data.