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Film, that great popular art form of the twentieth century, is a valuable window on the evolving English language, as well as a catalyst of its evolution. Film scripts form an important element of the OED’s reading programme, and the number of citations from films in the revised OED multiplies with each quarterly update. The earliest film cited in the revised OED, The Headless Horseman (1922), actually dates from the silent era (the quotation is taken from the text of the titles which explain the on-screen action), but most quotations from film scripts represent spoken English, and as such provide crucial evidence for colloquial and slang usages which are under-represented in print.

Scripts as sources

It is therefore no surprise that, although the films cited in OED represent a wide range of genres and topics, movies about teenagers are especially prominent. The film most frequently cited thus far in the OED revision, with 11 quotations, is American Graffiti, George Lucas’s 1972 reminiscence of coming of age in the early 1960s; second place is a tie between Heathers (1988), the classic black comedy of American high school, and Purely Belter (2000), a British film about teenagers trying to scrape together the money to buy season tickets for Newcastle United FC. But the impact of cinema on English is not limited simply to providing lexicographical evidence for established usages. From the mid-twentieth century, the movies as mass culture have actually shaped our language, adding new words to the lexicon and propelling subcultural usages into the mainstream.

The use of a word in a single film script can be enough to spark an addition to the lexicon. Take for instance shagadelic, adj., the absurd expression of approval used by Mike Myers in Austin Powers (1997), which has gained a currency independent of that film se