Phân tích diễn ngôn đa phương tiện với quảng cáo của công ty toyota

VIETNAM NATIONAL UNIVERSITY, HANOI
UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES
FACULTY OF POST-GRADUATE STUDIES

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ĐINH THỊ VÂN ANH
A MULTIMODAL DISCOURSE ANALYSIS OF TOYOTA PRINT
ADVERTISEMENT
(Phân tích diễn ngôn đa phương tiện đối với quảng cáo in của công ty
Toyota)

M.A. MINOR PROGRAMME THESIS

Field: English Linguistics
Code: 8220201.02

HANOI – 2018
Vietnam national university Hanoi


University of languages and international studies
Faculty of Post-graduate studies

-------*****--------

ĐINH THỊ VÂN ANH
A MULTIMODAL DISCOURSE ANALYSIS OF TOYOTA PRINT
ADVERTISEMENT
(Phân tích diễn ngôn đa phương tiện đối với quảng cáo in của công ty
Toyota)

M.A. Minor Programme Thesis

Field

: English Linguistics

Code

: 8220201.02

Supervisor : Dr. NGUYỄN THỊ THU HÀ

HANOI – 2018


DECLARATION
I do hereby declare that this thesis, entitled “A multimodal discourse
analysis of Toyota print advertisement” is a bona fide study done by me
under the supervision of Dr. Nguyen Thi Thu Ha, University of Languages
and International Studies during the academic year 2017-2018, in partial
fulfillment of the requirements of the Degree of Master Program in English
Linguistics (applied orientation) in University of Languages and International
Studies.
This research has not been undertaken or submitted elsewhere in
connection with any other academic course.

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ACKNOWLEDGEMENTS

First and foremost, I would like to express my whole-hearted gratitude
to my supervisor, Dr. Nguyen Thi Thu Ha for her guidance and continuous
help throughout the completion journey of this thesis. The momentous
support given by Dr. Thu Ha is indescribable and her persistent patience is of
a top-notch appreciation that will be always remembered.
Also, I would like to thank to my parents for their never-ending
encouragement and extra-ordinary guidance. They instantaneously helped
through my hard times. I am mightily thankful their sincere support and
precious effort shown from the beginning up till the completion of this
research.
Last but not least, a special thank is dedicated to my best friends for their
moral support. To them I say: “we meet to part, but more importantly we part
to meet.”

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ABSTRACT
This study is positioned within the multimodal discourse analysis
domain, which attempts to reveal the relationship between multimodal
discourse and the underlying social meanings, especially the message of
environment protection and the link between human and nature. The research
aims to find out the answer to how visual and verbal elements are
incorporated in Toyota’s print advertisements to convey the message of
environment protection apart from drawing the attention of the viewer to the
main product. Employing the framework of Kress and Van Leeuwen (2006)
and Halliday’s functional grammar (2014), the study has reached some main
findings: (1) all the three meta-functions play their roles in representing the

message of nature preservation in the five print advertisements, (2) the
compositional meta-function seems to be most productive in conveying the
message of nature protection, (3) the verbal elements and visual elements are
synonymous to demonstrate the message and the brand image of Toyota and
(4) the visual elements seem to be more powerful in conveying the message
of nature protection in these advertisements.

LIST OF TABLES, FIGURES AND IMAGES
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Table 1. Mood in clause (Halliday, 2014, p78)
Table 2. Mood and Theme relations in clause (Halliday, 2014, p78)

Figure 1. Main types of visual representational structure (Kress and Van
Leeuwen, 2006)
Figure 2. Procedure of the study

Image 1. Min. emissions
Image 2. The planet’s favorite hybrid
Image 3. Go green. Go Prius
Image 4. Aim: zero emissions
Image 5. Myth

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TABLE OF CONTENTS
DECLARATION.......................................................................................i
ACKNOWLEDGEMENTS........................................................................ii

ABSTRACT.................................................................................................iii
LIST OF TABLES, FIGURES AND IMAGES.........................................iv
PART 1. INTRODUCTION........................................................................1
1.1.
1.2.
1.3.
1.4.
1.5.
1.6.

Rationale of the study.........................................................................1
Objectives of the study........................................................................3
Scope of the study ..............................................................................3
Methods of the study ..........................................................................4
Significance of the study.....................................................................4
Organization of the thesis....................................................................4

PART 2. DEVELOPMENT........................................................................6
CHAPTER I: THEORETICAL BACKGROUND AND LITERATURE
REVIEW......................................................................................................6
1.1.

Discourse Analysis..............................................................................6

1.2.

Multimodal Discourse Analysis..........................................................8

1.3.

Advertisements and Multimodal Discourse Analysis in advertisements
10

1.4.

Kress and Van Leeuwen’s grammar of visual design framework.......11

1.5.

Halliday’s functional grammar............................................................18

CHAPTER II: RESEARCH METHODOLOGY.....................................21
2.1.

Data of the study and some contextual background...........................21

2.2.

Research procedure.............................................................................22

CHAPTER III: DATA ANALYSIS, FINDINGS AND DISCUSSION…25
7


3.1.

Data analysis.......................................................................................25

3.2.

Findings and discussions....................................................................37

CHAPTER IV: CONCLUSION.................................................................43
4.1.

Summary of the study.........................................................................43

4.2.

Limitations of the study......................................................................44

4.3.

Suggestions for further study.............................................................44

References.....................................................................................................46
Appendices....................................................................................................48
Appendix I.....................................................................................................48
Appendix II....................................................................................................49
Appendix III..................................................................................................50
Appendix IV..................................................................................................51
Appendix V...................................................................................................52

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PART 1. INTRODUCTION
1.1.

Rationale of the study

Discourses are produced for a variety of purposes and classified into many
types and forms such as digital or print. As a matter of fact, the emergence
and the fast increase in the popularity of multimodal discourse have
downplayed the once leading role of traditional discourse of sole linguistic
mode. In almost all aspects of life, multimodal discourse, i.e. the discourse
that makes use of a few modes of communication such as color picture,
sound, movement, and language, has become more appealing and more
informative, especially in the arena of mass media. One clear example of
multimodal media genre is advertisement, which has received considerable
attention from discourse analysts, who have been attempting to explain how
different modes of communication can be combined to function in a
discourse.
To name just a few, Af Lars Sorensen’s research into professionals in films,
television and photography business (2011) which aimed to find the visual
communicative strategies and how the modes as well as the strategies were
employed to persuade a professional audience. A multimodal discourse
analysis of advertisements of Hong Kong charity organizations by Ma Mei
Lin Linda (2005) was conducted on three levels: micro, meso and macro to
find out the language status of Chinese and English in charity advertisements
in present-day Hongkong. Moreover, another study applying multimodal
approach is Chunyu Hu and Mengxi Luo’s research on Tmall’s double eleven
advertisement (2016) which illustrated how visual components serve as a
huge attraction to the viewers and effectively justify the composition behavior
by appealing to the cultural and social state. In addition, the multimodal
discourse analysis in Indonesian print advertisements (2013) was conducted
by Yusnita Febrianti, which aimed to look at how the multimodality of the
9

semiotic resources in several Indonesian print advertisements expresses
meaning of the visual elements and vice versa. Furthermore, Maria Bortoluzzi
also carried out a study on corporate identity in Total’s 2005 advertising
campaign in 2010 in order to analyze how the interplay between visual and
verbal modes of communication constructs complex layers of meaning to
enhance the advert’s main claim.
To follow this trend of research into the multimodal discourse of
advertisements, the current study focuses on how visual and linguistic
resources can be used, independently or in combination, to construct a theme
or a message in print advertisements. In particular, this study will look at the
advertisements of Prius from Toyota and the overall theme of environment
protection.
Print advertisements as one of the media genres, plays a vital role in draining
attention and shaping attitudes, especially in the aspect of environmental
protection. In recent years, sustainability and environment protection have
become one of the most important factors in conducting a successful business,
which creates the green image of the company in more depth. From 1883
since the first modern automobile was invented, human only has strived to
expand the car industry in order to meet the higher demand of people.
However, car industry is considered as one of the most air polluting
industries. That is why car manufacturers are trying to create more and more
awareness about its influence on the Nature. Therefore, almost all of car
manufacturers have to adapt to those important factors and aim for
sustainability. The image of nature and environment protection can be found
in print advertisements of many large companies such as Toyota or Ford.
However, the series of Prius from Toyota is considered as one of the most
successful campaign for a hybrid car. This company used various ways of
media including print advertisements to promote the campaign. That is why,

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the advertisements are chosen as the data of this study, aiming to find out how
different modes of communications (here, visual and linguistic) can be used
and combined to convey the message of environment protection and
sustainability.
Objectives of the study

1.2.

This study aims to explore how the systemic choice of visual elements
together with the linguistic features in the discourse can represent the message
of the advertising campaign. Specifically, it is implemented to investigate how
the multimodal discursive means are used, independently or in combination,
in car print advertisements to construct the message of environment
preservation.
In order to fulfill this purpose, the study will answer the following question:
-

How are the visual and linguistic elements used to convey the
message of environment protection in advertisements of Toyota

1.3.

Hybrid car?
Scope of the study

This study sought to investigate five print advertisements of Toyota for Prius,
a hybrid car series, aimed at the US consumers. The study will scrutinize the
visual and linguistic aspects of the advertisements as apparent on the

advertisements. It, however, does not aim to investigate the producers’
viewpoints or the customers’ perception of the advertisement. Such interests
are often out of the scope of a discourse analysis project.
The data analysis will also focus on how the message of nature protection and
sustainability is conveyed visually and linguistically. Other messages, if any,
will not be mentioned in this study.

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1.4.

Methods of the study

This study is carried out based on a multimodal discourse analysis approach
which is discussed in detail in the next parts. This is a qualitative analysis of
advertisement discourse, in which the frame work of Kress and Van Leeuwen
(2006) will be used for visual analysis and that of Halliday on functional
grammar (2014) will be used for verbal examination.
In particular, for the framework of Kress and Van Leeuwen (2006), this study
will analyze the data basing on three meta-functions: representational metafunction, interpersonal meta-function and compositional meta-function to find
out how visual elements are used to convey the message. In addition, for
verbal elements, the framework of Halliday’s functional grammar is applied
with Mood and Theme structure. In this study, the author will choose relevant
and outstanding verbal elements to analyze.
The researcher will manually analyze the advertisements one by one
separately using the frameworks mentioned, and then group the prominent
patterns to come up with findings.
1.5.

Significance of the study

Theoretically, the study contributes to the contemporary understanding of a
visual grammar framework and how multimodal discursive strategies are used
to convey meaning, in advertisement discourse in particular.
Practically, the study provides a chance to discover how the nature’s images
are represented via print advertisements and to raise people’s awareness about
the environmental issues.
1.6.

Organization of the thesis

This study is divided into 3 parts:
Part I: Introduction

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This part consists of the rationale, objectives of the study, research questions,
methods, scope and significance of the study as well as the organization of the
research.
Part II: Development
Chapter I: Theoretical background and Literature review
This chapter illustrates key approaches and frameworks used to analyzed data
and related researches of the study.
Chapter II: Research Methodology
This section reveals a detailed way to implement the study with the
application of different approaches.
Chapter III. Findings and Discussion
This section represents the results of the study and a discussion of how to

clarify the data analysis.
Part III. Conclusion
The last part provides a brief summary of the study, several limitations as well
as suggestions of further research on the same topic.

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PART 2. DEVELOPMENT
CHAPTER I
THEORETICAL BACKGROUND AND LITERATURE REVIEW
This chapter is devoted to the theoretical background and literature review of
the study. It describes the theoretical background of discourse analysis,
multimodal discourse analysis, advertisements and multimodal discourse
analysis in advertisements. Moreover, the backbone frameworks used in this
study are also dealt with: Kress and Van Leeuwen (2016) and Halliday’s
functional grammar (2014).
1.1.

Discourse Analysis (DA)

Discourse analysis is a general term that stands for several various approaches
to analyze written or spoken language. This definition is general, but it gives a
common idea of fields where discourse analysis can be used. According to
Brown and Yule (1983), discourse analysis means the analysis of language in
use. The analysis is not limited to the analysis of individual linguistics forms
and it functions in human affairs but it investigates the relationship of the
language and the context it takes place. It includes both transactional and
interactional view to understand the function of language in expression of
‘context’ and the function the language serving in presenting social relations

and personal attitudes.
“The analysis of discourse is, necessarily, the analysis of language in use. As
such, it cannot be restricted to the description of linguistic forms independent
of the purposes of functions which those forms are designed to serve in
human affairs.” (Brown& Yule, 1983, p.1).
Since the contexts of situation where discourse is found can overwhelming
vary, it is useful to refer to Halliday and Hasan’s (1985 in Butt 2000) show
that when discussing text, we are discussing “language that is functional in its
14


context” (Halliday and Hasan, 1985, p.3). However, it is essential to note that
spoken and written language use can be understood more thoroughly if we
take into account the fact that both forms very often are used with other
modalities. The channel of meaning making resource is shaped socially and
understood culturally such as writing, image, layout, music, gestures, speech,
moving image and sound track which are common modes in representation
and communication. (Kress, 2006, p.54) The functional use of language as
discourse using more than one modality is termed as multimodal discourse. In
written texts, the multimodality feature is presented with several modes
consisting of visual images, design elements and other semiotic resources.
(Jewitt and Kress, 2003)
In addition, discourse analysis also has an interest in concepts like
communication patterns in public institutions, media discourse such as
advertisement, television broadcast, etc. The ideological attitudes, power and
status can be conveyed with the constitution of individual and group identity.
In these interests, visual elements are gradually gaining the attention with the
research of Kress and Van Leeuwen (2006), Jewitt (2009) or Machin (2007).
In the research in 1992, Fairclough realized the value of visual factors is
important to extend the notion of discourse to find out other symbolic fields

such as images and texts which are the combination of words and images like
in advertising. Then, Kress and Van Leeuwen (2006) have recognized the
importance of the visual elements of images such as colors, composition or
typography in linguistic structures and what meaning does it want to convey.
In recent years, this semiotic mode has received a lot of concerns from other
researchers.
1.2.

Multimodal discourse analysis

Systemic functional linguistics, which has initially been developed by
Halliday since the 1960s is considered as a semantic theory of language.
15


Systematic functional linguistics views language in a tri-strata system where
language works context-dependently as a whole unit in making meaning with
the notion of register such as field, tenor and mode which represent language
functions. Halliday created the register analysis theory, which recognized the
importance of the social dimension of meaning. He focused on the fact that
the social process produces the language. Therefore, to understand the
meaning in a fixed context, not only the sentences but also the discourse
needs to be looked at (Halliday, 1996, p89). In addition, Halliday also
introduced a tri-functional conceptualization of meaning. Subsequently, these
three functions formed up the language resources of register analysis, which
were also applied to the visual mode by Kress and Van Leeuwen later. And
the mixture of different modes and channels in the field of communication has
results in the phenomenon, called Multimodality. Moreover, language is also
viewed as emerging from situational contexts and different situations give a
way for the use of different features of language. (Delin, 2000, p3). The

emerging of multimodal semiotic resources as common communication mode
has inspired linguists to explore a framework to analyze multimodal
discourse. Nowadays, in modern communication, language users have more
ways or modes to communicate or to convey their messages. More and more
scholars have paid attention to the influence of visual components on the
concepts of discourse with their dimension and have made the concept of
multimodality broader such as Barthes (1977), Kress and Van Leuween
(1996), Machin (2007), O’Halloran (2007), etc. Barthes (1977) recognized
the importance of images in deciphering the meaning. According to him, “the
meaning of images is always related to, and, in a sense, dependent on verbal
text.” (Kress and Van Leeuwen, 2006, p18). He also distinguished between
two types of text-image relation. The first one is that the verbal text extends
the meaning of the image (relay). And another thing is that the verbal text
elaborates the image (anchorage) (Kress and Van Leeuwen, 2006, p18).
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As defined by Stockl (2004, p.9), multimodality is “communicative artifacts
and processes, which combine various sign systems (modes) and whose
production and reception calls upon the communicators to semantically and
formally interrelate all sign repertoires presents.”. In addition, multimodal
discourse approach adopts the viewpoint that diverse semiotic modes such as
language, images, music, sound, animation, etc. are combined to multiply the
meaning in multimodal texts or communicative situations. It also considers
how multimodal texts are designed and how semiotics tools such as color,
framing, focus and positioning of elements contribute to the making of the
meaning in the texts. Moreover, it can be used wisely in many fields ranging
from place to place like from classroom teaching environment, working
environment to theatres, architecture and so on. The fact is that in modern life,
advertising discourse is also another good priority of the application of

multimodal discourse approach. Even though many researchers have carried
out a variety of study on advertising discourse based on linguistic features
such as rhetoric, cohesion, coherence, etc. the practical application of
multimodality to the analysis of print advertisement still remains to be further
tapped. One of the most important features of advertising discourse is peopleorientation which focuses on the interaction with people by using images,
pictures, color, movement, sound as well as music.
1.3.

Advertisements

and

Multimodal

discourse

analysis

in

advertisement
Advertisements function to inform, persuade, remind, influence and perhaps
change opinions, emotions and attitudes (Cook, 2001). Moreover, advertising
is a persuasive tool used by designers in marketing. It is also a powerful tool
to influence the mind, to improve profit margins and to present trends in
modern society. This study chose print advertisements as the data of the study
since they are considered effective information conveyance tool. As stated by

17

Delin (2000), language used in advertisements can make the viewer to believe
in a “common sense” assumption that one particular belief is preferable by
people on general and that belief in this preferable value is entirely cultural.
Moreover, Goldman in Reading Ads Socially suggests that “Advertisements
are social texts which are motivated by market shares.” (Goldman, 1992). It
means that advertisements are a type of discourse which is motivated by
economic activity. Goldman also states that advertisements are also a part of
our social lives in which human inevitably participates by decoding images
and messages in advertising. In trying to understand the meanings within
advertisements, the viewers read and interpret all of the semiotic resources
involved. In the study of Williamson (1987, p.12), it is stated that
“advertisements are message systems designed to organize perceptions and
create structures of meaning.” Almost all of semiotic analysis focuses on the
meaning of the images and signs. Therefore, advertisers use visual and
linguistics meaning to persuade their viewers and constructs the meaning of
images and signs values associating with constructing the identities and
message.
Specifically, in relation to print advertisements in car industry about using
environmental discourses and other semiotic resources, Julia Corbett
considers environmental communication as “the various ways we
communicate about the natural world.” (Corbett, 2006) Moreover, this
particular factor of communication focuses on the relationship between
human and the nature. In Corbett’s research, four types of advertisements are
also provided, which employ environment in different ways like nature-asbackdrop, green product attribute, green image and environmental advocacy.
(Corbett, 2006) These types reveal the various uses of nature in the
production of advertising materials, especially in print advertising and also
the relationship between the company and the Nature. They are also

18

considered as a selling tool, a device to draw the attention of the viewers.
Kress and Van Leeuwen (2006) believes that the images as well as the signs
choose part of existing attitudes or messages to portray or to convey in a way
that the viewers become recipient of their interpretation of social reality. With
a point of view to finding out what is actually used to convey the message
behind a multimodal discourse, particularly, advertising discourse, especially
in print advertisements has been carried out.
1.4.

Kress and Van Leeuwen’s grammar of visual design framework

When a multimodal discourse analysis is complemented, there are five questions
which should be answered, according to Kress and Van Leeuwen (2006):
1. What meaning is being made in the text?
2. How is meaning being made in the text?
3. What resources have been drawn on to make the meaning in the

text?
4. In what social environment is the meaning being made?
5. Whose interest and agency are at work the making of the meaning?
At this point, it is worth noting that the current research is designed to stay
focus on 4 questions from question 2 to question 5 because the answer for
question 1 has been clear from the researched context, which is the message
of natural protection and the harmony among nature, human and machine
through 5 print advertisements. Originated from Halliday’s systemic
functional grammar theory, Kress and Van Leeuwen created another social
semiotics approach to the visual mode. In their joint work, “Reading Images
– The grammar of visual design” the two theorists adapted Halliday’s three

functions: ideational function, interpersonal function and textual function to
decode the meaning in visual data. They explain that: “...we have taken Michael
Halliday’s social semiotic approach to language as a model, as a source for
thinking about general social and semiotic processes, … His model with its three

19


functions is a starting point for our account of images...” (Kress and Van
Leeuwen 2006, p20).
Kress and Van Leeuwen (2006) also assume that image, color, music,
typography and other visual modes are the same with language. They can
concurrently fulfill and realize the three wide communicative meta-functions.
In their viewpoint, there are many ideational choices available for visual signmaking in visual communication. They also think that image and other visual
modes have the ability to form texts, complexes of signs which internally
cohere with each other and externally with the context in and for which they
were produced. Besides a particular relation between the producer, the viewer
and the represented object is illustrated by image and other visual modes.
Based on Halliday’s theory, Kress and Van Leeuwen (2006) use a slightly
different term when they discuss the meaning of image in visual
communication. While the textual social semiotics has the ideational,
interpersonal and textual function, the visual social semiotics approach has
representational meta-function, interactional meta-function and compositional
meta-function.
The representational meta-function deals with the way of images represent the
relations between represented participants in the picture. It includes two
processes which are narrative representation and conceptual representation.
The narrative process illustrates unfolding actions and events or processes of
change by analyzing social actions and interactions within and outside the
visual frame. (Kress and Van Leeuwen, 2006, p.40). In addition, narrative

representation can be further categorized in to action process including unitransactional, bi-transactional process and non-transactional, reaction process
consisting of transactional and non-transactional process, speech and mental
process, which referred to six processes in Halliday’s transitivity system. In
terms of action process, uni-transactional process reveals a vector formed by a
20


depicted element connects two participants. In addition, bi-transactional
process is a vector, formed by a depicted element, connects two interactors.
Non-transactional process is a vector, formed by a depicted element, emanates
from a participant, the Actor, but it does not point at any other participants. In
reaction process, transactional process is an eyeline vector connecting two
participants. On the other hand, non-transactional process is also an eyeline
vector emanating from a participant, the reactor, but it does not point at
another participant. However, the conceptual representation describes
participants such as people, places and things in terms of visually constructed
hierarchies or social groups in advertisements. Conceptual representation is
divided into three groups including classification process, analytical process
and symbolic process.

Classificatory

Conceptual

Analytical

Narrative

Symbolical

Representational structures

Figure 1. Main types of visual representational structure (Kress and Van
Leeuwen, 2006)
In addition, the visual semiotic approach also has interactional meta-function
or interpersonal meta-function defining the relationship between the
represented subjects (human or not) and the viewer. (Kress and Van Leeuwen,
2006, p.41). By this function, the position of the viewer such as social
distance or attitude in regards to the picture is clarified. In order to codify the
interpersonal meaning, the gaze of the represented participant, the size of

21


frame and the vertical camera angle are analyzed. About the gaze of the
image, if the subject directly looks at the viewer, an imaginary contact is
established between the represented participant and the viewer, which is
called a demand picture. However, it the subject looks away from the viewers
to another object in the picture, the viewer’s role will be an invisible onlooker,
which is called an offer picture. The choice of demand or offer types of gaze
demonstrates certain communicative purposes that can be analyzed in
particular context. In addition, the size of frame also reflects the social
distance of the represented participant and the viewer, including a close-up, a
medium shot or a long shot. These things can illustrate a close or detached
relationship between the subject and the viewer. One more thing is the camera
angle which can signify a symbolic power relation between the subject and
the viewer. With a high camera angle, the viewer is meant to have power over
the one being represented, while with a low camera angle, the subject is
depicted as exercising power over the viewer. Lastly, with at eye level camera
angle, the point of view is one of equality and there is no power difference

involved. (Kress and Van Leeuwen, 2006, p50). Moreover, Kress and Van
Leeuwen also provide several modality markers which enable to figure out
how social reality is constructed in the image.
The third meta-function in the work of Kress and Van Leeuwen is the
compositional meta-function which illustrates the structure and cohesion
between both verbal and visual modes in the frame. (Kress and Van Leeuwen,
2006, p.41). According to Kress and Van Leeuwen, visual images possess
cohesiveness which connects different components of the visual to one
another and to external elements in the context. The relationship or
connection is analyzed by focusing on the information value, salience and
framing. Salience is how certain elements might be made to stand out and to
have the viewers’ attention drawn to them. In term of information value, it is

22


how elements are placed that makes them relate to each other and to the
viewer. The last one is framing, which is used to connect, relate, group or
separate elements in the image. In this research, salience, information value
and framing are analyzed to find out the compositional meta-function in five
print advertisements.
Additionally, Kress and Van Leeuwen also analyzed the color’s features in
visual social semiotics approach. Beginning with the ideational meta-function,
color can be seen clearly as a way to denote people, places and things. Take
the color of a flag as an example, a flag’s color denotes countries or unique
identities of groups or communities. Moreover, color is also used to reveal
interpersonal meta-function. It allows people to realize the act or meaning to
each other. According to Lilian Verner-Bonds, author of Color Healing,
“Colors are very powerful and can be reduce or raise stress levels. Bright
reds are energizing and are good for offices in the banking of entertainment

fields. Green is useful if there is discord or disharmony as it is soothing. Blue
is rated as the best color for promoting calm and pastel orange is goof for
gently encouraging activity” In addition, color also has textual meta-function
at the text level. Color can be used to create coherence in the text such as
textbooks, film reviews, etc. The coordination of color rather than the
repetition of single color can be also utilized to enhance textual cohesion. It
can be seen clearly that color fulfils the three meta-functions simultaneously
and equally. As Kress and Van Leeuwen stated in their study, “Color does
what people do with it, in making a sign and in remaking the sign in its
reception.” (Kress and Van Leeuwen, Reading Images, 230-231)
It is also stated in the study of Kress and Van Leeuwen that any specific
instance of color can be defined as a combination of specific values which is
value, saturation, purity, modulation, differentiation and hue.
-

Hue ranges from the warmth or red to the coldness of blue.
23


-

Brightness: truth as opposed to darkness

-

Saturation: exuberance as opposed to tenderness and subtlety

-

Purity: modernism and certainty

-

Modulation: are there different shades as in real colors?

-

Differentiation: is there a full range of colors or monochrome?

The first and foremost scale relates to the range from the light to darkness in
regards to tones. Saturation reveals the level of saturation in color, whether it
is high or low, which could signify an intense emotion or a neutralized
feeling. High saturation may be positive, exuberant, adventurous but also
vulgar or garish. Low saturation might be subtle and tender, but also cold and
repressed or brooding and moody. Moreover, in terms of purity, it illustrates
the scale from maximum purity to maximum hybridity which shows
modernism and certainty. Terms like “purity” and “hybridity” suggest
something of the meaning potential of this aspect of color. The “pure” bright
red, blue, green and yellow of the color scheme have become key signifiers of
the ideologies of modernity. While a color scheme of pale has become a key
signifier of the ideologies of post modernism. Next feature is modulation
which explores flat or highly modulated colors such as basic and simplified
colors or colors with various tints and shades. The affordances of modulation
are various and strong value-laden. Flat color might be perceived as simple
and bold in positive sense or as basic and simplified. Modulated color may be
perceived as subtle and doing justice to the rich texture of the real color or as
overly fussy and detailed. Moreover, modulation also relates to the issue of
modality. In addition, the differentiation is also analyzed to find out the
amount of mixture of colors in the palette. The last feature is hue which is the
scale from blue to red. It shows the meaning of these two particular colors.

(Kress and Van Leeuwen, 2006, pp 355-357).

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In addition, it is probably acknowledged that culture also plays an important
role in interpreting the visual. For instance, when we travel from one place of
the world to another one, we immediately recognize the existence of other
cultures. There is no need to have conversation with local people not even
read information about a place. “Culture is what we can see, and what we can
see is also image.” (Blerina Berberi, 2003) Therefore, people find it possible
to understand culture by looking at images and vice versa. The connection
between visual elements and culture is not deniable. So, images as texts and
language can be said to embody the cultural system. Moreover, images can be
defined as cultural products. The study of images should guide us to the
understanding of culture. That is why it should be agreeable that the
interpretation of visual images can sometimes be culture-specific. That means
a visual cue may signify different meanings in different cultures. Take, for
example, colors. Black may mean sadness in some cultures but it may well
mean formality in another cultural context. The analyst of visual images
should, hence, highlight any observation of culture specific instances. In the
visual analysis of this study, however, all the visual interpretation seems to be
universal, rather than culture-specific.
In short, the three meta-functions along with the color features, suggested by
Kress and Van Leeuwen, will be a backbone of the visual analysis of the
Toyota’s advertisements.
1.5.

Halliday’s functional grammar

This research also employed a part of the system of Functional grammar of
Halliday (2014) to analyze some verbal elements appearing in five print
advertisements. It contains Transitivity, Mood and Theme. According to
Halliday, in this system, the meaningful grammatical unit is clause. It will
express what is happening, what is being done, what the feelings is and so on.
However, in this study, the author just analyzes the Mood and Theme to

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