A Systemic...of Cig Ad

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A SYSTEMIC FUNCTIONAL ANALYSIS OF SELECTED CIGARETTEADVERTISEMENTS

BY

DR. SOLA T. BABATUNDEDEPARTMENT OF ENGLISH

UNVIERSITY OF ILORINILORIN

ABSTRACT

Communication is a continuous process of interpersonal negotiation. In the

dynamic nature of language use, texts and meanings become both the sourcesand objects of negotiation. Where a piece of communication which is overtlypersuasive in its semiotic function, has apparent contradictory social andlinguistic inputs, it is communicatively and pragmatically rewarding to examinethe strategies involved in choosing, organizing and presenting the components ofthe text.

This article therefore examines the organization of the cigaretteadvertisements using the systemic functional approach. The analysis revealedthat an effective management of the features of the context of situation, theinterpersonal ideational and textual metafunctions and the discourse features of

the types of process is responsible for whatever measure of success cigaretteadvertisements achieve.

1. INTRODUCTIONHuman existence and development depend to a large extent on language

for communication. This presupposes at once, that the end and purpose oflanguage is the enhancement of communicative interaction in human society.Experience has shown that an individual without the means of effectivecommunication in the society does not fully exist in such a society.

Communication functions to meet both the material and non-material needs ofman (Babatunde, 2002:2) Mac Bride (1980:15) also submits that

Man does not live by bread alone; the need forcommunication is evidence of an inner urge toward a lifeenriched by cooperation with others.

A crucial mode of communication, which also seeks to satisfy the humanurge for life in abundance, is advertising. Advertising affords the producer/sellerthe opportunity to create the awareness of his product (goods and services) tothe public. The advertisers message is meant to persuade, educate, inform and

entertain the existing or prospective consumers about a company, and itsproducts and services. Advertising is designed, among other things, to induce

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change of behaviour or attitude through the communication of information. AsBackman (1968:5) submits, the success of any advertising strategy depends on

how many people might conceivably respond tothe advertising and the ease with which such a group

can de induced to respond.

As such, in advertising, verbal and non-verbal codes are persuasivelydeployed such that the advert appeals to the target audience (TA).

The persuasive goal of advertising and the human effect of tobacco onindividuals health makes government to often control matters relating to thesales of the products of tobacco. The obvious contradiction in the differentaspects of tobacco its production, sales and consumption exposes theadvertising of tobacco products to the prying eyes: while the producers and themarketers work towards ensuring increase in the consumption of tobaccoproducts, religious, health organizations, and other governmental agenciesconsistently advocate for its total ban. The Tobacco Smoking Control Decree No 2of 1990 of the Federal Government of Nigeria is a major evidence of the movesagainst the production and consumption of tobacco. Though the decree was notprohibitive, it made it mandatory for health warning to be incorporated oncigarette packs and on every advertisement package.

This study therefore seeks to investigate the strategies used in theadvertisement (ad) package of cigarettes with a view to unraveling some of thecigarette marketing strategies, which draws consumers to cigarette products.

What communicative strategies are used in the ads? What are the linguistic,paralinguistic and nonverbal codes on the ads, which have enabled the producersto succeed in persuading the consumers? What is the structure of meaningpresent in a typical cigarette ad?

To enable us carry out this investigation effectively, we have opted for thesystematic functional model of analysis. We are sampling ads from threeinternationally recognized companies: St. Moritz, Rothmans, and Benson andHedges. We have selected three different ads of each of these companies making nine samples in all.

2. THEORETICAL BACKGROUNDIn this section, we shall briefly discuss the concept of

advertising/advertisement and also review the Systemic Functional Approach tolanguage enquiry, as a way of presenting the theoretical basis for our analysis ofCigarette Ads in this study.

AdvertisementThe American Marketing Association (AMA) defines advertising as

any paid form of non personal presentation andpromotion of ideas, goods and services by an identified

sponsor.

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Crucial issues raised here include the fact that ads are paid for, it is not apersonal promotion and there is always an identified sponsor.

Kotler (1980:487) talks about the informative and persuasive nature of adswhen he says,

Advertising is the use of paid media by a seller tocommunicate persuasive information about its products,services or organization.

Ads are said to focus on the creation of product differentiation by advertising thepeculiarities of the products. Brand images are thus created in the sensibilities ofthe audience and these become activated when purchase decisions are to betaken. Product Attributes are thus used as tools to persuade and influence theaudience.

Every ad carries a message. The success of the message depends on itsExecution. Message execution does not depend only on what is said, but also onhow it is said. How a message is said is seen as its Execution Style. This studyseeks to thus examine the execution style of the selected sample ads in order toreveal the factors responsible for the measure of success cigarette ads achieve.The study also proposes that a typical cigarette ad has an internal structure ofmeaning. The successful perception of this structure by the TA is the preparatorycondition for the success of the ad to the TA.

A Systemic Functional FrameworkLanguage (both verbal and non verbal) is used for persuasive interactions

by advertisers to influence the actions of the target audience. The encoderdesigns his ads with a demonstrated consciousness of the psychological, social,cultural, economic, political, environmental and linguistic context of the settingwhere the ad is to be displayed. The ad thus becomes a representation of theencoders perception of the TAs world or dream world. The TAs ideologicalperception of certain aspects of life, their experiences, or what they will like toexperience become what the ad thrusts upon their sensibilities. The advertisersrepresent the world and experiences in the ads with the aim of sensitizing andmobilizing the TA into a particular line of action through the meaning thusencoded. As such, the interacting forces of the contextual constituents on boththe encoder and decoders influence the designing of the ads and the consequent

purchasing decision.

The meaning so conveyed is not only based on the linguistic representationof the ad, but on some other aspects of the shared knowledge between encodersand targeted decoders exploited in the ads. The advertisers deploy language(both verbal and non verbal) as a system and as a functional tool. In other words,encoders appraise the value of (linguistic) symbols not only in their content, butalso in all the nuances of meaning they possess (Babatunde, 2000:147). Theconsciousness of the TA is stirred up and aroused to a positive action through thismeaning.

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In any form of communication, the meaning conveyed, at the levels oflinguistic and non linguistic representation, depends on the systematic processof effective interaction among interlocutors.

There is a system of network in any piece of communication. This system of

network is deployed to perform certain semantic functions. The sum total of whatis coded becomes the basis for the negotiation of meaning between theinterlocutors. As the encoder transmits the different modes of meaning construedby the grammar, the decoder is guided torecognize the encoders intention in transmitting his message. The decoder isguided through the choices made by the encoder to structure the meaning ofhis message.

For ease of clarification and analysis, meaning conveyance is often seen asa structured process. This involves the encoders proper deployment of themicroforms as building strategies of the overall meaning structure conveyed.Microforms should be skillfully cemented to create an attractive and an imposingstructure in the consciousness of the decoder such that the micro structures arerecognized.

This study proposes a four- step structure of analysis for consumer ads,precisely here, cigarette ads. The first step, named Context, involves basefeatures of context, such as the socio-cultural, psychological, economic, political,environmental and linguistic. This is the sum total of the background knowledgewhich informs the coding of a message, and it is the same that the decoderultimately exploits to make necessary predictions about the meanings intended

by the encoder (Melrose, 1995:47) In a similar discussion, Babatunde (2000:147)observes that

the socio-cultural awareness, the degree to which he [awriter] is rooted in his environment is largely manifested inthe way these relevant linguistic and contextual features flowwittingly or otherwise into the writing.

This forms one part of what Halliday (1978) calls Situation:

Perhaps, the second part of what Halliday refers to as Situation isapproximately referred to in our model as Input. It is at this level that all the

contextual variables earlier identified have become ground and mixed together togive rise to the first signs of the Ideological side of language use (Melrose,1985:40 43). At this level, features of situation types as determinants of choicesto be made for effective encoding and decoding of meaning begin to come to thefore. Decisions relating to encoders intention; audience and channel(s) are takenat this stage. Such decisions are determined by the competence of the encoderto understand the constellation of meanings deriving from the semiotic system inthe setting of interaction. On the other hand, the ability of the decoder to size upthe features at this level facilitates his tuning in to the exchange. The featuresconstraining the choice of field, tenor and mode are in operation here.

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The third is the Process stage. The macro-features of the previous stepshave now become micro-features, which are building blocks for the perceptibletextual structure of the message. Here we see the clear realization of thesemiotic meaning potential of the message. Discussive formation, interactionsequence and the exploration of Schemas (Melrose, 1995:49) are the apparent

features of this step. Also choices as to the appropriate process type in this kindof communication are also made. Matthiessen and Halliday (1997) identify foursteps: material, mental, verbal and relational (p. 13)

The fourth step is the Product itself. This is the physical manifestation ofText and its actual reception by the decoder. The TA interacts with the Text toderive the intended benefits packaged for him by the encoder/advertiser. Alsopart of this stage is the outcome of the interaction. Pragmatics refers to thisoutcome as the perlocutionary effect(s) of the message.

It is crucial to note that the code packaged and delivered by the advertiseralso includes paralinguistic and nonverbal ones. At this stage of the actualinteraction of TA with text, what TA does is to perceive the configurations of theprocess types deliberately arranged to make the message appeal to him. Wepresent the framework in Figure 1.

ENCODING PROCESS

1 2 3 4

CONTEXT INPUT PROCESS PRODUCTS

*Sociocultural *Ideology *Discursive *Interaction

*Psychological (Ideological formations with TEXT.

*Economic Formations) *Interaction *Slices of Life

*Political *Audience sequence *Arousal &

*Environmental *Intention *Exploitation of Performance

*Linguistic *Genre Choices schemes *Affect displays

*Channel & (The interplay

Symbolic of systems &

Function(s) Metafunctions)

(Constraints in

Choices)

DECODING PROCESS

Figure 1: A Four-step structure of Analysis for Consumer Ads. (Babatunde, 2006)

3. ANALYSIS AND DISCUSSION

This paper submits that meaning is conveyed when the TA recognizes themeaning structure and as such, forms used as building blocks must be part of the

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worldview of the TA (i.e. TAs cultural conception) as well as being simple enoughfor interpretation and understanding. Therefore, conventional semantic devices,simple written, unwritten and nonverbal aspects of meaning should be used inadvertising for ease of interpretation and understanding.

The data for this study are classified into three groups, namely

(a) Rothmans King-size Cigarette Advertisements (RKA)(b) Benson and Hedges King-size Cigarette Advertisements (BHA)(c) St. Moritz Menthol Cigarette Advertisements (SMA)

This classification also informs the structure of this analysis, as each groupshall be discussed/analysed one after the other using the framework presented inthe previous section of this essay as the tool for analysis. To avoid unnecessaryrepetition, we shall use Rothmans ads as our sample analysis

3.1 Meaning Structure of Rothmans King-Size Ads(a) Description:

The settings of the selected Rothmans King-size Ads (henceforth calledRKA) are conceptualized as follows:

(i) The sport concept(ii) The office concept(iii) The musical concept

The three ads open with the general introduction TASTE SUCCESS, in uppercase lettering; and they all also conclude with THE BEST TOBACCO MONEY CANBUY. Apart from the picture of the pack of Rothmans cigarette, with its the label,this information and the conclusion, so to speak are all the verbal codes in the

three ads.

The first datum, which has the sport concept, has six sports men in it, fiveof them are at the background in various jubilant postures, while the fifth who isthe only one in suit (perhaps the manager, or so) is foregrounded holding thetrophy won by the team. Also at the background is a cheering crowd in thestadium setting.

The second datum has the office concept. There are also six people here,one lady and five men. Five of them seem to be clamoring to congratulate theone who is at the foreground, who seems to have won a deal (or so) for the

company.Datum three of RKA has a musical concept setting. There are five musicians inthe ad in a jubilant mood perhaps after a very successful musical concert. Each,except the only lady in the picture, is holding a musical instrument. Again, theyall seem to make the foregrounded member of the group the rallying point oftheir jubilation.

(b) Structural AnalysisThe RKAs present a beautiful mixture of the verbal and non-verbal codes.

Due to the sparing use of the verbal, the non-verbal seems to predominate.

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The RKAs exploit the psychological, socio-cultural, environmental, economicand linguistic features of the TAs context. The manifestation of this will beclearer as we examine the perceptible Input features of the ads.

With respect to the Input features, there is a pervasive and infectious

situation of success. The dream world of an average person is inhabited bymarked indices of success. The pursuit of success can be executed with greatdetermination. The intention of the encoder apparently is to appeal to the TAssensibilities. The symbolic function of the channel is being carefully woven at thisstage and the success achieved becomes more apparent in the subsequentstages of our analysis.

In the Process stage, the factors considered in the Context and Input stageshave now acted as constraints for the choice of field, tenor and mode.Appropriate Schemas (Brown & Yule, 1983:349) in the TAs information memoryare exploited so that the recognized social situation of sport, office and musicalconcepts can enable him (TA) to understand the subject matter of discourse.

The Product stage presents the Text to the TA. Each of the three ads in thisgroup has two sentences. The first is an elliptical imperative Taste Success,while the second is also an elliptical declarative The best tobacco money canbuy. We shall now briefly illustrate the network of metafunction in the verbalcodes.

The two clauses do not easily yield to the conventional textual identificationof the theme/rheme dichotomy. Clause (a) taste success, does not have a clear

referent and indeed the grammatical subject that can be easily recaptured asYou, (i.e. You (should) taste success). This polite remark is so marked that tastecan easily be interpreted as the theme, while success the direct objectbecomes the rheme.

The ideational metafunction of Transitivity has only the overt choice ofProcess (taste) and the sufferer of the action (success). The second clause has noovert finite verb, the best tobacco money can buy is a descriptive expression ofthe object of display, Rothmans Cigarette (that is in This is the best tobaccomoney can buy). The modal responsibility on the part of the TA audience is tocomply with the polite imperative in Taste Success.

The primary options in process type can equally be identified as they areused to rouse the interest of the TA in the product. This is however very complexbecause of the sparing use of words and the abundant deployment ofvisual/pictorial symbols. The Material Process is a combination of doing andhappening. Taste Success commands the action of taste, while the TA seesa celebration of success going on /happening by three different groups of people.

The Mental Process is overtly marked by the joint appeal to the sense oftaste and of sight (see the jubilant groups). The covertly marked senser is the TA

who has been directed to partake of the experience he is watching. It can beinfectious!

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The TA is guided into recovering the Verbal Process in the expression Theadvertiser says I should taste success. The verbiage is taste success. In theRelational aspect, taste is the process, while success is the Attribute. TheCarrier is the covert Referent, the TA. This analysis reveals the Verbal

Projection of Taste Success which becomes the Theme of each of the three adsin this group. The rhetorical body of the message (both literally andmetaphorically) is the pictorial slices of life in the three concepts of sports, officeand the musical.

The pictorial Projection is the main text of this group of ads. The Executionstyle invites the TA to join the jubilant groups in having a taste of success. Themodels, either on their feet or in the sitting position give an alluring appearance.There is a general atmosphere of ecstasy, which becomes heightened by theirradiant facial expression. From the display of the trophy won, to the warmhandshake, and the golden musical instruments, we see a vivid Display andProjection of Success. The alluring display of the open pack of Rothmans can alsonot be mistaken.

The ads all end with the epithet: The best tobacco money can buy. Thearrangement of the epithet and the Rothmans pack shows that the expressionmakes an endophoric reference to the object on display. This conclusionevaluates Rothmans in terms of quality and value of money used in buying it. It isa declarative, which has been authoritatively deployed to appeal to the TAssense of reasoning to evaluate Rothmans. The superlative adjective, best is alsochosen for effect.

The expected effect of this on the TA can be any or a combination of someof the following: Product Acceptance, Product Preference, Product Purchase,Product Switching or Product Loyalty. Well, we can also not rule out the possibilityof indifference or outright rejection. This will however be because of other factorsoutside of the ads.

Clearly, the Rothmans ads analyzed have presented such an imposingsemantic structure that the background of societal rejection and anti-smokingcampaign has been thoroughly dwarfed. We shall elaborate more on this in thediscussion section.

3.2 DiscussionIn this section, we shall undertake a general discussion of the structuralfeatures of

the analyzed three groups of cigarette advertisements, so as to reveal thesystem of choices made and the functions to which the choices have been put.

The pervasive Message Execution Style of the three groups of ads selectedis the staging of different slices of life. Rothmans depicts success, Benson andHedges (B&H) portrays an overwhelming sense of aloneness and freedom, while

St. Moritz (SM) gives an air of elegance and relaxation. The shared knowledge of

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the natural desire for pleasure, joy, satisfaction and fulfillment is greatly evokedin the ads.

The portrayed perfect state of satisfaction is presented in form of the idealwhich is attainable; whereas in the real sense of it, this utopia is fantasy, or at

best fictional. However, the objects and models in the pictures are the things theTA feels he could identify with. There is therefore a pervasive Mood of a slice oflife which is very attainable, and the cigarettes being offered are capable ofputting this ideal on the TAs lap effortlessly. All the TA has to do is chooseSUCCESS, FREEDOM or ELEGANCE (and Relaxation) as the case may be. That is,choose either or all of the products in the ads.

With this Execution Style, it is interesting to therefore examine the rolelanguage has been deployed to play in the cigarette ads. Language is sparinglyused. Apart from the trade names of the products being advertised, what followsis the extent of verbal codes on the ads:

A. Rothmans 1. TASTE SUCCESS2. THE BEST TOBACCO MONEY CAN BUY

B. Benson and Hedges3. BODY & SOUL4. UP & AWAY5. FREE AND EASY6. BE GOLD, BENSON &HEDGES

C. St. Moritz.7. THE COOL, SMOOTH CHOICE

Such a sparing use of verbal codes has the significance of making the TA tobecome very reflective in order to unravel the sense(s) of the largely ambiguousexpressions. The TA is to fill up the gap.

What is however missing in words has been supplied by nonverbal codes.Before we discuss the features of the nonverbal means of communication, it isimportant to submit that the sparing use of verbal codes is connected with thenegative campaigns against smoking. Since the claim of the health institutions onthe dangers of cigarette to smokers is based on facts, many words may get theadvertisers into legal problems and thus attract serious sanctions against the

products. The advertisers thus talk less, while they leave the TA to see the make-believe pictures themselves and be positively disposed to the products.

Marlow (1954; Quoted from Hargie , 1986:27) has a hierarchy of human needs(See figure 2 below)

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Aesthetic

needs

Self-actualizationneeds

Esteem needs (Self respect

and esteem of others)

Belongingness and love needs (love, affection )Safety needs (Security, freedom from fear, dependency)Physiological needs (Water, food, heat, etc)


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Figure 2: Marlows Hierarchy of Human Needs

Marlows submission is that the individual has needs and the meeting oftheseneeds is the goal being pursued in life. In other words, goals being pursued aredirectly influenced by the degree of motivation, which they have for each goal.This is in turn influenced by their needs.

The advertisers have exploited this natural human tendency by placingtheir message within identifiable and meaningful social and psychological

contexts. There is a sense in which each ad makes an implicit claim to being ableto satisfy each of these needs, depending on which one is uppermost in the mindof the TA. Let us briefly illustrate this using the St. Moritz ads (SMA)

NEEDS SIGNALPhysiological Cigarette is consumableSafety Needs Since people still take tobacco not all smokers die (or most

dont die)Belongings andLove needs

The exquisite homely setting is meant for many, at leastfamily members. (In reality, cigarettes are shared amongsmokers).

Esteem Needs Any occupant of the setting has affluence and as suchrespectable

Self-actualization Living in the setting portrayed is a mark of self-actualizationand fulfillment.

Aesthetic The exquisite beauty of the setting is alluring. It is a perfectmixture of gold, diamond and life (green).

Figure 3: Analysis of St. Moritzs Ads claim on Needs

What the advertisers attempt to do is to manipulate the TA with the promises(overt and implicit) that their needs (whatever it may be) will be met. The sparing

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use of words and the display of non-verbal codes is to achieve a medium degreeof arousal so as to have optimum level of performance in the TA.

Apart from the possible claim to being able to satisfy all needs, each adgroup also appears to have a concentrated focus on a selection of the needs.

This is presented in Figure 4.

ADVERT/PRODUCT NEEDS IN FOCUSROTHMANS Physiological, Belongingness, Self-actualization and

AestheticBENSON &HEDGES

Physiological, Safety and Self-actualization.

ST.MORITZ Physiological, Esteem, Self-actualization andAesthetic

Figure 4: A Table of Needs focused in Cigarette Product Ads.

An effective semiotic device used by the marketers in the ads is to handlethe marketing of the cigarette as a second order field of discourse. Mostconsumer ads start by making the advertised products the theme of themessage, while the rheme is the benefits derivable from patronizing such aproduct. The cigarette ads selected have used a predominantly symbolic meansof staging their product. Any of the nine samples gives the impression that othersubject matters on life and living are being discussed; e.g. Success (Rothmans),Freedom (Benson & Hedges) and Elegance (St. Moritz). When the attention of theTA has been drawn to these subject matters, the main goal of the ad (that is the

products) is then subtly introduced. This is perhaps an effective way of distractingattention from the negative publicity on tobacco products. It is a deceptive ploy.

Each of the ads is analysed to have a semantic cum rhetorical structure.They all have introduction, body and conclusion, as demonstrated in the sampleanalysis. Secondly, the framework used for the sample analysis has four stepswhich can work for both the encoding and the decoding of the message. Theencoder, for instance, begins from step one to utilize the contextual variables asfoundation for the presentation of his message. He then works through the stepsuntil the Text is made available to the TA in step four. The decoder (or TA) on theother hand, begins from the Text to discover its meaning. The extent to which heis able to identify with the message ( in terms of perception or recognition) isdetermined by his depth of recognizing what the encoder has exploited of themutually shared contextual background. So the TA works from step fourbackward.

CONCLUSIONThis study has demonstrated that persuasive communication can thrive

even in the environment of dissuasive forces. In a situation where dissuasivefacts tend to discourage would-be consumers, a marketer/advertiser can rely on arange of semiotic features that will appeal to the eyes and hearts of the TA, if not

their heads. Arousal and Performance (Hagie, 1986: 28-29) are motivational tools

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capable of bailing the cigarette marketer out in the co-existence of thecontradictory web of the persuasive and the dissuasive in the same ad.

The sparing use of the verbal codes enables the ads to engage more insymbolic communication rather than the literal one. The dissuasive information,

which is exclusively verbal, uses the word smokers. This word, or its symbolwas not used at all in the ads. No one is seen holding a stick of cigarette and theTA is not enjoined to smoke. Rather other forms of action are referred to in theads; e.g. taste (of success), being gold and making a cool, smooth choice. Themodels in the different groups of ads are either seen taking those prescribedactions, or are (efficiently) imagined to be doing so.

There is a pervasive atmosphere of the alluring. Colours are perfectly mixedand actions are coordinated and goal-driven. The semantic structure is perfectlyrhetorical in its persuasive qualities and the TAs imagination is made to runreally wild for the attainment of the pleasurable. However, we shall end withTonys counsel in She Stoops to Conquer (Goldsmith, 1961: )

All that glitters is not goldPleasure seems sweetBut proves a gloss of bitters.

In spite of the glitters of the ads, the facts regarding the effects of the productscould not be refuted directly by the ads.

In all, cigarette ads seem to have the measure of success they havebecause of the effective handling of the system of choices available in the

communication of intended meaning.

REFERENCES

Babatunde, S.T. (2000) The Rhetoric of Mass Protest: Persuasive Strategies inOlu

Obafemis Plays in Duro Oni and Sunday E Ododo.(eds.) Larger Than HisFrame: Critical Studies and Reflections on Olu Obafemi. Lagos: Centre forBlack and African Arts and Civilisation.

Babatunde, S.T. and Adeyanju, D.S. (eds) (2002), Language, Meaning and

Society. Ilorin:Haytee Press and Publishing Company. The Communicative Syllabus: ASystemic-functional Approach to Language Teaching. London Printer.

Goldsmith, O. (1961) SheStoops to Conquer. London: Longman Group Ltd.Halliday, M.A.K. (1978) Language as a Social Semiotic: The SociologicalInterpretation of

Language and Meaning. London: Edward ArnoldHargie, Owens (1986)A Handbook on CommunicationSkills. London: Routledge.Kotler, P. (1980) Principles of Marketing( 3rd ed.) U.S.A: Prentice Hall InternationMacbride, Sean (ed.) (1980) Many Voices, One World. Paris: The UNESCOPress.

Matthiessen, Christian and Halliday, M.A.K(1997) Systemic FunctionalGrammar: A First Step into the Theory.

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Melrose, Robin (1995). Communicative Syllabus: A Systemic- FunctionalApproach to

Language Teaching. London: PrinterMorris, J.S. (1980)Advertising .Virginia: Reston Publishing Company Inc(1992) Guidelines on the Advertising of Alcoholic Beverages and Tobacco

Products. Lagos:APCON.

(1994) Issues on Advertising of controlled Product. Lagos: APCON.

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A Systemic...of Cig Ad