MULTIMODAL DISCOURSE ANALYSIS ON THE MOVIE POSTER MAN OF STEEL

THESIS

BY : EKA ANDY HERMAWAN

NPM.09.321.087

DEPARTMENT OF ENGLISH TEACHING THE FACULTY OF LETTERS AND ARTS EDUCATION

IKIP PGRI MADIUN February 2016

i

MULTIMODAL DISCOURSE ANALYSIS ON THE MOVIE

POSTER MAN OF STEEL

T H E S I S

Presented to the Department of English Teaching, Faculty of Letters and Arts Education, Institute of Teacher Training and Education of

IKIP PGRI Madiun,in Partial Fulfilment of the Requirements for an Undergraduate

Degree of English Teaching

BY : EKA ANDY HERMAWAN

NPM.09.321.087

DEPARTMENT OF ENGLISH TEACHING THE FACULTY OF LETTERS AND ARTS EDUCATION

IKIP PGRI MADIUN February 2016

ii

SIGNATURE PAGE OF ADVISORS

Thesis by Bahtiyar Andriansyahentitled Multimodal Discourse Analysis on the

Movie Poster Man of Steelis approved by the advisors for the thesis examination.

Madiun, February4th, 2016

Advisor

Drs. Dwi Setyadi, M.M

NIDN0727106403

Madiun, February4th, 2015

Co- Advisor

Lulus Irawati, S.S, M.Pd

NIDN. 0713047501

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SIGNATURE PAGE OF THE BOARD OF EXAMINERS

This thesis by Bahtiyar Andriansyahis approved by the board of examiners on

tuesday, February12th 2015.

Board of Exeminers

Drs. Sumani, M.M., M.Hum. Chair NIDN. 0030016602

Sigit Ricahyono, S.S., M.Pd Secretary NIDN. 0712046901

Drs. Dwi Setyadi, M.M Member NIDN. 0727106403 Lulus Irawati, S.S.,M.Pd NIDN. 0713047501 Sigit Ricahyono, S.S., M.Pd NIDN.0712046901

Madiun, February 12th 2015

DECLARATION

The Faculty of Letters and Arts Education

Dean,

Drs. Sumani, M.M.,M.Hum. NIDN.0030016602

The Department of English Teaching

Chairman,

Sigit Ricahyono, S.S., M.Pd NIDN.0712046901

Chairman Secretary Member Member Member

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I, the writer of the thesis entitled “MULTIMODAL DISCOURSE

ANALYSIS ON THE MOVIE POSTER MAN OF STEEL” :

Name : Eka Andy Hermawan

NPM : 09.321.087

Department : Department of English Teaching

Faculty : Faculty of Letters and Arts Education

University : IKIP PGRI Madiun

States that this thesis is not a plagiarism or made by others. Anything

related to others work is written in quotation, the source of which is listed in the

bibliography. If it is found that my work, thought, or wholly plagiarized, I will be

ready to accept the sanction on the matter.

Madiun, February 09th,2016

The Researcher

Eka Andy Hermawan

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MOTTO AND DEDICATION

MOTTO

1.“ Science without religion is lame, religion without science is blind."

(Albert Einstein)

2. “Kembang Tepus Kaki.”

3. “Nothing Impossible”

4. “What i worry i about is not whether God is on our side, but whether we are on

God’s side. Because god is always right.(Abraham Lincoln)

DEDICATION

This thesis is dedicated to:

1. To my mother who has loved me very much.

2. To my brother Zainul Arifin and Ibnu Syahri Romadhon who have helped and

support doing this thesis.

3. To Herwaniti Arsaningsih who has accompany me doing this thesis.

4. All of his frinds who have helped in doing this thesis.

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FOREWORDS

First and foremost, Alhamdulillahirobbil’aalamiin, the researcher would

like to express her deepest gratitude to Allah SWT, God the Almighty for the

blessing in completing this thesis entitled “Multimodal Discourse Analysis on the

Movie Poster Man of Steel” This thesis is submitted as the partial fulfillment of

requirements for an Undergraduate Degree of English Department Faculty of

Letters and Arts Education IKIP PGRI Madiun.

Many people have contributed spiritually and physically to this thesis. The

researcher would like to express her deepest gratitude and appreciation to:

1. Dr. H. Parji, M.Pd, the Rector of IKIP PGRI Madiun, who has given the

researcher a chance to write this thesis.

2. Drs. Sumani, M.M.,M.Hum, the Dean of The Faculty Letters and Arts

Education, who has given permission to write this thesis.

3. Sigit Ricahyono, S.S.,M.Pd, the Head of Department of English Teaching,

who has given him permission to complete this research.

4. Drs. Dwi Setyadi, M.M., the first advisor for his encouragement, support,

valuable advices and suggestions.

5. Lulus Irawati, S.S, M.Pd., the second advisor for his patience, support,

valuable advices and suggestion in correcting this thesis.

6. All lecturers of Department of English Teaching, The Faculty of Letters and

Arts Education IKIP PGRI Madiun who have given their precious knowledge

to the researcher.

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7. The librarians of IKIP PGRI Madiun for giving their help in getting reference

books to the researcher.

8. All of his friends who help him in completing this thesis.

The researcher realizes that this thesis is far from being perfect. In order to

make this thesis better, the researcher also welcomes comment, criticism, and

suggestion from the readers. Finally, the researcher hopes that this thesis will be

useful for the readers, especially the student of English Department of IKIP PGRI

Madiun.

Madiun,February 10th, 2016

The Researcher

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TABLE OF CONTENTS

Page INNER COVER ........................................................................................... i SIGNATURE PAGE OF ADVISORS .......................................................... ii SIGNATURE PAGE OF THE BOARD OF EXAMINERS .......................... iii STATEMENT OF ORIGINALITY .............................................................. iv MOTTO AND DEDICATION ..................................................................... v FOREWORDS ............................................................................................ vi TABLE OF CONTENTS. ............................................................................. vii LIST OF TABLES ....................................................................................... xi LIST OF FIGURES ...................................................................................... xii LIST OF APPENDICES ............................................................................... xiv ABSTRACT ................................................................................................. xv CHAPTER I INTRODUCTION ............................................................. 1

A. Background of the Study............................................. 1 B. Limitation of Study ..................................................... 3 C. Statement of Problem .................................................. 3 D. Purposes of the Research ........................................... 3 E. Significance of The Research ...................................... 4 F. Methodology of The Research .................................... 5

1. Approach of the Research .................................... 5 2. Type of the Research............................................ 5 3. Data and Sources of Data .................................... 6 4. Data Collection Techniques ................................ 7 5. Technique of Analyzing the Data ......................... 7

G. Theoretical Review ..................................................... 7 1. Multimodal Discourse Analysis .......................... 8

a. Definition of Multimodal Discourse Analysis (MDA) ......................................................... 8

b. Approach to MDA ...................................... 10 c. Theoretical and Analytical Issues in MDA .. 15

2.Strategies For Meaning-Making in Print Advertisementt .......................................... 19

a. Systemic-functional Linguistics(SFL) ......... 19 b. Definition of Meaning-Making .................... 23 c. Strategies for Meaning-Making in Print

Advertisement ............................................. 25 3. Advertising ........................................................ 25

a. Definition of Advertising ............................ 25 b. Media of Advertising .................................. 27 c. The Generic Structure Potential of Print

Advertisement ............................................. 30 1) The Lead ............................................ 31

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2) The Display ....................................... 34 3) The Emblem ...................................... 35 4) The Announcement ............................ 35 5) The Enhancer ..................................... 36 6) The Tag ............................................. 37 7) The Call-and- Visit Information ......... 38

4. Strategies For Meaning-Making in Printed Advertisement .................................................... 18 a) Definition of Meaning-Making .................... 18 b) Strategies Meaning-Making in Advertising . 19

1) Stage 1 ................................................. 21 2) Stage 2 ................................................. 22 3) Stage 2a ............................................... 23 4) Stage 2b .............................................. 25 5) Stage 3 ................................................. 26 6) Stage 4 ................................................. 29 7) Contextualization Propensity,

Interpretative Space andSemantic Effervescence:a Further Exploration of Ideational Meaning ........................... 29

CHAPTER II THE GENERIC STRUCTURE POTENTIAL (GSP) OF MOVIE POSTER MAN OF STEEL ............................. 39

A. Data Presentation and Research Findings .................. 39 B. Discussion ................................................................ 41

CHAPTER III THE IDEATIONAL MEANING-MAKING IN MOVIE POSTER MAN OF STEEL ......................................... 50

A. Data Presentation and Research Finding ................... 50 B. Discussion ................................................................ 52

CHAPTER IV CONCLUSION AND SUGGESTION ............................ 63 A. Conclusions ..................................................................................... 63 B. Suggestions ..................................................................................... 65

BIBLIOGRAPHY ................................................................................... 67 APPENDICES .......................................................................................... 69 VITA .......................................................................................................... 70

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LIST OF TABLES

Page

Table 1.1 Proposed generic structure of print advertisements 12

Table 1.2 Relational process between Primary Announcement and Lead 24

Table 1.3 The Identifying: Intensive process 26

Table 1.4 Relational process between Primary Announcement and Lead 50

Table 1.5 The Identifying: Intensive process 51

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LIST OF FIGURES

Page

Figure1.1 The Display in a print advertisement15

Figure 1.2 The Announcement in print advertisements16

Figure 1.3 Triumvirate Interaction of Lead, Announcement,

and Enhancer21

Figure 1.4 Investment of Meaning from Primary

Announcement to Lead24

Figure 1.5 Investment of Meaning from Lead

to Primary Announcement25

Figure 1.6 Reading Path for the Golf Advertisement28

Figure 1.7 The Display in a print advertisement 41

Figure 1.8 Triumvirate Interaction of Lead, Announcement and

Enhancer 48

Figure 1.9 Investment of Meaning of Meaning from

Primary Announcement to Lead 50

Figure 2.1Investment of Meaning from Lead to Primary Announcement 51

Figure 2.2Reading Path for movieposter man of steel 52

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LIST OF APPENDICES

Page

Movie Poster Man of Steel 63

xiii

ABSTRACT Eka Andy Hermawan, 2016. Multimodal Discourse Analysis on the Movie poster

Man of Steel. Intergraduate Thesis. Faculty of Letters and Arts Education, IKIP PGRI MADIUN. Advisor (1) Siget Ricahyono, S.S., MPd., (2) Samsul Aripin, S.Pd., M.Pd.

Key Terms : Generic Structure, The Idietional Meaning-Making, Advertising

Advertising is way and method by individual or company through in certain communication, such as Radios, letters, billboards, magazines, newspaper, faxes, videos, stickers, newspaper, print advertisement, poster, newsagents and Television. Printed and poster advertisement consists of linguistic code and visual one. The Announcement is a linguistic code while the Lead is a visual one. The two of them sets up Transitivity process then result in meaning that can be unambiguously conveyed by the advertisers and unambiguously decoded by the viewers. The researcher explains, what kind of generic structure and how Ideational Meaning-Making in movie poster man of steel.

The research approach that is used is qualitative with research type of Multimodal Discourse Analysis (MDA). The data of this research is movie poster man of steel that is copied from http://pinkkorset.com.The data are discussed by using theories of Multimodal Discourse Analysis, Meaning-Making and Advertising.

The result of the discussion show that : Movie poster man of steel has some elements that are included as the generic structure. They are the Lead, Announcement, Enhancer, and Call and Visit information. Meaning-Making in movie poster man of steel is a new experience, new knowledge gained by observing this poster, it engages components on the poster. So, in certain level the people or viewers are capable of understanding what the meaning in the poster. In strategies for Meaning-Making in this poster the researcher uses three main components in the construal of Ideational Meaning-Making in print advertisements are Lead, Announcement and Enhancer. Based on strategies in Meaning-Making in stage 1-4, it can be defined that poster made clear and different. The purpose of this movie poster to make the audience more curious. Nevertheless it depends in the social-cultural in their environment and experience by the viewers. This poster advertising has low CP, this poster also has minimum of linguistic items accompany the visual images, and strong definable relationships are established between the linguistic and visual codes, the meanings of the visual images are less contextualized.

The last, this research suggests that : for the future researchers, the discussion of this research is less complete. Therefore, for the future the researcher need to improve the discussion of Multimodal Discourse Analysis, especialy the Ideational Meaning-Making.

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CHAPTER I

INTRODUCTION

Chapter I is focuses on introduction of the research. There are several

disscussions mentioned in this chapter, those are Background of study, Limitations of

study, Statement of problems and Purposes of Research. The researcher attempts to

simplify the understanding of discussion above by paraphrasing and giving distinctive

explanation.

A. Background of the Study

Advertising is very common in our daily lives nowadays. In Indonesia,

advertising abounds; it could be found almost everywhere such as in mass media,

internet, social media, buses (city busses especially), Walls of a building,

handrails of escalators, billboards, wallpapers and even in a electric pillars.

However, it is strange that most of us don’t realize that advertising which we

have been seeing everyday is a form of discourse by the means of language that

would consciously or unconsciously influence our behaviors and thoughts in our

daily lives. The use of word play, puns, rhymes, pictures, colors and other

elements in advertising somehow has its own role in order to catch our attention

towards it.

A discourse analysis is based on the details of speech (and gaze and

gesture and action) or writing that are arguably deemed relevantin the context

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and that are relevant to the arguments the analysis is attempting to make

(Gee, 2011: 117).

Branches of the Discourse Analysis among others are Contrastive

Analysis (CA), Critical Discourse Analysis (CDA), and Multimodal Discourse

Analysis (MDA). This research focuses on a study about Multimodal Discourse

Analysis (MDA) of whics will bring the research starts and ends. Multimodal

Discourse Analysis is a collection of research papers in the field of multimodality

(O’Halloran 2004: 1). It means that Multimodal Discourse Analysis included and

integrated in multisemiotic phenomena, such as print media, videos, music,

websites, three-dimensional objects, etc.

According to Vilanilam and Varghese (2004: 4), “Advertising is an

organized method of communicating information about a product or service

which a company or individual wants to sell to the people.” It emerges in a

movie poster man of steel, also in other poster or print even as an organized

method of communicating information about a product or service. In this case,

this research takes a movie poster man of steel. It is a unique movie poster and

make a viewer be curious. Thus, this poster is different with earlier movie poster

in which the earlier movie poster always shows the power of super hero. The

super hero who has incredible strength could the midfielder by armies. Moreover,

this movie poster is one of the best movie posters in 2013.

The researcher identifies many research which examined printed

advertisement since the researcher wants to examine something different. It is a

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movie poster. Movie poster that will be discussed by the researcher is a movie

poster man of steel. This movie poster was created on June 14th 2013 along with

the release of this movie. This poster was made differently so that viewers feel

curious and it's more evident with the increase from the previous rating of this

movie.

That is why the researcher is interested to take “Multimodal Discourse

Analysis on the Movie Poster Man of Steel” as the title of this research and

shows how this movie poster conveys messages through visual items.

B. Limitation of the Study

In this research, the researcher only focuses on movie poster. The

discussion about how the advertisers ideational meaning-making in movie poster

man of steel.

C. Statement of the Problems

Based on the background of study above, the statements of problem are :

1. What is the Generic Structure Potential (GSP) of movie poster man of steel?

2. What is the Ideational meaning-making in of movie poster man of steel?

D. Purposes of the Research

Based on the background of study and statements of problem above, the

purposes of this research are :

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1. to describe the Generic Structure Potential (GSP) of movie poster man of

steel.

2. to describe the Ideational meaning-making in of movie poster man of steel.

E. Significance of the Researh

This research analyzes the generic structure potential and the ideational

Meaning-Making in movie poster man of steel. Therefore the significances of the

research are :

1. For the readers

People can learn the phenomenon of MDA theory in movie poster. MDA

theory can answer the meaning contained on this poster. Besides, people can

learn and compare between the movie poster and advertisment poster. Thus,

the researcher gives more references to the reader especially college students

of IKIP PGRI Madiun about the Multimodal Discourse Analysis and the use

of it.

2. For future researchers

Furthermore, this research is made to help the future researchers who are

interested in analyzing movie poster by using Multimodal Discourse Analysis.

F. Methodology of the Research

This subchapter discusses about methodology of the research is one

important thing in this research. It shows the correct way and steps to solve

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problems and to establish the success of the research. The way and steps that

contained in research methodology are approach of the research, method of the

research, data and source data, data collection techniques, and data analysis. Each

step will be explained as follow:

1. Approach of the Research

According to Thomas (2003: 57), “qualitative research is a research

which methods involve a researcher describing kinds of characteristics

and event without comparing events in terms of measurements and

amounts”. It means that qualitative research studies in descriptive matter,

also study in natural subject. The data collected by the researcher takes

the from of words or picture rather than namber . It is supported that the

data collected take the form of words or picture rather than number

(Bogdan and Biklen, 2007: 5).

It is clear, based on explanation above the researcher applies

qualitative research. Movie poster entitled man of steel is included in

qualitative research; it is a picture data and natural object that interpret

phenomenon in terms of meaning which people which bring them.

2. Type of the Research

The researcher uses Multimodal discourse analysis (MDA) as

approach. MDA describe what is the potential generic structure and

ideational meaning-making in “Multimodal discourse analysis on the

movie poster man of steel” as the title of this research.

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3. Data and Sources of Data

Based on Bogdan and Biklen (2007: 117), “data refers to the

through materials researchers collect from the world they are studying:

data are particulars that form the basis of analysis.” It means that the data

are important object which is content information took from documents in

the form of statistic thet uses for anlysis porposes.

In this research the data is movie poster man of steel which contains

visual and verbal data that can be analyzed using Multimodal Discourse

Analysis (MDA). The movie poster man of steel as the data was taken

from http://pinkkorset.com. This poster was made on June 14th 2013

along with the release of the movie. It is shown as follows :

Picture I.1 Man of steel poster

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4. Data collection Techniques

In collecting the data, the researcher uses one of data collection

technique namely documentation. In this research the data is document, it

is movie poster man of steel. According to Stringer (2004: 44), data

gathering is how information or data will be gathered including interview,

focus group, observation, review of materials, and equipment.

5. Technique of Analyzing the Data

The researcher analyzes the data using Multimodal Discourse

Analysis (MDA). So that, by using theory of Multimodal Discourse

Analysis (MDA) the researcher can describe what is the Ideational

Meaning-Making and the Generic Structure Potential of this movie poster

were formed. According to O’Halloran (2011: 1), “Multimodal Discourse

Analysis (MDA) is an emerging paradigm in discourse studies which

extends the study of language to the study of language in combination

with other resources, such as images, scientific symbolism, gesture,

action, music, and sound.” Based on quotation above Multimodal

Discourse Analysis includes images, such as poster and print.

G. Theoretical Review

This chapter contains theories that are required by the researcher to

analyse and to establish success of the research. The theories consists of main

theories and supporting theories. The main theories included Multimodal

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Discourse Analysis (MDA) and the supporting theories included advertisement.

The researcher attempts to simplify the understanding of some theories above by

paraphrasing and giving distinct explanation.

1. Multimodal discourse analysis (MDA)

a. Definition of Multimodal Discourse Analysis (MDA)

Multimodal discourse analysis (henceforth MDA) is an emerging

paradigm in discourse studies which extends the study of language per

se to the study of language in combination with other resources, such as

images, scientific symbolism, gesture, action, music and sound. The

terminology in MDA is used somewhat loosely at present as concepts

and approaches evolve in this relatively new field of study. For example,

language and other resources which integrate to create meaning in

multimodal (or multisemiotic) phenomena (e.g. print materials, videos,

websites, three-dimensional objects and day-to-day events) are variously

called semiotic resources modes and modalities MDA itself is referred

to as multimodality multimodal analysis multimodal semiotics and

„multimodal studies (O’Haloran (2011: 120-137).

For the purpose of clarity, in this chapter semiotic resource is used

to describe the resources (or modes) (e.g. language, image, music,

gesture and architecture) which integrate across sensory modalities (e.g.

visual, auditory, tactile, olfactory, gustatory, kinesthetic) in multimodal

texts, discourses and events, collectively called multimodal phenomena.

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Following Halliday (1978: 123), semiotic resources are ‘system[s] of

meanings that constitute’ the ‘reality’ of the culture’. The medium is the

means through which the multimodal phenomena materialise (e.g.

newspaper, television, computer or material object and event). In what

follows, the major concerns of MDA, the reasons for the emergence of

this field in linguistics, and the variety of approaches which have been

developed are discussed, before concepts specific to MDA are examined

in more detail and a sample multimodal analysis is presented

(O’Haloran (2011: 121).

. MDA is concerned with theory and analysis of semiotic resources

and the semantic expansions which occur as semiotic choices combine

in multimodal phenomena. The ‘inter-semiotic’ (or inter-modal)

relations arising from the interaction of semiotic choices, known as

intersemiosis, is a central area of multimodal research MDA is also

concerned with the design, production and distribution of multimodal

resources in social settings and the resemioticisation (Iedema, 2003: 40-

41) of multimodal phenomena which takes place as social practices

unfold. The major challenges facing MDA include the development of

theories and frameworks for semiotic resources other than language, the

modelling of social semiotic processes (in particular, intersemiosis and

resemioticisation), and the interpretation of the complex semantic space

which unfolds within and across multimodal phenomena.

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There are several reasons for the paradigmatic shift away from the

study of language alone to the study of the integration of language with

other resources. First, discourse analysis attempting to interpret the wide

range of human discourse practices have found the need to account for

the meaning arising from multiple semiotic resources deployed in

various media, including contemporary interactive digital technologies.

Second, technologies to develop new methodological approaches for

MDA, for example multimodal annotation tools (Rohlfing et al., 2006)

have become available and affordable. Lastly, interdisciplinary research

has become more common as scientists from various disciplines seek to

solve similar problems. From ‘an age of disciplines, each having its own

domain, its own concept of theory, and its own body of method’, the

twentieth century has emerged as ‘age of themes’ (Halliday, 1991: 39)

aimed at solving particular problems. MDA is an example of this

paradigm shift, and it has a key contribution to make with respect to

multimodal analysis, search and retrieval of information.

b. Approaches to MDA

O’Holaron (2011: 120-137) has summarized that Gunther Kress

and Theo van Leeuwen and Michael O’Toole provided the foundations

for multimodal research in the 1980s and 1990s, drawing upon Michael

Halliday’s social semiotic approach to language to model the meaning

potential of words, sounds and images as sets of inter-related systems

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and structures. Kress and van Leewuen explored images and visual

design, and O’Toole applied Halliday’s systemic functional model to a

semiotic analysis of displayed art, paintings, sculpture and architecture.

Continue to the summarizing of O’Halloran (2011-137) about

approach MDA, he stated, Halliday concern with both text and context,

instance and potential, is reflected in these foundational works. That is,

Kress and van Leeuwen adopt a (top-down) contextual approach with a

particular orientation to ideology, deriving general principles of visual

design which are illustrated via text analysis; while O‟Toole develops a

(bottom-up) grammatical approach by working closely with specific

‘texts’ (i.e. paintings, architectural designs and sculptures) to derive

frameworks which can be applied to other works. Subsequent research

has built upon these two approaches and extended them into new

domains. For example, contextual approaches have been developed for

speech, sound and music, scientific texts, hypermedia, action and

gesture, educational research and literacy. In addition, grammatical

approaches to mathematics, hypermedia and a range of other

multimodal texts have resulted in an approach which has been called

systemic-functional multimodal discourse analysis (SF-MDA). Jewitt

classifies contextual and grammatical approaches as „social semiotic

multimodality‟ and „multimodal discourse analysis‟ respectively.

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These approaches provide complementary perspectives, being

derived from Michael Halliday‟s social semiotic approach to text,

society and culture, which grounds social critique in concrete social

practices through three fundamental principles:

1) Tri-stratal conceptualisation of meaning which relates low level

features in the text (e.g. images and sound) to higher-order

semantics through sets of inter-related lexicogrammatical systems,

and ultimately to social contexts of situation and culture.

2) Metafunctional theory which models the meaning potential of

semiotic resources into three distinct ‘metafunctions’:

Ideational meaning (i.e. our ideas about the world) involves:

- Experiential meaning: representation and portrayal of

experience in the world.

- Logical meaning: construction of logical relations in that

world.

Interpersonal meaning: enactment of social relations.

Textual meaning: organization of the meaning as coherent texts

and units.

3) Instantiation models the relations of actual choices in text to the

systemic potential, with intermediate subpotentials – registers –

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appearing as patterns of choice in texttypes (e.g. casual

conversation, debate and scientific paper) (Iedema, 2003: 30).

Multimodal research rapidly expanded in mid 2000s onwards as

systemic linguists and other language researchers became increasingly

interested in exploring the integration of language with other resources.

There was an explicit acknowledgement that communication is

inherently multimodal and that literacy is not confined to language

(O’Halloran, 2011: 120-137).

Further approaches to multimodal studies evolved. These include

Ron Scollon, Suzanne Wong Scollon and Sigrid Norris multimodal

interactional analysis, developed from mediated discourse analysis

which has foundations in interactional sociolinguistics and intercultural

communication, and Charles Forceville’s cognitive approach to

multimodal metaphor based on cognitive linguistics. In addition, critical

discourse approaches have been developed based on social semiotics

and other critical traditions. A variety of distinct theoretical concepts

and frameworks continue to emerge in multimodal studies but most

have some relationship to one or more of these paradigms (O’Halloran,

2011: 120-137)..

The increasing popularity of MDA is evidenced by recent

publications. Unsurprisingly, there is much debate about the nature of

this emerging field. While multimodality can be characterized as ‘a

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domain of enquiry’ (e.g. visual design, displayed art, mathematics,

hypermedia, education and so forth), theories, descriptions and

methodologies specific to MDA are clearly required and some

frameworks and tools have indeed already been developed (O’Halloran,

2011: 120-137).

As a domain of enquiry, multimodal studies encourage engagement

and cross-fertilisation with other disciplines which have the same object

of study. Incorporating knowledge, theories and methodologies from

other dis ciplines poses many problems, however, not least being the

provision of adequate resources for research to be undertaken across

traditional disciplinary boundaries (O’Halloran, 2011: 120-137).

The development of theories and practices specific to MDA, on the

other hand, will potentially contribute to other fields of study, including,

importantly, linguistics. In this sense, MDA „use[s] texts or types of text

to explore, illustrate, problematise, or apply general issues in

multimodal studies, such as those arising from the development of

theoretical frameworks specific to the study of multimodal phenomena,

or methodological issues. This chapter deals with MDA precisely in this

way as a new field of study which requires specific theoretical and

methodological frameworks and tools which in turn may be applied

across other disciplines and domains (O’Halloran, 2011: 120-137).

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c. Theoretical and Analytical Issues in MDA

Theoretical and analytical issues in MDA include, modelling

semiotic resources which are fundamentally different to language,

modelling and analysing inter-semiotic expansions of meaning as

semiotic choices integrate in multimodal phenomena, and modelling and

analysing the resemioticisation of multimodal phenomena as social

practices unfold. These issues are considered in turn.

1) Modelling semiotic resources which are fundamentally different to

language.

Following Halliday, language can be modelled as sets of

inter-related systems in the form of system networks, which are

metafunctionally organised according to taxonomies with

hierarchical ranks (word, word groups, clauses, clause complexes

and paragraphs and text. The grammatical systems link words to

meaning on the semantic stratum. Systems which operate on the

expression plane (i.e. graphology and typography for written

language and phonology for spoken language) are also included in

Halliday‟s model (O’Halloran, 2011: 120-137).

Most semiotic resources are fundamentally different to

language, however, with those having evolved from language (e.g.

mathematical symbolism, scientific notation and computer

programming languages) having the closest relationship in terms of

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grammaticality. Images differ, for example, in that parts are

perceived as organised patterns in relation to the whole, following

Gestalt laws of organisation. Furthermore, following Charles

Sanders Pierce’s categorisation of signs, language is a symbolic

sign system which has no relationship to what is being represented,

while images are iconic because they represent something though

similarity. Therefore, analytic approaches and frameworks based on

linguistic models have been questioned Nevertheless, models

adapted from linguistics such as have been widely and usefully

applied to mathematical and scientific images, cities, buildings,

museums and displayed art. In O’Toole’s model, the theoretical

basis is Gestalt theory where images are composed of inter-related

parts in the composition of the whole. draws visual overlays of

systemic choices on the image, suggesting a visuallydefined

grammar as a possible way forward.

2) Modelling and analysing inter-semiotic expansions of meaning as

semiotic choices integrate in multimodal phenomena.

The interaction of semiotic choices in multimodal

phenomena gives rise to semantic expansions as the meaning

potential of different resources are accessed and integrated; for

example, in text-image relations gesture and speech and language,

images and mathematical symbolism. This semantic expansion is

17

also related to the materiality of the multimodal artefact ,

including thetechnology or other medium involved (e.g. book,

interactive digital media).

Semantic integration in multimodal pheneomena may be

viewed metafunctionally whereby experiential, logical,

interpersonal and textual meaning interact across elements at

different ranks (e.g. word group and image). The resulting

multiplication of meaning leads to a complex multidimensional

semantic space where there may be a compression of meaning

(even conflicting) meanings Indeed, there is no reason to

assume a coherent semantic integration of semiotic choices in

multimodal phenomena.

The processes and mechanisms of semantic expansion

arising from inter-semiosis have yet to be fully theorised. It may

be that inter-semiotic systems beyond the sets of inter related

grammatical systems for each resource, operating as ‘meta-

grammars’, are required. These inter-semiotic systems would have

the potential to link choices across the hierarchical taxonomies for

each resource, so that a word group in language, for example, is

resemioticised as a component of a complex visual narrative, or

vice versa. One major problem for multimodal discourse analysts

is the complexity of both the inter-semiotic processes and the

18

resulting semantic space, particularly in dynamic texts (e.g. videos)

and hyper-texts with hyperlinks (e.g. internet), (O’Halloran, 2011:

120-137).

3) Modelling and analysing the resemioticisation of multimodal

phenomena as social practices unfold.

MDA is also concerned with the resemioticiation of

multimodal phenomena across place and time: ‘[r]esemioticisation

is about how meaning making shifts from context to context, from

practice to practice, or from stage of a practice to the next’ (Iedema,

2003: 41). Iedema (2003: 50) is concerned with resemioticiation as

a dynamic process which underscores ‘the material and historicised

dimensions of representation’.

Resemioticisation takes place within the unfolding

multimodal discourse itself (as the discourse shifts between

different resources) and across different contexts as social practices

unfold (e.g. how a policy document is enacted). From a

grammatical perspective, resemioticisation necessarily involves a

reconstrual of meaning as semiotic choices change over place and

time. In many cases, resemioticisation involves introducing new

semiotic resources, and may result in metaphorical expansions of

meaning as functional elements in one semiotic resource are

realised using another semiotic resource: for example, the shift from

19

language, to image and mathematical symbolism in unfolding

mathematics discourse. This process takes place as linguistic

configurations involving participants, processes and circumstances,

for example, are visualised as entities.

Processes specific to MDA, such as intersemiosis and

resemioticisation of multimodal phenomena, add to the

complexity of the semantic space which must be modelled and

analysed. Indeed, managing this complexity lies at the heart of

MDA.

2. Strategies For Meaning-Making in Printed Advertisement

a. Systemic-functional linguistics (SFL)

Systemic Fungsional Linguistics (hereafter SFL) is a

comprehensive theory of language and social context developed

principally in Britain and Australia over the past six decades. It draws

on Saussure and Hjelmslev in its relational conception language as a

stratified system of signs, and follows Firth in treating meaning as

function in context. In addition, it provides one influential the oretical

fondation for work across semiotic systems in multimodal discourse

analysis. Significantly SFL has evolved as an appliable linguistics,

designed to address language problems faced by the community,

including educational, clinical and forensic contexts provide historically

20

contextualized reviews of discourse analysis informed by SFL,

including extensive references, and can be consulted in relation to the

more specific and to some extent more prospective account offered here

(Martin, 2011: 101).

SFL models linguagistic resources on three levels of abstraction-

Phonology/graphology, (realizing) lexicogrammar, (realizing) discorse

semantics. Higher strata involve emergently complex patterns of lower

strata ones; all levels make meaning. In addition, resources on each

stratum are organized metafunctionally, according to the kind of

meaning they construe – that is, identional resources naturalizing

physcal/biological materiality and semiosis, interpersonal resources

negotiating social relations and textual resources managing information

flow. This hierarchy of realization is outlined in realition to its attendant

complementarity of metafunction in Figure I.1.

21

Following firth and Hjelmslev, SFL models social context as more

abstract levels of semiosis: the level next to language is mapped

metafunctionally as field (ideational context), tenor ( Interpersonal

context) and mode (textual contex). Field is concerned with social

activity, across all walks of life – including home, recreation, trades and

crafts, professions and disciplines. Tenor is concerned with social

relations, negotiated in relation to power and solidarity. Mode is

concerned with the effect of various technologies of communication on

the texture of information flow – sepeaking vs writing example,

alongside various electronic modalities (radio, TV, telephon, texting,

email, blogging etc.). These three register variables are coordinated in

relation to social purpose by the higher level of genre, which specifies

which field, tenor and mode variables map onto one another in a given

culture and how their realization is staged in phases of unfolding

Figure I.1 Basic SFL parameters – stratification and metafunction

22

discourse. This social semiotic model of language and context is

summarized in Figure I.2.

Stratification and metafunction provide the theoretical parameters

for the descriptive cartography deployed by SFL text analysts. English

resources are mapped along these lines in Table I.2, including key

references to the descriptions commonly deployed (inclusive of Kress

and Van Leeuwen’s work on images which is so often deployed in inter-

modal verbiage/image analysis). As exemplified in the besic rule of

thumb in using this matix is to shunt among cells, taking care to look

upwards to higher levels for contextualization and rihhtwards to textual

meaning for contextulizaion.

Figure I.2 Language strata in relation to social context (stratified as register and genre)

23

Systemic-functional linguistics (SFL) is a theory of language that

focuses on the function of language. Although SFL accounts for the

syntactic structure of language, it places the function of language as

central (what language does, and how it does it), in preference to more

structural approaches, which place the elements of language and their

combinations as central. SFL starts at social context and looks at how

language both acts on and is constrained by this social context.

Put simply, there are hard and soft structures to language. Hard

structures include aspects of the linguistic system such as adjectives,

nouns, and verbs. Soft structures include the function of language. They

are referred to assoft structuresbecause of the level of abstraction

(Rogers, 2004: 8).

b. Definition of Meaning-Making

Meaning making is a social process where people use the modes, or

resources, at their disposal to represent. Language is only one resource

or mode for making meaning. Others include images, gestures, body

language, proxemics, color, movements, space, and time. Modes are

considered to be the material-semiotic resources that people have

available for achieving representational work. Texts, both products of

and part of discourses, are the “result of semiotic work of design,

production and composition; and as such they can be ‘semiotic entities’;

24

of any kind, resulting in ensembles composed of different modes”

(Rogers, 2011: 8).

From explanation above, it is concluded that Meaning-making is a

new knowledge, new experience gained from activities which are

interpreted in the form of understanding. It occurs when there are

components that influences and have a relation. thus, at this level the

people/viewers is capable of understanding meaning.

One of the underlying assumptions of SFL is that the object of

language study should be a whole text, not a decontextualized sentence

or utterance. SFL is committed to a view of language that focuses on

meaning and the choices people make when making meaning. Unlike

structural aspects of language systems (e.g., generative models of

grammar), there are no sharp distinctions between the system (form) and

the use of language (function). This means that the analyst can look to

speech (discourse) as an artifact of the relationship between language

and structure. (Rogers, 2004: 8-9).

25

c. Strategies For Meaning-Making in Advertising

The section 2 introduces the visual metaphor which ideationally

elucidates and enhances the ideational meaning potential of the

linguistic text in the advertisement (Cheong, 2004: 176).

Three main components in the construal of Ideational Meaning-

Making in print advertisements are Lead, Announcement and Enhancer.

According to Cheong, (2004: 176-177), “Lead, Announcement and

Enhancer are a triumvirate approach to meaning-making”.

3. Advertising

a. Definition of Advertising

Advertising is an organized method of communicating information

about a product or service which a company or indifidual wants to sell

to the people. It is a paid announcement that is conveyed through words,

pictures, music and action in a medium which is used by the prospective

buyers. To some, advertising is communication with the express purpose

of selling a product or service (Vilanilam and Varghese, 2004: 4).

The power of advertising becomes a key social and economic

institution, it is imagined to be emblematic of capitalist societies. Visual

advertising is often imagined to be emblematic of capitalist societies, the

visible manifestation or materialisation of the capitalist logics of

exploitation, alienation and reification. For instance, Robert Goldman

26

(1992: 2) argues that advertising is ‘a key social and economic

institution in producing and reproducing the material and ideological

supremacy of commodity relations.

Advertising aims to provide coverage and frequency via the

mass media and add brand values to the product. It can be used to try

and boost the morale of the salesforce, or to assist the salespeople in

their job by providing materials and sales support literature around

the theme of the campaign. Advertising objectives tend to be to create

awareness, change attitudes, etc., whereas marketing objectives tend

to be to increase sales and profits. Advertising’s role in the marketing

mix is often to support the other marketing activities such as

distribution, sales promotions, money-off coupons, reduced prices,

competitions, give-aways, etc (Brierley, 1995: 42-43).

Advertising is often used to try to increase sales of a product

or the use of a service. A related second reason for advertising is

to improve the firm’s “corporate image”: to persuade people that the

company is benevolent and trustworthy. Most image advertising is

designed not to challenge bad images but to change people’s perceptions

of the company (Brierley, 1995: 43-44)

The purpose of advertising is to distribute information designed to

influence consumer activity in the marketplace. (Sackett & Mavor,

27

2004: 4). It can be defined the goal of advertising to influence

consumer to buy the product.

According to (Brierley (1995: 1) in introduction “Aside from

advertisements being viewed, read and listened to, advertisers try to get

us to practice advertising as well as consume it - and they often

succeed”. It means the goal of advertisement tries to get the

people/consumers to practice advertising as well as consume the

product.

To sum up, it can be defined the advertisement is way and method

by individual or company through in certain communication, such as

Radios, letters, billboards, magazines, newspaper, faxes, videos,

stickers, newspaper, print advertisement, poster, newsagents and

Television. It is about a product or service. The goal of advertisement is

to sell a product or service.

b. Media of Advertising

Television and magazine/newspaper pictures are media in

advetising. It can be the option when other media enable to using. In

anticipation of the launch teaser posters and commercials began to

appear that featured a large metallic red egg (‘Not just another Hatch’),

followed on from launch day itself images of a mighty red Clio. This

multimedia advertising blitz was followed by alternating television

28

advertisements with magazine/newspaper pictures: ‘in all, 66 percent of

the media spend in the first nine months of advertising activity was put

on TV.’ (O’Shaughnessy, John. and O’Shaughnessy, Nicholas. Jackson,

2004: 158).

According to Shimp (2007: 4) The primary forms of marketing

communications divided into some sections, among others traditional

mass media advertising (TV, magazines, etc.), online advertising (Web

sites, opt-in e-mail messages, text messaging, and so on), and sales

promotions (such as samples, coupons, rebates, and premium items). It

means there are media of advertisement, those are traditional mass

media advertising (TV, magazines, etc.), online advertising (Web sites,

opt-in e-mail messages, text messaging, and so on), and sales

promotions (such as samples, coupons, rebates, and premium items).

Vilanillam and Varghese (2004: 60) say there are various kinds of

advertisements even in print. Some are short and telegraphic, almost like

a poster on the page. The power of print or poster advertisement is a

layout in poster or print itself. It causes the viewers stops for a minute

because the viewers/people have seen something interesting. Can be

realized Print advertisements are first seen then read. In the world of

satellite and cable television, TV commercials have become

indispensable for most people. They also say the rising costs of press

and the comparatively wider reach of television have also made

29

television advertising very attractive for people. It means the media of

creativity in the advertisement among others Television and Print.

The growth of mass media, advertising became divided into two

broad camps and below-the-line. With the growth of mass media,

advertising became divided into two broad camps: above-the-line, which

means all those media for which an agency gained commission, and

below-the-line, all those areas for which an agency received a fee.

Above-the-line media include TV, cinema, radio, newspapers and

magazines, and posters. Below-the-line include direct mail, sponsorship,

public relations, sales promotions or merchandising (Brierley, 1995: 41)

To sum up, it can be defined media of advertisement are print and

poster advertisement, Magazine and Newspaper, Television, Radio,

online advertising (Web sites, opt-in e-mail messages, text messaging,

and so on), and sales promotions (such as samples, coupons, rebates,

and premium items). The goal of the media advertising is to facilitate

and advance the marketing.

30

c. The Generic Structure Potential of a Print Advertisement

Hasan (1984: 79) describes the Generic Structure Potential

(GSP) of a particular genre as a statement of the structural

resources available within a given genre. The GSP is thus an abstract

theoretical notion. Halliday and Hasan (1989: 64) note that it

…express(es) the total range of optional, (iterative), and obligatory

elements and their order in such a way that we exhaust the

possibilities of text structure for every text that can be appropriate to

(the contextual configuration of that text).

Figure I.3 GSP of advertisement

Cheong, (2004: 164) gives the explanation to details based on

explanation above, that is the simple formula of Generic Structure

Potential (GSP). The generic structure of a print advertisement means

the various visual and linguistic components in an advertisement which

are made explicit, together with the interaction between these semiotic

resources which creates differing levels of Ideational, Interpersonal and

Compositional/Textual meaning. It is shown as follows

31

This table proposed generic structure of print advertisements

Figure I.1 Proposed generic structure of print advertisements

Figure I.4 Proposed generic structure of print advertisements

Figure I.4 shows the details and simple of depicting of Generic

Structure Potential (GSP). Each part of formula, Lead (Display),

Emblem (Announcetment) (Enhancer) (Tag) (Call-and-Visit

Information) and details of Generic Structure Potential (GSP) will

be explained clearly and more detail based on theory used.

a) The Lead

The Lead is thus termed as it is Interpersonally most

Salient through choices in size, position and/or color. On its

own, the Lead has a wide spectrum in terms of meaning

potential, that is, many possible meaning emanate from the

Lead. Interpreted independently of the Announcement,

Enhancer, Display and Emblem, the Lead is figuratively an

32

efflorescence of meaning. (Cheong, 2004: 165). Based on those

quotation that conveyed, the researcher states that The Lead is

part of advertisement in print or poster that has Interpersonally

most Salient visual terms through certain option. It is

interpreted independently by formula of Generic Structure

Potential (GSP).

The Lead consists of the Locus of Attention (LoA) and

Complements to the Locus of Attention (Comp.LoA). There is

an element in the Lead that by its very Salience, be it an

unusual quality that challenges reality or outstanding size, color

and so forth, arrests the attention of the viewers. (Cheong,

2004: 165).

The LoA embeds the central idea of the advertisement. The

three-fold functions of the LoA includes Interpersonally

attracting attention, and Ideationally construing reality in a way

intended by the advertisers, where the viewers perception of

reality is manipulated (Cheong, 2004: 165). It means that Locus

of Attention (LoA) is part of The Lead that embeds central idea

of the advertisement and very salient to the viewers.

There is an interplay between linguistic item and the visual

image that enhances the meaning potential of the rankshifted

clause as well as the LoA. Without the LoA, there would be no

33

such interplay of meaning, thus the rankshifted clause' to make

a bigger splash with your images' would not be interpreted as a

pun, reducing the overall affectiv eappeal of the advertisement.

The LoA and the linguistic text act on each other, mutually

reinforcing and enhancing the meaning potential of the Lead

(Cheong, 2004: 168).

Complements to the Locus of Attention (Comp.LoA) is

component in The Lead that has less salient than the LoA, has

same function with the LoA, the Locus of Attention

(Comp.LoA) has a role in straengthening the position of the

LoA. The Complements to the LoA (Comp.LoA) refer to

components in the Lead which are comparatively less Salient

than the LoA. They functionally enhance the Interpersonal and

Ideational Salience of the LoA. In other words, the Comp.LoA

plays a subordinate role, to channel and Focus viewers'

attention on particular aspects of the LoA (Cheong, 2004: 169).

From explanations above, the Lead is part of advertisement

in print or poster that has Interpersonally most Salient visual

terms through certain option. It is interpreted independently by

formula of Generic Structure Potential (GSP) generally the

Lead consists of two parts, those are the Locus of Attention

(LoA) and Complements to the Locus of Attention

34

(Comp.LoA). Locus of Attention (LoA) is very central.

Different with Complements to the Locus of Attention

(Comp.LoA) it just complements of Locus of Attention (LoA).

b) Display

Cheong, (2004: 171) gives a figure the Display in a print

advertisement. It is divided into parts and has a different

meaning. It is shown as follows.

Figure I.5 The Display in a print advertisement

Figure I.5, shows the display in advertisement has four

character, those are Explicit, Implicit, Congruent, and

Incongruent. The researcher states the display is Implicit

Display where the Display refers to the photographic Display

of the product or service in the advertisement. If the product

advertised is in a tangible form, it is termed Explicit Display.

When the product advertisement employs symbolism as an

advertising strategy, can be said advertisement is Incongruent

Display. Whereas, the product advertisement can be construed

35

as a Congruent realization of the product advertisement if no

symbolism is involved in product advertisement.

c) The Emblem

The Emblem may be realized visually as the logo of the

product/service advertised and its linguistic realization is in the

form of the brandname of the product/service. Ideationally and

ideologically, it is the stamp of authority bespeaking and

validating the authenticity of the product advertised. The

Emblem functions to bestow an identity, as well as to confer

status to a product. The Emblem may be positioned any where

in the advertisement. However, it is interpersonally Salient to

Capture attention. (Cheong, 2004: 171-173).

d) The Announcement

In a print advertisement, the most Salient linguistic item/s

are termed the Announcement. The Announcement has

Relative Prominence in Scale and Color, Font and Size.

Ideationally, the Announcement captures and conveys the

essence of an intended message the advertisers wish to

foreground to the consumers (Cheong, 2004: 173). Figure I.6

Displays the functional realizations of an Announcement.

36

Figure I.6 The Announcement in print advertisements

Based on figure I.6 Announcement consists of Primary

announcement and Secondary announcement. Primary

announcement is the most interpersonally salient

announcement among other and only announcement in the

Advertisement. Secondary announcement is less

interpersonally salient announcement/s among other

announcements in the same advertisement.

e) The Enhancer

The Enhancer comprises linguistic items only, usually in

paragraph form, as exemplified by the labeled advertisements

above. The Enhancer builds on or modifies the meaning

emanating from the interaction between the Lead and the

37

Announcement. Interpersonally, its function is to persuade and

influence viewers to purchase the product, thus the Enhancer

contains Interpersonal lexis, which carry an attitudinal and/or

affective thrust. Through Interpersonal lexis , 'texts/speakers

attach an intersubjective value or assessment to participants and

processes by reference to emotional responses or to systems of

culturally-determined value systems'. Ideationally, it details the

advertisers' reasoning/argument as to why the product is worth

the customers' attention and money, and so Logical relations

and rankshifted clauses are evident. (Cheong, 2004: 173)

From explanation above, it shows Generally Enhacer in

paragraph form, it builds in linguistic items. Enhacer modifies

the meaning emanating from the interaction between the Lead

and the Announcement, it functions to influence the people to

purchase the product.

f) The Tag

Certain elements of information about a product/service

that are not included in the Enhancer are captured in the Tag.

The Tag is usually in the form of one-liners in small print and

is typically non-Salient. Grammatically, Tags are usually

realized as non-finite, and as ellipted Subject and finite element

(Cheong, 2004: 174).

38

g) Call-and-Visit Information

Call and Visit Information is usually in small print and non

salient, comprising contact information as to where, when, how

the product/service is available to the consumer (Cheong, 2004:

173).

39

CHAPTER II

THE GENERIC STRUCTURE POTENTIAL (GSP)

OF MOVIE POSTER MAN OF STEEL

This chapter contains analysis of the research. The researcher uses theories

that is required to analysis and to estabilish success of the researcher. This

analysis includes the Generic Structure Potential (GSP) and the Ideational

meaning-making in this movie poster. It deals with the statement of problem

mentioned previously. There are two discussions in this chapter, the first is the

Generic Structure Potential (GSP) of movie poster man of steel and the second is

the Ideational Meaning-Making in this movie poster man of steel. The researcher

gives clear explanation through theories that mentioned previously in chapter I.

A. Data Presentation and Research Finding

The data of this research is a movie poster man of steel. The first

research question focuses on analysing the Generic Structure Potential (GSP)

of this movie poster. Before entering the analysis, below is the picture of

Generic Structure Potential of movie poster man of steel In Picture II.1 the

researcher gives the summary of the Generic Structure Potential (GSP) of

movie poster man of steel.

40

Picture II.1 The summary Generic Structure Potential (GSP)

41

The GSP of movie poster man of steel consists of seven elements.

They are the “Lead consists of the Locus of Attention (LoA) and

Complements to the Locus of Attention (Comp.LoA)”, Display,

Announcement, Enhancer, Emblem, Tag, Call and Visit information,

respectively. The general analysis GSP of The Poster is shown in Picture II.1.

B. Discussion

1. The Lead

Based on the definition of the lead from Cheong (2004: 165) the

flying superhero (in the movie man of steel the superhero was superman)

on the sky above the buildings in a city is the Lead in man of steel poster.

a) LoA (Locus of Atention)

The three fold function of the LoA include interpersonally,

attracting, attention and ideantionally construing reality in a way

intended by the advertisers (Cheong 2004: 165).

Following cheong’s framework (2004: 165-167), the locus of

attention (LoA) is the superman is face. Obviously, he is gazing

directly to the camera and thus seems to look at directly to the

viewers. By doing so, he is thus captivaring and engaging the viewers

attention to look beak at her. O’toole (1994: 5) Sugested that gaze is

the most important element in the modal function becouse the

presence or the absence of gaze can or not built the interpersonal

relation between the viewer and the object in the image.

42

Picture II.2 The Lead: Locus of Attention (LoA)

In this poster the sharply gaze dircet to fount serious expression is

showing the condition he has been facing. He is trying to save the

earth from his enemy, which is his enemy want to control the earth.

His muscular body and his costume informal in the viewer that he is

not ordinary people, he is superhero that have super power. His

clenced hand indicates that hi is in full power to light.

43

Textually, the company (warner bross and assotiations) produce a

superhero movie in the linguistic text that follows,”the text surves to

elaborate” the visual (kress and van leeuwen, 1996: 194). Visually the

LoA encapsulate the central idea, that the man in the poster is super

her. This central idea is reiterated in the linguistic text. That is, there is

a linguistic equivalence (be it in the from of sentences or particular

lexis) taht coheres identionally, with this central idea conveyed in the

LoA. Identionally, the following linguistic items, including clauses

and nominal groups, encapsulate tightly and parallel the idea

embedded in the LoA.

b) The Comp. LoA (Complement to Locus of Atention)

Picture II.3 ilustrate the componens to the LoA in the poster the

buildings below the model (superman), which are reduced in size and

are looking in affective appea, and therefore usually tess inviting than

the serious face LoA.

The background, which is remains in blur effect, indicates that

the superman is flying the stylization (Kress and Leeuwen, 2006: 25)

differs from the models. The blur effect makes aviewer not intersted to

look at the buildings, and indeed, the viewers will look the superman.

The Comp. LoA suberdirates it self to bring the LoA and the primary

announcement into focus. The LoA and the primary announcement

became the confluence of all attention.

44

Beside that, the back ground, which remain in blur and fails to be

illuminated, despite the spotlight. The background is generally

obliterated and unobservable. This may be contrasted with the LoA

who is pctured in a sharp color.

Juxtaposeng the LoA with the comp. LoA we see an interplay of

meanings between the visual images that is the ability to fly white

comp. LoA represents a look of ideologiy of exclusivity becomes

apparent.

II.3 The Comp. LoA (Complement to Locus of Atention)

2. The Display

The LoA can also function as an implicit Display in certain

advertisements, where the display refers to to the photographic display

of the product or service in the advertisement (Cehong, 2004: 171).

Poster man of steel movie, obviously describing the protagonis of the

movie therefore, the man of steel poster is termed explisit Display.

45

There is no simbolism in the poster that descibe the movie. So it can

defined the poster as congruent Display.

46

3. The Emblem

The Emblem may be realized visually as the logo of the

product/service advertised and its linguistic realization is in the form

of the brand name of the product/service (O'Halloran, 2004:171). It

means that the emblem is realized as the logo of product

advertisement, it functions to identity of product advertisement, as

well as to confer status to a product. However, the Emblem

interpersonally salient to capture attention.

There are many emblems in the poster. It can be understood

because this movie produced by five different film company, the

emblems can be seen in table II.5.

Picture II.5 The Emblem

47

4. The Announcement

a) Primary Announcement

Reading the lines in picture II.6 may not give viewers a direct

comprehension about this poster. White viewers know that the title of

the movie is “Man of Steel” viewers may question the relevance of the

title and the display of the poster.

Picture II.6 Primary Announcement

b) Secondary annoncement

The next line below the primary announcement is secondary

announcement. It describes the important persons who are involved in

the making a movie. They are producer, directur and some main actors.

This explanation answer the question of viewers that come out when

reading the primary announcement.

It convince the viewers, the “Man of Steel” movie was created by

femous people and there is no doubt about the quality of thuse people.

Picture II.7 Secondary annoncement

48

5. The Enhancer

Generally Enhancer in paragraph form, it builds in linguistic

items. Enhancer modifies the meaning emanating from the interaction

between the Lead and the Announcement, it functions to influence the

people to purchase the product. The Enhancer comprises linguistic

items only, usually in paragraph form, as exemplified by the labeled

advertisements above. The Enhancer builds on or modifies the

meaning emanating from the interaction between the Lead and the

Announcement. Interpersonally, its function is to persuade and

influence viewers to purchase the product, thus the Enhancer contains

Interpersonal lexis (in bold print below), which carry an attitudinal

and/or affective thrust (O’Halloran, 2004: 173).

Based on that quotation above there is enhancer in this movie

poster because enhancer is formed in the shape of a paragraph.

Picture II.5 The enhancer

6. The Tag

Tag is certain elements about a product that are not included in

the Enhancer, usually the form is located in small printed, the

typically non salient. Certain elements of information about a

product/service that are not included in the Enhancer are captured in

49

the Tag. The Tag is usually in the form of one-liners in small print and

is typically non-Salient as illustrated in preceding label advertisements

(O’Halloran, 2004: 174).

Based on explanation above, it can be concluded that there is

Tag in this poster man of steel.

Picture II.6 The Tag

7. Call and Visit Information

Call and Visit Information is usually in small print and non

salient, comprising contact information as to where, when, how the

product/service is available to the consumer (O'Halloran,2004: 173).

Based on quotation above Call-and-Visit Information in this poster is

shown below : June 14th and the website manofsteel.com

Picture II.7 Call and Visit Information

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CHAPTER III

THE IDEATIONAL MEANING-MAKING

IN MOVIE POSTER MAN OF STEEL

This chapter serves the data presentation, research finding and analysis to

answer the second research question and the purpose of the research. The readers

are going to be welcomed a figure that given elements triumvirate approach to

Meaning-Making. By discussing the picture, the researcher attempts to answer the

problem and reaches the purpose of the research.

A. Data Presentation and Research Finding

The data of this research is a movie poster man of steel. The second

research question focusses on analysing the Ideational Meaning-Making.

The data of Ideational Meaning-Making are the components in poster or

printed advertising. They are the Lead, Announcement, and Enhancer.

Those elements are triumvirate approach to Meaning-Making. Before

entering the discussion, below is the data analysing in form Picture III.1 that

contains elements of Generic Structure of movie poster man of steel that

used for analysing the Ideational Meaning-Making. To review and facilitate,

the researcher gives figure III.1 outlines the four stages of triumvirate

interaction between the Lead, Announcement, and Enhancer in construing

Ideational Meaning-Making in a poster.

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Picture III.1 Elements are triumvirate approach to Meaning-Making.

52

B. Discussion

1. Strategies for Ideational Meaning-Making in Poster Man of Steel

The section above introduces the Visual Metaphor which

ideationally elucidates and enhances the Ideational meaning potential of

the linguistic text in the advertisement. Cheong (2004: 176) introduce

another four strategies for Ideational meaning in Table III.1

Table III.1 The construal of Ideational meaning in print advertisements

The Bidirectional Investment of meaning refers to the cross-

investment of lexicogrammatical meaning in the linguistic text in the

Announcement to the visual image in the Lead and vice-versa. The

Contextualization Potential (CP) refers to the degree to which linguistic

items in a print advertisement contextualize the meaning of the visual

images. In a print advertisement, viewers have an Interpretative Space

(IS) within which to create meaning and the wider the IS, the greater

the Semantic Effervescence (SE) of the advertisement. The sections

below further elaborate.

53

2. Lead, Announcement and Enhancer: a triumvirate approachto

Meaning-Making

The Ideational metafunction is concerned with 'understanding the

environment' (Halliday, 1994 :xiii), '/enabling/ humans to...make sense

of what goes on around them and inside them' (Halliday, 1994: 106).

Figure III. 1 outlines the four stages of triumvirate interaction between

the Lead.

Figur III.1 Triumvirate Interaction of Lead, Announcement and Enhancer

54

Announcement and Enhancer in construing Ideational Meaning in

a print advertisement. Stages 1-4 detail how new dimensions of

meaning may be accessed and made manifest through the interaction of

the Lead, Announcement and Enhancer.

a) Stage 1

The lead in the Man of Steel Poster is the must interpersonally

salient, as seen in picture III.1, and thus this element is first

approached by newers. The gaze of the LoA looks with the viewer,

and the latter is Led into the advertisement. If interpreted

independently of the Announcement, Enhencer, Display and

Emblem, the Lead is figurately an effervescence of meaning as

mentioned above, the Lead could represent an ambasador for a

superhero or a call to attention to the new hope. on its own, a

kaleidoscope of possible meaning characterizes the Lead. There is a

wide scope in trems of meaning potential in the Lead. At this stage,

thsre is low CP, wide IS and high SE.

b) Stage 2

In a print advertisement, the next must salient item is the

announcement, thus the primaey announcement is second in the

reading path. There is bidirectional investment of meaning between

the announcement (the linguistic code) and the lead (the visual

code) as ilustrated in figure III: 2. The term investment refers to the

bidirectional investment of meaning from the lexico grammatical

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choices in the announcement to the visual in the Lead and vice-

versa.

So, how are the viewers constructed by advertisers to read the

meaning in the Man of Steel poster that the LoA represents seme

one with superpower? After all, the announcement is alinguistic

code that while the lead is a visual one. The juxtaposition of the

linguistic texts and visual set up transitivity processes that invest

meaning from the linguistic code to the visual code and vice-versa

(Cheong, 2004: 178)

c) Stage 2a

In the man of steel poster (Picture III.1), there is a rational

attributive: intensive process between the primary announcement

and the lead. The attribute “stale ment-making personality is

invested the primary announcement into the carrier (that is the LoA

in the Lead) by virtue of their proximity, thus cousing viewers to

see the LoA as a person with statement making personality

Figure III.2 Investment of Meaning from Primary Announcement to Lead

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Due to the relation proceess between primary announcement

on lead which invest meaning from the former to the latte, viewer

read the experiential meaning in the “Man of Steel” Poster.

Table III.2 Relational process between Primary Announcement and Lead

The Primary announcement thus acts as a stabilizer four an

other wise semantically efflorescent lead. The primary

announcemnt provides a context for viewers to adop / pursue the

preferred this ead of meaning intended by the advertisers

d) Stage 2b

Figure III.3 ilustrated how the lead enriches in ideational

meaning carried in the primary announcement. The sharp gaza of

the eye’s model, serious face, and strong body LoA in Figure III.3

(analisis poster) is a visual exemplification of the statement Man of

Stieel (a Statement to make). A relation: identifying: intensive

proces occurs in the investment of meaning from Lead to

Announcement.

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Figure III.3 Investment of Meaning from Lead to Primary Announcement

Table III.3 investment of meaning from Lead to Primary

Announcement Through the identifying: intensive process, viewers

read the following meaning in the advertisement:

e) Stage 3

O’Halloran explains the Enhancer functions to amplify the

meanings generated between the Primary Announcement and the

Lead. The Display and the LoA, if the advertisement

unaccompanied by the Enhancer, the viewers/peoples can not

Table III.3 The Identifying: Intensive process

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understanding the intended meanings from advertisers. however, in

this movie poster there is no enhancer.

The researcher gives Figure III.4 to illustrate the reading

path according to the Compositional layout of the movieposter man

of steel. It is shown below

Figure III.4 Reading Path for movie poster man of steel.

(C) Enhancer is least in Salience therefore read last. The

meaning generated through the interaction between Lead and

Announcement is 'the LoA exemplifies people who already have

a statement', 'It is statement-making'. The Enhancer builds on

this meaning, that statement-making people have .But on this

movie poster there is no Enhancer.

(B) Primary Announcement read second as it is second in

Salience. Through Relational processes that invest meaning Bi-

directionally from Announcement to Lead and vice-versa, the

Announcement serves to define the Lead as a visual

exemplification of the Announcement. There is semantic

equivalence between Lead and Announcement.

(A) The Lead is visually most Salient therefore read first. The

LoA carries some meaning, in this case the researcher convinces

what meanings advertisers intend the people to have till it

interacts with the Announcement.

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f) Stage 4

Society ideologies are in continual evolution. The

ideologies will influence the way society interprets the

advertisements. However it depends in the social-cultural in their

environment and experience by the viewers / people.

This movie poster was created on June 14th 2013 by

releasing this movie. This movie poster is one of the best movie

posters of 2013.This poster was made differently so that viewers

feel curious and it's more evident with the increase from the

previous rating of this movie. So, the viewers/people can receive

the total meaning derived from the interaction between the Lead,

Announcement and the Enhancer. Based on strategies in Meaning-

Making in stage 1-3, it can be defined that poster made is different

from earlier movie poster. The purpose of this movie poster to

make the audience more curious. Nevertheless, it depends in the

social-cultural in their environment and experience by the viewers.

3. Systemic-functional linguistics (SFL)

Systemic Fungsional Linguistics (hereafter SFL) is a

comprehensive theory of language and social context developed

principally in Britain and Australia over the past six decades. It draws

on Saussure and Hjelmslev in its relational conception language as a

stratified system of signs, and follows Firth in treating meaning as

function in context. In addition, it provides one influential the oretical

60

fondation for work across semiotic systems in multimodal discourse

analysis. Significantly SFL has evolved as an appliable linguistics,

designed to address language problems faced by the community,

including educational, clinical and forensic contexts provide historically

contextualized reviews of discourse analysis informed by SFL,

including extensive references, and can be consulted in relation to the

more specific and to some extent more prospective account offered here

(Martin, 2011: 101).

4. Definition of Meaning-Making

Meaning making is a social process where people use the modes, or

resources, at their disposal to represent. Language is only one resource

or mode for making meaning. Others include images, gestures, body

language, proxemics, color, movements, space, and time. Modes are

considered to be the material-semiotic resources that people have

available for achieving representational work. Texts, both products of

and part of discourses, are the result of semiotic work of design,

production and composition; and as such they can be semiotic entities

of any kind resulting in ensembles composed of different modes

(Rogers, 2011: 8).

From explanation above, it is concluded that Meaning-making is a

new knowledge, new experience gained from activities which are

interpreted in the form of understanding. It occurs when there are

61

components that influences and have a relation. thus, at this level the

people/viewers is capable of understanding meaning.

One of the underlying assumptions of SFL is that the object of

language study should be a whole text, not a decontextualized sentence

or utterance. SFL is committed to a view of language that focuses on

meaning and the choices people make when making meaning. Unlike

structural aspects of language systems (e.g., generative models of

grammar), there are no sharp distinctions between the system (form)

and the use of language (function). This means that the analyst can look

to speech (discourse) as an artifact of the relationship between language

and structure. (Rogers, 2004: 8-9).

5. Meaning-Making in Movie Poster Man of Steel

In chapter I the researcher states Meaning-making is a new

knowledge, new experience gained from activities which are interpreted

in the form of understanding. It occurs when there are components

influences and have a relation. So, at this level, the people/viewers are

capable of understanding meaning. Based on that quotation, it can be

defined Meaning-Making in Movie Poster Man of Steel is a new

experience, new knowledge gained by observing this movie poster, it

engages components on the movie poster. So, in certain level the people

or viewers are capable understanding what is the meaning in the movie

poster.

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After all, movie poster man of steel is a poster made different from

earlier movie poster. The components in poster have relation, support,

and influences. They are the primary Announcement, the Lead (LoA and

Comp. LoA), and Enhancer. The goal of this poster is to attract an

enthusiastic audience by releasing this movie poster.

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CHAPTER IV

CONCLUSION AND SUGGESTION

This chapter contains some conclusions based on discussion on each reseach

question and suggestion for the readers and future researcher. In conclusion, it

contains Generic Structure Potential (GSP) of movie poster man of steel and the

Ideational Meaning-Making of movie poster man of steel. Furthermore, it has a

suggestion by the researcher.

A. Conclussion

In conclusion, this poster contains Generic Structure Potential (GSP)

and the Ideational Meaning-Making of movie poster man of steel.

1. Generic Structure Potential (GSP) of Movie Poster Man of Steel

From this research question, the researcher concludes that movie

poster man of steel makes the audience more curious with this movie

and it possibly has some elements called Generic Structure. The first

is the the Locus of Attention (LoA) and Complements to the Locus of

Attention (Comp.LoA). The Locus of Attention (LoA) that contains in

this poster is similar to the Lead, the difference is LoA only involving

in the super hero itself. In this case the viewers seize the LoA, the

LoA itself embeds central idea of the advertisement and very salient to

the viewers. Then, Complements to the Locus of Attention of this

poster is background of dark with the little light.

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The second is Announcement. Announcement consists of

Primary Announcement and secondary Announcement. Primary

announcement in this poster is man of steel as the title. Then this

poster has not Secondary. The third is Enhancer, there is no enhancer

in this movie poster because enhancer is usually in the paragraph

form. The last is Call-and-Visit Information on 14 June as information

about this poster.

2. The Ideational Meaning-Making in Movie Poster Man of Steel

From strategies for Meaning-Making the researcher gets the

result. The first is the Lead is visually most Salient therefore read first.

The LoA carries some meaning, in this case the researcher convinces

what meanings advertisers intend the super hero surrended to the

armies. The second is Primary Announcement read second as it is

second in Salience. Through Relational processes that invests meaning

Bidirectionally from Announcement to Lead and vice-versa, the

Announcement serves to define the Lead as a visual exemplification

of the Announcement. There is semantic equivalence between the

Lead and Announcement. The third is Enhancer is least in salience

therefore read last. The Enhancer builds the meaning in poster and it

makes a statement the viewers/people. But on this poster there is no

enhancer. The fourth is the viewers to receive the total meaning

derived from the interaction between the Lead, Announcement and the

Enhancer.

65

Based on strategies in Meaning-Making in stage 1-3, it can be

defined that it is not usually poster made different with earlier poster,

on this poster the power of super hero does not appear. Nevertheless it

depends in the social-cultural in their environment and experienced by

the viewers. This poster has low CP, this poster also has minimum of

linguistic items accompaning the visual images, and strong definable

relationships are established between the linguistic and visual codes,

the meanings of the visual images are less contextualized. In this Lead

there is a wide scope in terms of meaning potential in the Lead so

there is low CP, wide IS and high SE. So that, the viewers can

inteprete the Lead and effervescence of meaning. Meaning-Making in

movie poster man of steel is a new experience, new knowledge gained

by observing this poster, it engages components on the poster. In

certain level the people or viewers are capable of understanding what

is meaning in the poster.

B. Suggestion

Based on the the conclussion above, it is suggested that : for the future

researchers, the discussion of this researsch is less complete. Therefore, for

the future the researchers, it needs to improve the discussion of Multimodal

Discourse Analysis, especialy the Ideational Meaning-Making.

this advertisement has been well pre-thought and composed in such a

way that it suggests a compact and solid idea of keeping looking younger

for not-so-young females who now hold many major positions in their

66

professions. Thisadvertisement is realistic in a way that these potential

viewers do not need to look too young, which is not possible. They just need

to look a bit younger by taking a short pause and using the cream, and soon

they can continue to their exciting lifestyle. Every visual and linguistic item

in the ad is arranged very well so they complement and support one another

to project the positive image to attract the viewers to buy the product.

67

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APPENDIX

MOVIE POSTER MAN OF STEEL