CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

Multimodality is a concept introduced and developed in the last two decades to account for

the different resources used in communication to express meaning. The term is used both to

describe the phenomenon of human communication and to identify a diversified and growing

field of research (Garcia 2016, Flores 2016 and Spotti 2016). As a concept of

communication, multimodality defines the combination of different semiotic resources, or

modes, in texts and communicative events, such as still and motion pictures, speech, writing,

layout, gesture, and/or proxemics. As a field of inquiry, research in multimodality is

concerned with developing theories, analytical tools and descriptions that approach the study

of representation and communication considering modes as an organizing principle (Garcia,

Flores and Spotti, ibid).

As a phenomenon of communication, the term is used not only by multimodal analysts, but

also by works in disciplines concerned with texts and meaning, such as linguistics and

communication studies, all of which however tend to devote their analytical focus on

language. Within the field of “multimodal studies” (O’Halloran and Smith, 2011), the

phenomenon of multimodality is approached through different theoretical perspectives

(Jewitt 2009; O’Halloran 2011), all hinging on four key assumptions (Jewitt, 2014), namely

that, (a) all communication is multimodal; (b) analyses focused solely or primarily on

language cannot adequately account for meaning; (c) each mode has specific affordances

arising from its materiality and from its social histories which shape its resources to fulfil

given communicative needs; and (d) modes concur together, each with a specialized role, to

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meaning-making; hence relations among modes are key to understanding every instance of

communication.

All communication is, and has always been, multimodal (Kress and van Leeuwen 1996). Be

it face-to-face or distance, synchronous or asynchronous, every instance of communication

relies on more than one mode to make meaning. This might sound today like a commonplace;

yet historically, the dominant role attributed to verbal language, and the mode of writing

especially, has overshadowed the multiplicity of resources shaped socially to communicate.

This has meant not only that societies have developed the resources of speech and writing at a

particularly high level of articulation, but also that research and education have focused their

almost exclusive attention to the development of descriptions and the teaching of

prescriptions and conventions for the use of language. As a result, the investigation of other

modes has been restricted to specialised fields, such as musicology, the arts, etc.

The digital texts we engage with daily make meaning through the combined use of colour,

writing, sound, images, and layout, at least. It is not only the case of texts that we encounter

on the web, but also of “texts” that we interact with daily, to fulfil ordinary tasks in our

offline environments, such as the interfaces displayed on the screens of ATM machines or

those for purchasing a train ticket. This holds also for the texts that we produce; everyday

communication in digital environments faces sign-makers with a wide range of modal

options. The multimodal character of digital texts is also redefining the use of the resources

of language (van Leeuwen, 2008). Writing itself is changing its functions, as lexis integrated

in visual ensembles/syntagms (van Leeuwen, 2004), or as something to be acted upon rather

than read, as in the case of URLs used as hyperlinks (Adami, 2015). Writing is also an

increasingly developing resource for meaning-making, like those of font (Van Leeuwen,

2005; Van Leeuwen, 2006), which are generally disregarded in linguistic studies. While

speech is changing its functional load in the online homologue of face-to-face interaction,

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i.e., video-chats (for the phenomenon of “mode-switching” in video-chats, Sindoni 2013), the

mode of image is being used for new interactive functions, as in Facebook comments, for

example. Such a changed semiotic landscape contributes in essential ways to the visibility of

multimodality as a phenomenon of contemporary communication, and to its usefulness as a

notion that can account for contemporary meaning-making.

Advertising in Nigeria has grown from its earliest beginning of using the town criers to

announce availability of goods and services to become a big industry in Nigeria. Advertising

is now very important in the economy of the nation, considering the fact that it serves as a

source of information about goods and services and also persuades consumers to patronise

the advertised goods and services.

Advertising is the structured and composed non-personal communication, usually paid for

and usually persuasive in nature about products (goods, services and ideas) by identified

sponsors through various media.

Furthermore, Encyclopedia Americana (1997:113) defines advertising as “the techniques and

practices used to bring products, services, opinions, or causes to public notice for the purpose

of persuading the public to respond in a certain way toward what is advertised”. Also,

Osunbiyi (1999:8) posits that: “advertising is a controlled persuasive communication, paid for

by identified sponsor(s), about products, services or ideas and disseminated through the mass

media to a target group. Daramola (2003:191) opines that the objective of advertising is to

induce immediate action, to create liking and preference for a product or organisation, and to

create awareness about a product or service. Some advertisements also seek to build a

respected corporate identity for a company, product, and brand name or make all familiar to

the public.

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1.2 Statement of Research Problem

Various studies have been undertaken in the field of multimodal discourse analysis. Many

have attempted to study the meaning embedded in political advertisement, through media,

some of these studies have also centred on political speeches, congresses, texts, debates etc.

For instance, Taiwo (2007) examined the use of language in news tabloid, particularly in

headlines to reflect specific ideologies and power relations. Jegede (2015) examined the use

of processes in the editorials of Nigerian print media in order to achieve a meaningful and

effective communication. Ayeomoni (2012), Olaosun (2006) examined language and

visuality in selected commodity advertisements in some Nigerian Newspapers. Olateju

(2004) investigated analysing discourse in the ESL classroom.

However, there seems to be a lacuna in the multimodal analysis of the advertisement of some

brands and products like noodles, as there are not so many concrete research of multimodal

analysis conducted on them. This research conducts a thorough multimodal analysis on the

use of texts, images, colour, signs and symbols as multimodal tools in the analysis of the

handbills and billboard advertisement of the selected brands.

1.3 Aim and Objectives of the study

This research aims to carry out a multimodal discourse analysis of Indomie Handbills and

billboard advertisement. The objectives of this study are to:

i. Identify the dominant multimodal resources used in the billboard and handbills

advertisement of Indomie.

ii. Analyse the verbal and non-verbal meanings in the handbills and billboards.

iii. Discuss how the verbal and non-verbal resources convey meaning in the Nigerian

socio-cultural context.

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1.4 Research Questions

i. What are the multimodal resources in products handbills and billboards?

ii. What meanings do the verbal and non-verbal signifiers convey?

iii. How do the handbills and billboards portray and represent the identity of the brand ?

1.5 Significance of the Study

There has been a lot of multimodal discourse analysis done on advertisement but only few or

no work has been done on noodles handbills and billboard advertisement. This study draws

out linguistic and meta-/paralinguistic characteristics of multimodal discourse analysis which

includes signs, symbols, colours and images present in the handbills and billboard.

1.6 Scope of the Study

As emphasised in the objectives of this study, it will be deduced that the research is restricted

to Indomie noodles handbills and billboard advertisement. This restriction is not due to the

fact that multimodal analysis does not occur in other noodles handbills and billboard but it is

necessary to choose these particular products so as to be able to carry out a critical research in

the time provided.

1.7 Expected Contribution to Knowledge

Doing a concrete multimodal analysis of Indomie noodles handbills and billboard

advertisement will help to fill the void left by scholars in the area of multimodal discourse

analysis. As it appears that scholars have not focused extensively on this area, this research

will serve as one of the forerunners in this area of study pending further research.

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1.8 Methodology

This section presents the procedures and methodology that would be employed in gathering

the data for the research work. It describes the nature of the research data, the method of data

collection and selection as well as the procedures for data analysis. It also explains the

theoretical framework adopted for this research. The research instruments for this study are

mobile phones, laptop, and digital camera.

The data used for this research are handbills and billboard of different products of Indomie

respectively. Altogether, ten handbills and billboard advertisement were purposively selected

for this study due to the richness of multimodal resource found in them. The handbills and

billboards were those that prominently encode salient information about modes of

advertising.

The purposive sampling method was chosen because it enabled the selection of handbills and

billboards that most portray adequate information about advertising these products. Also the

selected product handbills and billboards are rich in multimodal resources that encode certain

information about advertising.

1.9 Definition of Terms

 Advertisement: Advertising is the structured and composed non-personal

communication usually paid for and usually persuasive in nature about products

(goods, services and ideas) by identified sponsors through various media.

 Multimodality: Oxford Advanced Learner's Dictionary of Current English (6th

edition, 2000) defined multimodality as the quality of being multimodal, or

employing multiple modes.

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 Billboard: Billboard according to Dominick (1998:406) cited in Olateju and Oyebode

(2014) is that medium of advertisement which remains the singular media form that

occupies our public space which members of the public cannot escape from.

 Handbills: Collins Dictionary of English defined handbills as a small printed notice

which is used to advertise a particular company, service or event.

1.10 Summary

In conclusion of this chapter, the background to the study has been carefully examined to

give adequate knowledge on what this research is about, statement of the research problem

also gives us an insight into what this research work would be based on. The aim and

objectives of this research as well as the research questions have been carefully stated. Also,

the significance and scope of the study have been clearly stated and justified. This chapter

most importantly includes the methodology which describes the nature of this research, the

data gathering and data analysis.

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 CHAPTER TWO

LITERATURE REVIEW

2.1 Introduction

In the contemporary world people compete, consciously or unconsciously, with each other

for diverse purposes including education, recruitment and even survival. Competition can

result due to scarcity or abundance. This influences advertising to function as a popular

mechanism which facilitates the whole process. Moreover, one is unable to walk down a

street, shop, watch television, go through the mail, read a newspaper or take a train without

encountering any kind of advertisement (Cook 2013). This review of literature in this chapter

brings into focus the studies and research done on the subject of multimodality, the concepts

and components, advertising discourse, which includes billboards and flyers.

2.2 Discourse

Etymologically, the word ‘discourse’ dates back to the 14th century. It is taken from the Latin

word ‘discursus’ which means a ‘conversation’ McArthur, (1996). Though in all cases it

relates to language, and it describes it in some way, the term conveys a number of

significance for a variety of purposes in its current usage. McArthur (ibid).

To start with, discourse is literally defined as ‘a serious speech or piece of writing on a

particular subject’ (Longman Dictionary of Contemporary English, 2001,). In this general

sense, it incorporates both the spoken and written modes although, at times, it is confined to

speech being designated as ‘a serious conversation between people. This restriction is also

implied in the word when it is used as a verb.

The meaningful combination of words whether in a written or spoken text in a particular

context is said to be discourse. Stubbs (1983:1) cited in Olateju et al. Fairlough (1992:28)

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also defined discourse. He defined discourse to be more than just language use: but language

use, whether speech or writing, seen as a type of social practise.

According to Carter (1993), he specifies several denotations of the word ‘discourse.’ He

firstly refers to it the topics or types of language used in definite contexts. Here, it is possible

to talk of political discourse, philosophical discourse and the like. He continues with the

second denotation that, the word 'discourse' is occasionally employed to stand for what is

spoken, while the word ‘text’ is employed to denote what is written. It is however important

to note that the text/discourse distinction highlighted here is not always sharply defined. As

observed by Nunan (1993), the scholar explains that these two terms are sometimes used

interchangeably and in many instances treated differently. Carter (ibid) adds that the

'discourse/text' dichotomy is often correlated with the 'process/product' dichotomy

respectively. Carter’s third denotation is that, this word is used to establish a significant

contrast with the traditional notion of ‘sentence’, the ‘highest’ unit of language analysis:

discourse refers to any naturally occurring stretch of language. In this connection, Trask

(1999) clarifies that a discourse is not confined to one speaker or writer, but it can embrace

the oral or written exchanges produced by two or more people. It is this last sense of the term

that constitutes the cornerstone of the approach known as Discourse Analysis.

However, despite that discourse is defined as a chunk that surpasses the sentence, not all

chunks of language can fall within the scope of this definition. In fact, what characterises

discourse is obviously not its supra-sentential nature as much as the entirety it has its

coherence. To be more explicit, discourse is a complete meaningful unit conveying a

complete message Nunan, (1993). The nature of this whole cannot be perceived by

examining its constituent parts, ‘there are structured relationships among the parts that result

in something new’ Schiffrin, (2006, p.171). In the light of this, larger units such as

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paragraphs, conversations and interviews all seem to fall under the rubric of ‘discourse’ since

they are linguistic performances complete in themselves.

2.2.1 Discourse Analysis

To embark on defining discourse analysis (henceforth DA), one would inevitably tackle two

divergent approaches to language in general and discourse in particular: the formal approach

and the functional approach. Schiffrin (1994) combines both approaches when designating

DA as ‘the study of language use above and beyond the sentence’ Schiffrin (1994: p.170).

The first trend in defining DA is a formal or structural trend. In this paradigm, DA is seen as

the exploration of language use by focusing on pieces larger than sentences. Schiffrin (ibid)

elucidates that discourse is merely a higher level in the hierarchy: morpheme, clause and

sentence (as stated originally by Zellig Harris in his first reference to DA); she also explains

that the pursuit of DA is to depict the internal structural relationships that tie the units of

discourse to each other: to describe formal connectedness within it.

The second trend is functional in perspective: it is not so much concerned with intra-

sentential relations as much as with language use. The analysis of discourse is, necessarily,

the analysis of language in use. As such, it cannot be restricted to the description of linguistic

forms independent of the purposes or functions which these forms are designed to serve in

human affairs. (p.1)

The focus in this conception is on the regularities which utterances show when situated in

contexts. Thus, it is obvious that the aspects of the world in which an utterance is used can

also contribute to the meaningfulness of discourse. van Els et al. (1984), in this respect, argue

that ‘the study of language in context will offer a deeper insight into how meaning is attached

to utterances than the study of language in isolated sentences’ (p.94).

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2.2.2 Multimodal Discourse Analysis

It is widely recognized that communication in modern world does not depend only on the

verbal language; the non- verbal one also is needed. Communication requires the

combination of both linguistic and visual characteristics which is known as multimodal. This

last relies on semiotics resources for the projection of the meaning. (Ademilokun and Olateju.

2015).

Multimodal discourse analysis goes back to Halliday’s (1978, 1989) “Social semiotic

approach to language”. This semiotic approach enables people to communicate through

semiotic resources, (gesture, image and music) in order to transmit meaning with each other;

hence, language operates to describe the social situations that contribute in creating meanings

(Brain, 2012, p.170). Halliday, (2009) describes three types of social meanings that deal with

the use of language:

1. Ideational meaning which is the whole idea of the text.

2. Interpersonal meaning which pertains to the relationship between the participants.

3. Textual meaning that relies on how the message is organized.

Multimodal texts imply these aspects to achieve visual meaning. Images carry these

three aspects ideational which represents the meaning of image, interpersonal which means

the engagement of the image with the viewer and textual meaning depends on how the

component of the images are organized to achieve its impact.

Kress and van Leeuwen (2001) argue that multimodal text is concerned with three

perspectives to express meaning of images that are representational, interactive and

compositional meaning. The former is concerned with the description of texts, the latter is

pertained to the interaction of linguistic with other signifiers such as colour, gaze and dress.

The last perspective is depended on the explanation on the constituent elements of images

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and its function. But, Lemke (1998) named them representational and organizational

meanings. Ademilokun, (2014) asserts that “multimodal texts are becoming popular for

political discourse, protest discourse and discourse of civic engagement among many others,”

(p.2). The widespread of the use of multimodal resources depends on the public’s ‘awareness

of the potentiality of multimodal texts to carry explicit meaning. Overall, multimodal

discourse analysis is pertained to the different modes of communication. In case of political

handbills images with written text are combined namely that multimodal texts need to be

understood as the combination of different modes which serves the purposes of creating

meaning in effective away. O’Hollaran and Smith (2011, p.50).

In multimodal discourse analysis, the image contains different figures such as diagram,

photographs (person), and maps. Images also contain written text like slogan, emblems and

banners. This means that multimodal discourse analysis depends on the link between the

portray element and written text, specifically the combination between verbal and non- verbal

communication. The essence of multimodal discourse analysis is shown in the use of visual

elements (depicted element) with written language. It is important to note that visual analysis

is very significant to provide reader or viewer with sufficient detail of what is depicted or

exhibited (images, video, photography).

Natharious (2004) demonstrates that in human history, the visual image has never been more

dominant that it is now (p.2). Namely the abundance of visuality in modern human

communication contributes to overcome the other sort of communication (verbal

communication). Similarly, Domka, Spratt. (2002) mention that visual communication

considered an effective tool for reinforcing elite or popular about causes or various issues.

For instance, politicians are portrayed in handbills, in order to provide their followers with

general details and information about their political ideologies, their plans and visions about

future. Additionally, the political power of visual images serves the political campaign in the

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sense that those images provide them with the supports and acceptance of the politicians by

voters (p.4).

In this respect, Barthes, (1977) uses the two concepts anchorage and relay in demonstrating

the syntagmatic relationship between verbal and non- verbal communication in discourse. He

asserted that anchorage is most frequent function of linguistic message and commonly found

in press photographs and advertisements (p.40, 41); this means that anchorage refers to the

linguistic message which directed the reader in understanding meanings. While the relay is

concerned with the connection between texts and image that reflect a complementary

relationship.

2.2.2.1 Visual Analysis Theory

van Leeuwen, (2001) mentions that visual analysis is typically based on visual semiotic and

iconography which is associated with the art of representation of pictures and description of

images; Moreover, the iconographical process of visual analysis developed by art historians

such as Edgar Win, Erwin PanoFasky and Mayer Schapiro. These processes play a crucial

role in simplifying and clarifying meanings that are presented in images.

Carey, and Rumiko, (2001) claims that visual analysis introduces a clear method for

analysing the meaning and the element presented in images in relation to people and things.

In this way the meaning is described not only for representational sake, but also for

interactional side in order to catch the intention of the viewers to the image. This means that

the study of images and the description of its social context is not sufficient; so that the

semiotic practices is a significant process that influence the followers’ decisions because

images are produced to serve reality, documentary of place, thing and event. Their analysis

exclusively premised on factual information, precisely how maker is constructed reality in

images (interpretation, colour, ideology, bias).

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According to some researchers, visuality plays vital role in political expressions in the sense

that visual images are used for the representation of politicians, political parties, their

attitudes to public; moreover, the visual images are more reliable to people then spoken or

written language. Ademilokun, (2016, p.2).

2.2.2.2 Visual Rhetoric Theory

Images extremely accomplish in order to send such goals or to advance particular ideologies.

Similarly, political images which construct to provide the audience by specific traits of

candidates’ messages. Kathleen, (1912, p.2) It is important to note that visual aesthetics

consider as essential part in rhetorical environment, and the condensation only on verbal

discourse can’t lead to understand the whole message.

The rhetorical theory exceeds the area of the analysis of linguistics artefacts, in which

concern with uncovering ideologies and the hegemonic power that offer s in images.

(Charles, Helmers, 2008,p.4).

Sonjak and Foss (1994) in their book “A rhetoric schema for the evaluation of visual

imagery” visual rhetoric’s used to mean both a visual object or artefact and perspective on

the study of visual data (p.304). It means that visual rhetoric’s use the visual symbols for sake

of communication.

It is worth to note that visual rhetoric characterizes by three concepts: the visual rhetorics a

symbolic action in which occurs between the image (what is portrayed) and the sign which is

connected. Then visual rhetoric contains also such constituent elements like colour, size and

form which employ to transfer such message to communicate. Finally, visual rhetoric is

communicative in which arranges particular elements and such action like smile, frown, etc

for the purpose of emotional connection (Sonja, 1994, p.305).

Goggin and Maurrondaly (2002) in her book “Rhetoric review”, articulates that visual

rhetoric divided into rhetoric of image and words and appears together in semiotics practice.

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She elucidated that the relationship between rhetoric of images and words is more fluid than

is typically theorized (p.305); Furthermore, in case of political image, the symbolic

representations of candidate and their emblem are merged to appeal the electorate. Verbal or

rhetoric’s is tried to convince citizens with verbal symbols or words including an amount of

arguments and assertions (Kathleen, Strachan, 2004, p.136).

The analysis of rhetorical text is determined that communication can be visual, oral, written

or any other multimodal form. Audience, context and purpose are three concepts take into

account during the rhetorical analysis. Audience is the target citizen for the text, for instance

in the electoral handbills the electorate is the intended audience. Next, context is relevant to

the norms and values that underlie the text, because is aimed to reveal the perspective and

values that embody in the text. At the end, purpose of text in which pursuit to communicates

about particular ideas and concepts. For example, electoral handbills are represented to

appeal electorate to vote for particular party (Alfano and Brien, 2011).

2.3.1 Social Semiotics

The term ‘social semiotics’ was claimed to be introduced by Halliday (1978). Halliday

proposes that language cannot be separated from society. He views language as a ‘social

semiotic’ in which language, the means by which people interact, must be considered in a

social context. Language and society is a unified concept and need to be investigated as a

whole.

Halliday (1978: 14) points out those individual human beings become part of a group through

language. Halliday adds that a society does not consist of participants but of relations, and

these relations define a social role. The link between social roles and language is explained

by Halliday (1978: 15) as one in which social roles are combinable, and the individual, as a

member of a society, occupies not just one role but many at a time, always through the

medium of language. Language is again a necessary condition for this final element in the

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process of the development of the individual, from human being to person to what we may

call ‘personality’, a personality being interpreted as a role complex. Here the individual is

seen as the configuration of a number of roles defined by the social relationships in which he

enters; from these roles he synthesizes a personality.

2.3.2 A social semiotic view of multimodality

Social semiotics has been developed as a theory of multimodal sign-making in the works of

Hodge and Kress (1988), van Leeuwen (2005a) and Kress (2010), who have extended

Halliday’s socially-framed view of language to all semiotic resources. Social semiotics draws

on Halliday’s assumption that language is a product of social processes and that the resources

of a language are shaped by the functions that it has developed to satisfy the needs of

people’s lives. Through their everyday acts of sign-making, while exchanging meanings,

speakers express social structure, affirm their social roles and transmit their systems of values

and knowledge. Grammar, as much as vocabulary, is a resource, rather than a set of

predefined rules, that speakers use creatively by making choices. Through choice, speakers

produce variation; variation expresses (affiliation and conflict with) social structures and

roles, along with systems of knowledge and values, i.e., power. Language in Halliday – and

all semiotic resources in Hodge and Kress (1988) – is a social process in two senses. In

expressing social values and structures, language reveals them and, at the same time, it

constructs them, thus establishing social relations and systems of knowledge and values every

time it is used. Through choice at all levels (orstrata), language expresses larger relations of

power existing within society and constructs power roles in the specific event.

2.4 Advertisement

The emergence of Advertising in Nigeria could be said to have started officially with Rev.

Henry Townsend's Newspaper called Iwe Iroyin in 1859 (Oduntan, 2005). This particular

newspaper carried advertisements on births and other social events.

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Bardi (2010) agrees with Bel-Molokwu (2009) on his claim that advertising is as old as man.

To further corroborate the above assertion, Ogbodoh (1990:10-11) posits thus: Advertising in

Nigeria is said to have begun naturally with one of the earliest forms of mass communication

town crying. This traditional African medium performed the universal communication

function of disseminating information about available goods, services, and ideas to the

people. He explains the use of the traditional African medium which was used to announce

inter-tribal wars, disasters, and important ceremonies including marriages, products and

services to mention a few.

Looking in depth on the concept of advertisement, its primary objective is to attract people to

do an action as expected by its designer (Goddard, 2002, p. 9). An advertisement is used to

raise people’s attention toward an advertised product. MacRury (2009) argued that we need

to understand the advertisement cautiously due to its provocative nature. It merely serves as a

method which has a limited range of such purposes as increasing and preserving the

consumer’s awareness, disseminating information, and commonly making a case for a certain

product, service, and brand. In the same vein, Dyer (2008) noted that advertisement simply

has a range of communicative purposes, such as to notify, convince, figure out similarities,

and retell the audience about a product. However, the majority of the commercial

advertisements’ objective is to persuade and convince viewers to buy their products.

Advertisement can be found indoor and outdoor. The indoor advertisements include TV,

radio, and website advertisement among others, while the outdoor advertisements are posters,

billboards, and handbills. However, the latter deserves more attention in the discourse study

as they have been commonly ignored by the previous researchers (e.g., Oyebode &

Unuabonah, 2013). Moreover, besides the Internet, an outdoor advertisement can serve as one

of the easily accessible media from which people can access the information because it can

be found almost in every neighbourhood. Ajayi (2005), Oyebode and Unuabonah (2013)

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mentioned that outdoor advertising offers a chance for people to look at, making it the most

reachable and least complicated method of advertisement. Moreover, Molina (2006, p. 9)

added “outdoor advertising is a significant medium that deserves attention in its right,

especially the way its “audience” is constructed as a public through discourses of “the public

interest” and “social responsibility.” Departing from this fact, this study investigated cigarette

advertisements on billboards as one type of outdoor advertisement by looking at how a

smoking company utilizes different semiotic signs to present meaning and fulfil a commercial

purpose.

2.5 Billboard and Handbill Advertisement

Advertisement according to findings has long been a subject of several disciplines such as

mass communication, marketing, sociology, cultural anthropology, social psychology,

semiotics and cultural studies. Ketabi (2015). Word in advertisement is said not to have

happened in isolation but occur in complex interaction with music, pictures and other text

around them. Cook (1992) cited by Ketabi (2015). Advertising or product presentation is one

of the most important genres in business. This presentation can vary depending on the

communicative situation in which they occur, but they share one main purpose which is to

persuade the addressee of the excellence of the product. Product advertisement can be done

through many means such as television, radio, jingles, talk shows, programmes, drama

presentation billboards, handbills, posters etc. (Tchai 2011 p.121).

According to Olaosun (2006), one and perhaps the most important duty of advertisers is to

place the message that has been designed in the appropriate medium. There are diverse forms

of media which advertisers employ to convey their message. They are exemplified by

magazines, newspaper, television, radio, outdoor hoarding and handbills, and cinema.

However, some are more popular than others. The most popular media of advertising are the

newspaper, radio, television and outdoor handbills and handbills.

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Meanwhile, of all these media, the Billboard medium remains the medium that has the widest

coverage because, it covers the centre spectrum of population in terms of people of all ages,

income and educational levels, Ajayi (2005). It is an involuntary medium that is seen willy-

nilly, while walking, in buses, on trains, taxi-cabs, driving, at various places such as offices,

residential or commercial places, on the highways and inside the town. It reaches all classes

of people, young and old, business executives, market women, middle, upper and the lower

classes Olateju and Oyebode (2014; p,80). The adverts placed in billboard medium also have

another important edge over forms of media adverts and that is permanence. It provides an

all-year round exposure of messages to the target audience. The audience has the opportunity

to always go back and view a billboard advert at their convenience as many times as possible.

This is difficult to obtain in other media like radio and television where obtaining the

recordings of a broadcast poses a lot of challenges in terms of cost and accessibility, (Olateju

and Oyebode). Adeleke 2010 said it is that form of media that consumers encounter every

day at no cost reflecting their social, economic, culture, ideology and environmental factors,

unlike newspapers which have to be bought before accessing them.

Following Dominick (1998; p,406) analysis of advertising characteristics of various

media, billboard as a medium of advertisement, though highly expensive for the advertisers,

remains that singular media form that occupies our public space which members of the public

cannot escape from.

More also, handbills, a specific form of feature advertising, are printed advertisements used

by retailers to present their assortment, promote new products and stores, and communicate

about price specials (Miranda and Konya, 2006; Pieters et al., 2007).

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Pieters et al. (2007) and Zhang et al. (2009) have examined the effect of competitive

advertisements in handbills on attention and sales. Attention to a whole page decreases with

contextual competitive advertising (Pieters et al., 2007).

2.6 Review of Related Works

Olowu & Akinkurolere (2015) have worked on a multimodal discourse analysis of selected

advertisement of malaria drugs. The study identified and analysed the visual and linguistic

components associated with the selected advertisement of malaria drugs. This was with a

view to describing the essential communication devices the advertisers of such drugs have

employed. Also, Chunyu & Mengxi (2016) have worked on a multimodal discourse analysis

of Tmall’s Double Eleven Advertisement. The paper analyses visual components of the

advertisement produced by Tmall for the Double Eleven Shopping Carnival from the

perspective of Visual Grammar. By analysing representational, interactive and compositional

meaning presented in the advertisement, the article illustrates how visual components serve

as a huge attraction to the viewers and effectively justifies the consumption behaviour by

appealing to the cultural and social state. It also sheds some light on raising the awareness of

consumers by presenting how advertisement producers practice psychological manipulation

on the viewers. More also, Upeksha (2015) from General Sir John Kotelawala Defence

University, Sri Lanka worked on A Multi-modal discourse analysis on Handbills Advertising

Spoken English Classes in Sri Lanka. His study focuses on handbills that advertise spoken

English classes in Sri Lanka. The main reason he chooses handbills advertising spoken

English classes is that the teachers who design these handbills often attempt to break away

from the mainstream and employ new ideas, challenge current trends in order to compete

with others in the field and attract more students which in turn has provided a wide array of

handbills designed using creative and innovative language and visuals. A multi-modal

discourse analysis perspective, therefore, enabled his study to analyse not only the language

20
and visuals but the ideologies behind using them as well. Thus, his aim of this project is to

analyse the language, images and ideologies used in the handbills advertising spoken English

classes while commenting on its effectiveness as well as weaknesses.

Another researcher, Yang Yang, (2016) from School of Foreign Languages, Chang’an

University, China also worked on A Social Semiotic Approach to Multimodal Discourse of

the Badge of Xi’an Jiaotong University. His article aims to unravel that both literal

expression and visual imagery have the ideographic function. The analysis in his article

primarily utilizes the theoretical framework of the visual communication grammar, which is

developed by Kress & Van Leeuwen from Halliday’s systemic functional linguistics. More

also, Sarah Helen Bok, a student of the Department of Linguistics, University of the Western

Cape also did a degree project work on A Multimodal Analysis of Selected National loveLife

HIV/AIDS Prevention Campaign Texts. Her study investigates the ever-changing trends in

visual texts and images used during HIV-prevention campaigns in South Africa. The aim of

her research is to evaluate and analyse the effect of multimodal texts used in HIV/AIDS

campaigns on the understanding and interpretation by the target group, and thus gauge their

effectiveness. Using a text-based multimodal approach (Kress and van Leeuwen, 1996/2006;

Martin and Rose, 2004), her study takes into account variables such as socio-economic status,

literacy levels, language and cultural differences of readers to evaluate the efficacy of

loveLife campaigns to disseminate the HIV/AIDS prevention message.

Nevertheless, Maryam, (2017) from the Department of English, University of Leicester

made her thesis for the degree of Doctor of Philosophy in English Linguistics under the field

of discourse analysis looking at A Multimodal Analysis of Print and Online Promotional

Discourse in the UK. Her thesis is concerned with investigating promotional discourse types

in the UK from more than one medium with the aim of showing and comparing the

21
characteristics (situational, generic, linguistic, and visual) of such discourse types, where

such features also reflect the complexity of the discourse. A few of the related works done by

scholars and researchers have been reviewed above. However, independent research has been

conducted globally on the language use, code-switching/mixing and the usage of visuals in

advertisements, not much research is done locally on billboard and poster advertisements in a

multi-modal discourse analysis perspective. This scenario brings into perception the current

research, which is a multi-modal discourse analysis of selected noodles and pasta handbills

and billboard advertisement in Osun State. The rate at which these big firms producing pastas

and noodles are trying to reach their customers and the demanding need to outsmart one

another in the sphere of marketing and persuading more customers in buying their products

have resulted in a competition among the companies to promote themselves over one another

in the service market. Since the only way to promote them is via advertising, it is worthwhile

to explore the manner in which language and visuals are strategically and innovatively

arranged in handbills and billboards to attract the target market.

2.7 Theoretical framework

There are different approaches to analyse a text and other works but the one which will be

adopted for this study is multimodal discourse analysis. Kress (2011), van Leeuwen (2004),

Machin (2008) and many notable scholars have worked assiduously in this area of study and

have come up with the view that multimodality can really be the solution to the complicated

mode of communication in human existence since multimedia is characterised by the

coherent combination of at least two media of communication in the conveying of messages

(Connolly and Phillips 2002 cited in Olateju et al).

Multimodality or what is known to be multimodal analysis or multimodal semiotics

according to Kress and van Leeuwen (2006) is when a text achieves meaning through a

number of modes.Modality can be seen as a particular way in which information is to be

22
encoded for representation to humans (Pierce 1867 cited by Omonijo 2013; p12). In Machin’s

(2007) explanation of modality, he sees modality as a way of analysing images that have

inspired by linguistic analysis allowing the reader what is offered as certain as opposed to

what is concealed. Typically, noodles handbills and billboards are multimodal in nature

because they communicate through graphics and textual elements.

2.7.1 Semiotics

The term Semiotics is the study of signs. It is concerned with the ways we represent our

world to ourselves and to others. It is a human endeavour. Humans can communicate verbally

or non-verbally. They use signs, symbols, sound or paralinguistic means to communicate a

message. Semiotics is concerned with the production and interpretation of meaning. Its main

principle is that meaning is made by the deployment of acts and objects which function as

signs in relation to other signs. The complex meaning relations that can exist between one

sign and another constitutes the system of signs. Those relations such as meronyms, co-

meronyms, antonyms, and superordination are deployed in space and time in the process of

text production.

The current theories of semiotics may be traced to two main sources. The first is Ferdinand

de Saussure (1857-1913), a Swiss linguist who described ‘semiology’ as the study of the role

of signs as part of social life. The second is Charles Sanders Peirce (1839-1914), an

American philosopher whose field of study was the ‘formal doctrine of signs’ (Chandler,

2002).

2.7.2 Ferdinand de Saussure’s theory of sign

Ferdinand de Saussure is a linguist scholar who has developed the basis or groundwork of

general linguistic theory. He is well-known as a founder of modern linguistics. The

emergence of the sign theory in the field of linguistics started when he felt that the theory of

23
linguistic signs should be placed in a more general basis theory. Inspired and grounded from

that thought, he has proposed the term ‘semiology’ in a few compilations of lecture notes

taken by his students based on lectures given since 1907 to1911, which eventually have been

published as a book entitled Course in General Linguistics. Finally, those works or

masterpiece became a high_impact source of linguistic theory which is known as

structuralism (Grenz, 2001). Given below are the excerpts from Saussure which are

considered as a catalyst for the emergence of semiotic field.

A science that studies the life of signs within society is conceivable; it would be a part of

social psychology and consequently of general psychology; I shall call it semiology (from

Greek semeion ‘sign’). Semiology would show what constitutes signs, what laws govern

them. Since the science does not yet exist, no one can say what it would be; but it has a right

to existence, a place staked out in advance. Linguistics is only a part of the general science of

semiology; the laws discovered by semiology will be applicable to linguistics, and the latter

will circumscribe a well-defined area within the mass of anthropological facts (Leeds-

Hurwitz, 1993, p. 4).

2.7.3 Charles Sanders Peirce’s theory of sign

Charles Sanders Peirce is well-known as a pioneer of pragmatism doctrine who has provided

the basic in the general theory of signs through his writings, and texts that have been

compiled 25 years after his death in a single comprehensive piece of work entitled ‘Oeuvres

Completes’ (Zoest, 1991). Unlike Saussure who has introduced the term ‘semiology’, Peirce

proposed the term ‘semiotic’, which according to him is synonymous with the concept of

logic that focuses on the knowledge of human thinking process as portrayed in his writing

published in 1931/1958:

24
“Logic, in its general sense, is, as I believe I have shown only another name for semiotic, the

quasi-necessary, or formal doctrine of signs. By describing the doctrine as “quasi-necessary”,

or formal, we mean that we observe the characters of such signs as we know, and from such

an observation, by a process which I will not object to naming Abstraction, we are led to

statements, eminently fallible, and therefore in one sense by no means necessary, as to what

must be characters of all signs used by a “scientific” intelligence, that is to say by an

intelligence capable of learning by experience” (Leeds-Hurwitz, 1993, p. 4).

The main principles containing Peirce’s theory are the human mind and sign boundaries, the

three-dimensional system (triadic/trichotomy) and the relativity regarding the three

typologies or taxonomies of signs (icon, index and symbol).

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 CHAPTER THREE

DATA ANALYSIS

3.1 Introduction

The brand name Indomie; INDO- Indonesia Mie- Noodles is an Indonesia company that has

over the years established itself as a household through the perfect strategizing and quality

product. They envisage a setting where hunger is easily alleviated, hence, their goal is

inferred from their tag line “instant noodles” which means noodles that is ready with no

delay.

Semiotics approach is characterised by attempts to describe the overall organisation of sign

system as language (Chandler 2002 cited by Olateju et al 2014). Applied semiotics as one of

the branches of semiotics according to Noth (1995) will be used since it specifically and

commercially encourages the aim at determining which advertisement have the best

multimodal resources, arrest the interest of the target audience and also enhance the sale of

the particular product and its daring abilities. Kress and van Leeuwen (2006) have argued that

the primary components of the semiotics system include:

 Represented participants

 Composition

 Interactive participants

 Modality

There seems to be a small number of researches on the advertisement of noodles (Indomie)

particularly billboards and handbills from the semiotic point of view. This present study

intends to analyse a number and characteristics of linguistic and non-linguistic semiotic

resources in the field mentioned above. The centre of attention of the analysis of the

26
billboards and handbills using semiotics approach will be on pictures, texts, colour, and their

placements.

3.2 Analysis of Linguistic and Grammatical Semiotic Resources

TEXT A

This particular advertisement does not involve any human character as a semiotic resource,

rather, it shows an image of the brand on a red rectangular billboard which portrays an image

of the Indomie logo and their unique combination of colours. The creative combining of such

vivid colours such as red, blue, white, yellow and green has formed the roots of the brand

Indomie.

Colours are the major multimodal resource in use; chiefly, we notice the use of the colour

red; which has an eye-grabbing effect on the viewer; spanning across the rectangular

billboard, this could be in use to incite curiosity in the viewers about what the brand is trying

to sell. The Red in the logo itself could potentially refer to the silent pitch that their brand

makes product that freshens up the body, providing it with needed energy with the required

urgency. The focus of this advertisement would be said to be the nominal item “Indomie”

which is in blue colour which could be indicative of the responsible nature the company

27
prides itself on. The lettering ‘Indomie’ is portrayed in a unique font which hints the viewers

of their diversity in noodle production, perhaps unlike other noodle companies

Introducing another semiotic resource through the use of the colour Yellow which is intended

to associate their customers with the happiness their taste buds enjoy when they eat their

product, it incites cheerful attitude from the consumer, making an underlying statement that if

you want to be happy; you should try their product. The advent usage of green represents

what should be a vital part of any function of food; green here represents growth, indicative

that their product constitutes of natural supplements that aid growth in their targeted age

group of the economy. It also shadows the claim of the company indicating stability in the

Noodle market.

The glitter and glow that the usage of the golden colour adds is to insinuate their reputation in

the noodle business as being undeniably dominant as gold commands attention hinting that

the company, apart from being confident in their products, is also one that is accorded with so

much prestige in the Nigerian economy with the added advantage of being wealthy. White

colour often regarded as the purest of colour (yin yang methodology) is utilised here. It is

noticed that the letterings ‘Instant Noodles’ and ‘Tasty Nutrition. Good For You’ are written

in white; exploiting the innocent qualities of the colour white. This exploitation is simply to

dare the viewers to test the accountability of the company and also to test the truth value of

the statements written in white lettering. The usage of capital letters for the start of each

lexicon is indicative of its importance to the brand adding the feel that they really care for the

consumers and are not selling them items that are bad for them.

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TEXT B

This particular Indomie advertisement as billboard format is similar to that in TEXT A as we

encounter the use of colours and human character to pass its message across. Conjured with

different semiotic resources used to advertise their brand, the semiotic resources at the top

left corner of the billboard have been amply explained above due to its similarity found in

both thereby accumulating to the fact that Indomie is a stable and prestigious company in

Nigeria whose product; consumers derive joy from when eating and that it enables the

consumer with strength, vitality for growth.

The focus of the billboard is however on the characters at the centre, the simulation is

representative of what happens when consumers cook their product. There is foremost the

existence of a young woman who wears a smile on her face; the smile is attributive to the

contentment she derives from the emotional state of the other participant. The other

participant shapes up in form of a young girl who is seated in front of plate full of cooked

29
Indomie with a mouthful already in her hand; she wears a smile also that embodies her

excitement at the sight of the food; this makes the assumption right about the fact that she has

in time past eaten Indomie and she loved it.

The plate of Indomie is garnished also with green veggies which serve as a supplement of

nutrients and vitamins also gotten from Indomie. This addition grants way for an inquisition,

is eating Indomie alone not sufficient to supply the body the needed nutrients and vitamins?

There is also a cup of water which is there arguably to educate the consumers of their product

on the important role it plays firstly in breaking down the food supplement into tiny bits and

also in helping the distribution of nutrients to various parts of the body.

Inclusive are the words in the advertisement that serves as another semiotic resource: 'You

Like No Other’ definitely means there is no duplicate of the ‘you’. The ‘You’ could however

mean two entities; one which is presumably the mother and this remark is sort of gratitude to

the mother for being an invaluable woman providing the child with what makes her happy.

The other interpretation for the tagline ‘You Like No Other’ is in reference to the product;

Indomie, highlighting its status as being indispensable and that it has no rivalry. The

illumination behind the tagline is probably to say that starting your day with Indomie

brightens your day.

The perceived age gap between the characters portrayed in to indicate to consumers that their

Indomie product is of more benefit to a child than a grown person, the material used in the

clothe of the mother is to showcase the pride the mother has in her culture and also to state

the setting of viable market for their product.

30
TEXT C

Relish Indomie Noodles

The brand logo which is square like in shape is positioned at the top end of the left hand side.

It comprises of 3 different colours: Red which symbolises warmth, affection and care. Colour

Yellow which interprets optimism, cheerfulness and excitement while Green as a colour

connotatively means nature, renewal and fertility. The summary of the colours interprets that

the product being advertised helps to develop consumers mentally, makes one lively, aid

fertility, brings and reflect love and care. The combination also interprets the nutritional facts

of the product. Also the background colour of the product is black: a colour that interprets

elegance and sophistication, revealing how refined and portrays the beauty of the new

product which is characterised by minimalism and intuitiveness while preserving exactness

and precision.

Adjacent the logo are facts and information about the product. This is written with white

colour which means purity and truth. The design like logo drawn in gold colour is seen next.

31
Written on it is the word introducing in black colour. A bright star is seen shining above the

design. This can be interpreted as the essence and unique taste of the product. The name of

the new Indomie brand is written in a stylistic manner which makes it more outstanding and

foregrounded. RELISH, the brand name is a pleasant taste, flavour that gratifies the palate,

hence, enjoyable quality: power of pleasing... A cooked or picked sauce usually made with

vegetables and fruits, generally used as a condiment.

Next are two different types of the new brand product as would be seen and bought by

consumers. One is places at the right hand side while the other is at the left hand side of the

handbill. The design sample on the right hand side seems to have more seasonings than the

latter. Also it consists of real fish chunks as could be detected from its name 'Relish seafood

Delight 'Inside the pack are seasonings like fish powder, fish chunks, chilli powder,

seasoning powder and seasoning oil. All these ingredients are well placed at the front of the

typically cooked product.

The picture of the already cooked Indomie will make one salivate and crave for the real

product. The addition of all seasonings which wasn't present in other Indomie products make

it distinct and go in line with the name given it; THE COMPLETE MEAL EXPERIENCE.

Right beside the left side of the Relish seafood delight is the 'Relish Chicken Extravaganza'.

This serves as an option for those that could not or does not want to go for the seafood delight

because of a reason or the other. It also comprises of three different seasonings like Chicken

which is the sauce, chicken sausage, mama's sauce and pepper. The mixed and garnished

seasonings are placed forward for consumers to view clearly and be satisfied. The product is

well cooked to illustrate the perfect picture and to answer the question ruminating the mind of

the consumers of how the product will look like when cooked. Beneath the edge of the

handbill reads 'Now available in your neighbourhood supermarkets and stores'. The producers

32
are using the medium to make consumers aware that the new product is now enormously

available and within their reach.

TEXT D

The Indomitable pack

This handbill has a cartoon of a school boy holding a pen. A child that is well fed with

'Indomie Super pack' which is one of the products of Indomie noodles. The boy did an

analysis of the nutritional facts that could be found in the product. Indomie, a type of noodles

with the slogan 'Tasty nutrition. Good for you.' is very popular among youth especially and

adult, an instant food that could be served within 5 minutes of preparation. We are made

known by the boy in the handbill that it is Indomie day in his school. The analysis is done in

a chronological order using circle as the driving wheel. A circle is drawn and there revolves

the nutrients derives in Indomie Noodles as they are consumed.

33
First is protein. According to medical report, proteins help to repair worn out tissues in the

system of man and then makes it functions well. It helps in rapid growth and helps children

develop healthily. It is drawn in a green circle where green symbolises fertility and growth,

nature and enabling environment. The protein itself is written in black depicting

sophistication and elegance. The regularity in the boy's growth shows the presence of

adequate protein in his immune.

Next is the Vitamin B. Report made it known that Vitamins generally helps to fight against

diseases in the body and then makes the body perfectly stable. Vitamin B as a distinct type of

Vitamin helps to develop mental strength. This means that children fed with Indomie instant

noodles will be mentally strong and healthy. Their mental state will be more active and

sensitive compare to children without Indomie noodles in their immune. The boy mental state

is active as he could narrate to us the facts in the Indomie instant noodles.

Calcium is next in the nutritional fact. Calcium naturally and medically is known to makes

the teeth and bones strong. The muscles and different joints in the body become more stronge

when there is more intake of calcium. Children growing teeth have strong teeth when they are

well fed with food substances that contain high amount of calcium. Indomie noodles give

calcium and thereby make the consumer's bones and teeth stronger. The calcium fact is

placed in a yellow circle interpreting that it all gives excitement and optimism, cheerfulness

and intellect. The boy full and well set of teeth and the strong bone reflect the effectiveness of

calcium in his body.

An important part of Vitamin that is very essential for both young and adult is the Vitamin A.

Vitamin A helps to provide good vision. This means that when someone consumes food that

has enough Vitamin A, good eyesight is assured and attained. Morning blindness, long and

short sightedness will not disturb someone that has enough Vitamin A in his or her body. The

34
Vitamin A fact is paced in a blue circle with means naturalness. The sky is blue and clear so

people taking Indomie instant noodles will have good and clear eyesight. All the four

nutrients derived from this product are demonstrated in the boy. The boy is seen with a big

and clear eyeball depicting the essence of Vitamin A in his body. Finally, the boy said' I'M

ENRICHED WITH TASTY NUTRITION' and is therefore happy.

TEXT E

The Indomie poster shows a picture of a type of Indomie Instant Noodles (Oriental Fried

Noodles) which becomes the object of attraction of the poster advertisement. The picture of

the Oriental Fried Noodles is the focus of the advertisement, which is expected to direct the

viewers’ interest to the noodles, the brand, and the content, including the flavour and the

image created about the brand.

35
The first thing on the picture is however the brand and her slogan ‘Tasty Nutrition. Good For

You.’ At the top centre margin to show the brand’s high ranking. There are several words

printed on the picture of the noodle. The words Oriental Fried Noodles which is the name, is

printed in yellow and white with the red background using the biggest font of all the other

words on the picture. Right below the name is a plate of the meal served, a picture of what

the noodles when cooked should look like. The plate being white signifies truthfulness and on

the rim of the plate is a logo carrying the slogan of the brand and the phrase ‘Suggested

Garnishing’ to emphasise that an individual’s noodles might not look exactly like the plate

except if complimented with the same garnishing. The clause ‘CONTAINS FRIED

VEGETABLES’ is written in capitals using smaller font and in white with a red background.

The white represents honesty that the noodles truly contains the vegetables and the red

background represents the spice and passionate taste the vegetables are expected to result in

and also, the picture of the fried vegetables is made evident in the plate.

The noun phrase ‘STANDARD PACK’ which refers to the size is written in capitals and

embolden in white to show the honesty in its package with a background which seems like a

sticky note which is used to state emphasis and remembrance at a corner of the plate as well.

The compositions of the inscription on the poster are as follows: The brand, product name

and product information. The brand is placed on the top left margin that can be seen in the

figure and directly under the brand is the slogan ‘Tasty Nutrition. Good For You’. The

placement of the brand in that position indicates ideal and given values (Kress & van

Leeuwen, 2006), it signifies that the product wants to be the model in its group.

The product name is on the right top margin serving as a highlight of the products feature.

The product information ‘MORE VEGGIES GREAT TASTE’ is put on the left bottom part,

suggesting the real and given information about the product (Kress & van Leeuwen, 2006) as

MORE and GREAT TASTE are written in red to show intensity and VEGGIES is written in

36
green to show the natural state of vegetables (which are displayed around the picture of the

noodle as a way of showing vegetables to be salivated for in the meal). The right bottom part,

however, is left empty. The background colour of the poster is a gradation of orange, amber

and yellow. Orange may symbolise playfulness and warmth, gold may symbolise quality and

value and yellow may symbolise warmth, cheer, happiness and energy (Herman Cerrato).

The organisation of these background colours and their meanings represents the value, fun

and happiness that come with an Oriental Fried Noodles.

Finally, the interactive participants signal three kinds of connections: (1) the connection

between the Indomie authors, the advertisement creators, and the items (image of the noodles,

the brand name, the product information and inscription on the noodles and on the ads, the

veggies, and colour) that are placed in the advertisement. (2) The connection between the

picture of the noodles, the writing, the background colour, the font size, and the colour, and

(3) the connection between the Indomie Oriental Fried noodles advertisement and the

targeted audience. It is noted that the relationship between the brand authors, advertisement

creators, and the targeted readership is reflected in the objects and script put on the poster

(Kress & van Leeuwen, 2006). The Oriental Fried noodles advertisement put the entity, i.e.,

the image of the noodles, as the centre of attention.

37
 TEXT F

It is interesting that the poster in TEXT F does not advertise any size or flavour of Indomie

noodles per se but rather, a game associated to the Indomitables pack. At this point, it is

expected to state that the Indomitables pack is highly noted and popularised because of its

characters called The Indomitables, consisting of 5 characters namely Tweeny, Vision,

Bigboy, Stretchy and Swifty are known to fight the ‘bad guys’ whom can act as terrorists or

bullies or any act of oppression.

Indomitable Character Analysis;

Tweeny is known for her flight; this flight ability signifies the lightness yet quality of the

Indomitable noodles. Her colours are yellow and orange which signifies happiness, ease of

tension and creativity, warmth and energy. Vision as another character is known for his

powerful sight which is a reflection of the nutritional value of Indomie noodles. Having red to

38
signify power and passion, yellow to signify his enlightenment and optimism and black

colour signifies protection and potential abilities. His glasses however signify the intensity of

his powerful sight as even the rays of the power in his vision can still be seen through the

glasses.

Bigboy is known for his strength, another nutritional value of Indomie noodles, his colours

are blue and yellow which signify growth and optimism respectively. His red cap however

symbolises power and love and his red gloves represents the passion and power in his

strength. Stretchy is known for his flexibility which can also symbolise the curly strands of

Indomie noodles. His colours are green and red which stands for harmony, compassion and

passion respectively. Swifty is known for her speed and her colours are orange and yellow

which represents creativity and ease of tension. It should be noted that these characters all

have the same girdle with a gradation of yellow and amber, the icon of Indomitables I is

strategically placed at the centre in orange colour to represent the warmth around

Indomitables and the home feeling. The same icon is also placed as a badge in blue colour as

a short form of Indomie, just as is in the product's logo. The blue colour signifies the integrity

and image of the product.

Another great important and significant thing in the poster are ways to download the games

by strategically placing the url directly under the icon of the game application, a barcode,

which would lead directly to the application download page and right below the barcode is

where the game can be downloaded- on Google Play. All routes to downloading the game are

systematically highlighted on the left margin of the poster which makes it all very visible

since they are all of a related family. On the right bottom margin is a picture of a gadget

displaying a preview of the game. In the picture, Bigboy is noticed and a bad guy and for

strength, plates of Indomie noodles are place also on the track line.

39
In conclusion, the main message of the poster is boldly written in the biggest fonts of the

poster in order to draw attention to its content. It states ‘DOWNLOAD The Indomitable

GAME AND PLAY’.

TEXT G

This Indomie Instant Noodles billboard advertisement presents a certain number of

individual and some inscriptions written on the billboard with the background colours which

become the focus of attention of the billboard advertisement. There are several words printed

on the billboard which suggest the intention of the brand towards their customers. The

background of the billboard is a mixture of orange and yellow colour on which there are

images of some super heroes with the inscription ‘The Indomitables’ written below their legs

in the blue colour with a touch of white colour. Semiotically, the mixture of orange and

yellow for the background represent youthfulness, energetic, healthy, strength and vitality

[Adams & Osgood (1973)]. The use of these colours for background by the brand implies that

the Indomie brand wants to create a kind of attention to the viewers of the billboard, thereby

using sharp colours in order to attract and call their attention to the qualities and features of

their product. The yellow colour in the background of the billboard is more like a golden

colour which shines and interests the viewers of the billboard. If we consider the colour to be

40
a yellow golden colour, the intention is to make people want to savour their product. Bright

colours are known to be appealing, and are commonly used in the kitchen. Therefore, the

brand puts forward the savoury quality of their product. With yellow being the colour of the

sun, which is rich in vitamin, the brand represents the product as one which is rich in

vitamins and other nutrients that can help in the growth and development of humans

irrespective of age group. This means that the human can derive strength and vitality which

bring about sound health and youthful look whenever they eat the Indomie Noodles.

At the top left corner of the billboard is the presentation of the image of the brand’s logo. The

background colour of the Indomie logo is a gradation of red, yellow and green. According to

Olateju et al, 2014, green may suggest nature, fertility and youth, red suggests strength and

yellow suggests vitality. On the background of the logo is a word “Indomie” written in big

italicised font and printed with blue colour with white outline. Here the use of blue in

presenting the products name may suggest intelligence and stability. The touch of white may

suggest purity and goodness. Here the representation of these colours as presented by the

brand may mean that the brand tries to give or show the viewers briefly the tasty qualities and

the good benefit of consuming their products. The brand tries to show the viewers through the

gradation of the colours that the product is made up of natural and pure ingredients which can

in one way or the other help in giving the human body the required strength and nourishment.

The touch of white on the blue which suggests purity may be used by the brand to clear the

mind(s) of the viewer(s) that nothing toxic or harmful is added to the ingredients rather a

product with natural ingredients which brings about healthiness. Also, the brand’s

presentation of the product name in bigger and italicised font may suggest that the product is

not an ordinary noodle, instead it is a brand of noodles which offers several important

benefits for human health unlike other noodle companies products. “Instant Noodles” is

written with white colour below the product name of a green background.

41
Also, the inscription “Instant Noodles” which is printed in white colour also calls attention

beyond the normal meaning. As a semiotic resource, white suggests truth and purity. As the

phrase is written on the billboard, from our intuition, the phrase connotes meanings. The first

meaning of the phrase suggests that Indomie is a product which is always available anytime

the consumers want to purchase it. It is a ready-made product that is up for sale anytime and

anywhere across the nation. The second intuition to the phrase is that Indomie is a fast food

which takes about three to five minutes to cook. It is a product that is available across the

country therefore serving as a means of uniting the people of the country and enhancing the

country’s productivity and fertility.

Some inscriptions on the billboard are written with the biggest font while directing these

inscriptions towards five (5) super heroes as they are presented on the billboard. According to

the research we have made, we have discovered that Indomie Instant Noodles is a household

name in Nigeria and since their main target is to stamp their authority as every child’s

favourite brand and by so doing they have decided to identify and come up with something

these children all love and that is cartoon (super hero). The result of coming up with

something cool for the children now leads to the birth of the five Indomie super heroes which

are represented and called “The Indomitables” on the billboard. Looking at the phrase “The

Indomitables” which is printed in blue with touch of white colour and presented in bigger

form makes it more obvious or easy to be discovered by the viewers. The word “Indomitable”

means undefeatable, unstoppable, or undaunted, that is, being full of strength, zeal. These

characters are children who eat Indomie Noodles and gain their super powers as a result of

the nutritional benefit of Indomie Noodles. This is aimed towards encouraging children to eat

only Indomie Noodles as they are sure to become super heroes like The Indomitable. The

word “Indomitable” is also similar to “Indomie” both in spelling and pronunciation. This

similarity makes the brand more preferable as children notice it and believe to become one of

42
the Indomitables. Just like the Indomitables, children are guaranteed strength, zeal, and

vitality when they eat only Indomie Noodles. The inscription “Come have fun with us!” is a

direct speech of the characters. This creates a sense of belonging to the consumers of Indomie

Noodles as they are invited exclusively by The Indomitable. The posture of the characters

shows they are energetic and having fun, hence, the inscription. By the inscription, it is

assumed that the viewers eat Indomie Noodles. This also pushes those who do not eat

Indomie noodles to start so as to be a part of the fun. The inscription implies a subtle

command, ordering children to eat Indomie Noodles. It has been discovered that the five (5)

superheroes/cartoons represent the amazing superpowers that match all the different nutrients

children get from eating Indomie Noodles. Starting with the first character of the superheroes

is the one called Bigboy. Mere looking at the physique of this character, we will discover that

Bigboy best suites this character. From head to toe, he represents the epitome of strength and

invincibility. He is presented in cloth of blue colour which is blended with a yellow colour.

The use of these colours semiotically calls the viewer’s attention to what is suggested by the

brand. His posture shows his high level of courage to attack and defeat any opponent or

circumstance that comes his way. The brand presents him to be the “strength and courage”

that is derived by the children whenever they eat Indomie noodles.

Next to Bigboy is Swifty, a female superhero who is presented as a character who represents

the power of speed and agility. Her yellow dress connotes strength, optimism and vitality.

She is presented as a character that is fully determined and well-focused in achieving her

goal. So as to show how determined and focused she is, the brand present the character to be

gazing directly at the viewers why the viewers also gaze directly at her therefore giving an

information to the viewers that they can be as agile and speedy as she is, if they are ready to

taste and feel the product that nourishes her body which is Indomie noodles. Her physique

represents her superpowers, speed and agility, which are parts of the benefits children get

43
from eating Indomie noodles. Next to Swifty is another female superhero called Tweeny. She

is also presented in yellow cloth, while semiotically representing the female gender as human

beings full of vitality, strength, and of optimistic nature. These show that Indomie noodles is

not produced only for the male child but it is a product which serves both male and female

giving their body the required nutrients. Her stretched hand and posture show that she is

unstoppable and has the power of invisibility as she can pass through any body as of “matter”

effortlessly. She shows how quick-witted the children can get when they eat Indomie

Noodles. Another male character on the billboard is Vision. His yellow cloth shows positive

connotations that he is full of strength, vitality and optimism just like the others. Through his

name, we discover how focused he is in achieving his dreams. The way he looks towards the

sky shows that the character is limitless in his pursuit of greatness and he is ready to use his

strength and energy in achieving that goal. His posture shows readiness. He is presented as a

character that has ultra-super sights and releases laser through his eyes. This character as a

semiotic resource represents the power of Indomie Noodles to give good sight, as it is rich in

vitamin A.

The last male character called Stretchy represents flexibility. He is presented as a character

that embodies the natural ability to take on any shape or form. The way he stretches his left

leg depicts how sophisticated and flexible his body is. The way his body is covered with

green colour indicates the naturalness of his strength, renewal of his energy and vitality. This

implies that he has been able to take any shape or form of his choice as a result of the good

Indomie Noodles which enriches his body with the necessary vitamins and minerals. Here,

the character is used to give an information to the viewer that Indomie is a product which

gives us nice body shapes and flexibility. Since it is made from natural ingredients, it is

capable of helping in building our body to the best shape that suit us. However, these five

Indomitables who serve mainly as the focus of the billboard have been created to inspire

44
children to achieve greatness and be superheroes in their everyday life. Although the

immediate audience is the children, this creative idea also serves as a means of advertising

the Indomie noodles to everyone irrespective of their age categories.

TEXT H

In the presentation of this billboard, different semiotic resources are put in place by the brand

so as to pass enough information to the viewers. It is discovered that all images and

inscriptions presented on the billboard serve as semiotic resources which communicate

different bits of meanings in an interactive manner to pass across the entire message of the

billboard. Starting with the background which is presented in no other colour but full red

colour suggests strength and brightness. The colour is also dominant in the logo of the brand

and has become their identity. The suggestion of strength in this discourse environment

means that Indomie Noodles is a product which gives the body the required energy and

complete nutrients when eaten. The suggestion of brightness describes the high rate of

attention and popularity Indomie noodles has gained in the country over the years as the best

noodle brand in Nigeria. So, the colour attracts the viewers to read over and understand the

information being passed across through the billboard about Indomie Noodles.

45
At the top centre of this billboard is the brand's logo, which includes the name and the

tagline. As discussed in the analysis of the former billboard, the background of the logo is

presented through the gradation of three different colours (red, yellow, and green). The red

colour here suggests Indomie Noodles as a product which serves as energy builder for the

body. The colour therefore shows the strength being derived from the product. The green

colour also suggests nature, agriculture, fertility and youth while the yellow colour depicts

vitality. A text or word which serves as the company's name is presented in italicised, bigger

font and printed in blue colour with white outline. The presentation of the brand's name in

blue colour suggests intelligence and stability of the company thereby telling the viewers that

Indomie Noodles is a product of quality. It also shows Indomie Noodles as a "here to stay"

product in Nigeria therefore showing the stability and relentless nature of the brand in

producing good and quality product for the customers which can never be shaken or

undermine by other noodle brands in the country. Putting the brand's name at the top centre

of the billboard shows that Indomie noodles is a household name which can be reckoned with

by everyone across the country. The placement of the brand's name and logo at the top centre

of the billboard indicates ideal and given values (Kress & van Leeuwen, 2006). Moreover, it

signifies that the product wants to be the model in its group. The white outline on the blue

colour shows the true value of what is suggested above. The use of italics for the word calls

the viewer's attention to the uniqueness of the product. Below the brand’s name is a phrase

“instant noodles”. Although this phrase is separated from the brand’s name, it is to be said

along with it. The phrase qualifies the brand’s name and describes the product in detail. It is

placed on the green background to show that the product which is “Noodles” is made of

organic ingredients. Under the logo is a tagline "Tasty Nutrition. Good For You" which is

printed in white colour. The colour shows the truthfulness in the presentation of the product

as a delicious product, full of pleasant flavour and resources which give the body the required

46
nutrients easily. Through the tagline, the viewers who are assumed to be their customers and

consumers are informed that the product is essential and good for their body because it tastes

delightfully, nourishes the body, and enhances growth. The pronoun “You” also indicates that

the product transcends across all age groups. The capitalisation of each word shows the

importance of the different words.

More also, another semiotic resource is located on the billboard presenting it as an inscription

boldly written with the biggest font of all and white colour. The inscription "You Like No

Other" is a catchphrase associated with the new Indomie products. It informs of the campaign

run by the brand to say that their consumers are unique and distinguishable in their own way.

It is placed at the centre of the billboard showing it as an important locus of the billboard.

The catchphrase literally means there is nobody like "you". "You'' here is used to suggest two

entities; the first is assumed to be a remark to the viewers considered as their customers,

thereby commending them and confirming their uniqueness. The second suggestion of the

inscription is in reference to the product itself. Below the catchphrase is an image of the

Indomie Noodles sachet which is presented in a mixture of green and yellow colours. The

presentation of the green colour as a semiotic resource is a pointer to the fact that Indomie is

made with natural agricultural products therefore giving insights to the viewers about the

product that it aids the body growth and helps in building youthful look. The colour yellow is

also used to express the richness of the product. The next after the Indomie Noodles sachet is

the image of a boy with an Indomie Noodles dish. The young boy is placed at the left bottom

corner of the billboard showing him as having a mouthful already in his hand. The boy gazes

directly at the viewers with a smiling expression. His facial expression depicts his mood and

shows he enjoys the dish. Gaze is regarded as one of the three important things in

viewer/image participant relationship in a text. The expression of the character's feeling is

shown through a close shot of his image suggesting his intimacy with the viewers. He is

47
presented in a fully grown black shiny hair. The black shiny hair may suggest sophistication,

class, and decency while his brown face may suggest brightness and youthfulness. His white

eyes and teeth show the true condition of his healthiness. All these things are used by the

brand to pass information to their targeted audience. Kress and van Leeuwen, (2006), note

that the relationship between the brand authors, advertisement creators, and the targeted

readership is reflected in the objects and script put on the billboard. The placement of young

character on the left bottom part suggests the real and given information about the functions

and features of the product (Kress & van Leeuwen, 2006). It presents the information to the

viewers that all the above suggestions of nutrients which aid body growth and development

can be got easily when Indomie Noodles is consumed by the customers. The use of English

language for the presentation of the billboard may likely be associated with the prestigious

status of English for commercial purposes (da Silva, 2014, Hsu, 2008; Martin, 2006). The use

of English however may not necessarily indicate that the major target readership is English-

speaking audience. It is a language used to carry everyone along because in the context of

Nigeria, it is a dominant and alternative language used in reaching out to and communicating

with people of different ethnic groups. We can imply that the primary target audience is the

child or young adult who wants good nutrition and healthiness which Indomie is sure to

provide.

48
TEXT I

This is another pack of Indomie Instant Noodles called HUNGRY MAN SIZE. The logo of

Indomie is at the top right hand side of the billboard. The colour coordination is deployed as

salient mechanism to establish correlations and to interpret the hidden meaning as well as the

importance of the product. A picture of a man is seen with his mouth widely opened. Also a

picture of a well prepared Hungry man size Indomie instant noodles is placed in his front.

This means that the man is really hungry and the only type of Instant noodles that can satisfy

his hunger is the new product, HUNGRY MAN SIZE. The cooked Indomie is well garnished

with chicken, egg and other important sauces. The bowl of Indomie is obviously big yet good

seasonings are not missing inside it.

The words YOU WANTED MORE, YOU HAVE MORE are written in capital letter in a

foregrounded manner. These words are not just written but envision the fact that it is like an

answer to the question of the consumers. Normal Indomie noodles that has been produced

earlier are discovered not to have satisfied many people so the unconscious request to make

bigger ones. Note that in the words written in capital letters, MORE is made to be bolder and

written on a single line compared to others. This portrays that the products is an addition to

what has being in existence already, no distinct feature except in size.

At the extreme right side of the billboard is the exact picture of how the new pack product

exactly is. This is made to aid the consumer in case they needed to buy the pack. HUNGRY

49
MAN SIZE is inscribed on the product nylon at one side with a different colour ink. The

word is written in blue, a colour known to interpret intelligence, stability and conservatism.

This means that you get to be stable and recover from your hunger state after the new

Indomie instant noodles pack.

TEXT J

The billboard advertises another pack of Indomie- Super Pack. The logo of the Indomie

brand is placed at the top left corner suggesting the image of the brand. The billboard

however is made to have an efficient advert impression on the customers as it deploys

represented participants which is important in semiotic analysis. The picture of the mother

and daughter with a smile on both their faces suggests the happiness and love associated with

a mother-child relationship. Above the picture is the inscription BE ORIGINAL, written in

yellow which hints at the happiness and excitement attached to a mother’s love. The

inscription is written in upper case to suggest emphasis and it implies that the viewers should

be true to themselves as well as the family and the society at large. By the left side of the

picture is the inscription LIKE NO OTHER is written in white (white is known for

truthfulness) which further accepts the mother-child relationship as one like no other and

cannot be compared to anything else in the society. This can also be said that Indomie as a

noodles cannot be compared to any other noodles.

50
Also on the billboard is a picture of the advertised noodles, the super pack. The name is

etched on a significant emblem-like blue background and this depicts the integrity of the pack

size among all other Indomie packs. The blue background is further made to settle on a

picture of the noodles when served. The noodle is served in a white plate which indicates that

the pack is true to itself as well as the customers.

By the left edge of the picture of the noodles pack is a tag which says BUY. This hints at the

sole aim of creating the billboard which is to get people to patronise the brand and buy the

product.

The background of the billboard is a gradation of red colour which indicates the love brought

to be society by a mother’s love, especially a mother who further shows love by nurturing a

child with the super pack Indomie product.

51
 CHAPTER FOUR

SUMMARY, FINDINGS AND CONCLUSION

INTRODUCTION

This chapter of the research is the concluding part which entails summary of the work,

findings and conclusion.

SUMMARY

This research work contains four chapters. The first chapter is an introduction to the

background to the study, statement of research, aim and objectives, scope of the study,

significance and expected contributions to knowledge. The methodology presents the

procedures employed for data gathering and research work. The sampling method was

selected for adequate information about data collection.

The second chapter explores the literature review of the work. The theoretical framework and

review of related work. The theory of social semiotics is adopted in analysing the signs that

consists the handbills and billboards.

FINDINGS

The findings of this work is based on handbills and billboards of Indomie noodles. Their

modes of advertising through the combination of colours and images as represented

participants, composition, interaction and modality.

CONCLUSION

The logical deduction gotten from the analysis of Indomie billboards and handbills

advertisements is Indomie company that has a firmly rooted herself in the Nigerian noodles

business, making products for children and adult which foster growth and happiness. The

52
lucidity gotten from the semiotic analysis of these are to boldly proclaim the fact that

Indomie is a reputable brand, her transparency, values and ability to produce variety of top-

notch products makes it unravelled and a company whose continuous rise cannot be envisage.

53
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 APPENDIX
TEXT A

TEXT B

61
TEXT C

62
TEXT D

TEXT E

63
64
TEXT F

65
TEXT G

TEXT H

66
TEXT I

TEXT J

67