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Abstract
Candidate No: 632554 Module No: LE3014
Abstract
This study conducts a multimodal analysis on Apple adverts published between
2001 and 2015. Deviating from the idea that language always plays the central
role in language, whilst accepting that it often does, this study synthesizes visual
and lexical analysis to demonstrate that textual and visual signs are among social
adverts. Adopting Kress and Van Leeuwen’s (2001) Social Semiotic framework,
word, colour and numerous other semiotic modes through which social meanings
within Apple adverts. Simultaneously, it aims to probe the hypothesis that there
exists a visual syntax and that social semiotic reference occupies a pivotal point
the processing of signs intends to reveal the implicit messages Apple intends to
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Acknowledgements
I would like to personally thank Dr Urszula Clark for engaging with my research
I would also like to extend recognition to Russell Printers Ltd for their professional
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Abbreviations……………………………………………………… 6
Introduction………………………………………………………… 7-8
Literature Review
Advertising………………………………………………. 12-13
Signs in Advertising…………………………………….. 20
Multimodality…………………………………………….. 20-21
Personification…………………………………………… 24-25
Methodology
Data Collection…………………………………………… 26
Ethics……………………………………………………… 27
Data Limitations………………………………………….. 27
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Results/Analysis
Campaigns:
Discussion………………………………………………………………..
Discourse…………………………………………………. 61-63
Conclusion………………………………………………………………. 65-68
Bibliography…………………………………………………………….. 69-83
Appendices……………………………………………………………….
Vector lines:
Figure 3…………………………………………………… 85
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Abbreviations
Advert – ad
Figure – Fig
1
1 Please note: This dissertation was typed on Microsoft Word that is set to
American spelling by default. Therefore, some American spellings will ensue.
However, I am aware that the American spellings used in this paper have been
standardized in the Oxford Dictionary e.g. personalized (personalised)
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Introduction
This research is centred upon a multimodal analysis of advertisements used to
“the greatest art form of the 20th century” (McLuhan et al., 2008) and his claim
has since been resonated by linguists including Gillian Dyer (1982), Guy Cook
complex interactional media that embraces ideological function and much like art,
recognize that its concept can be decoded and its effects fully appreciated. Many
to its objective, something that can be reduced to language and fully appreciated
through semiotics.
the most valuable brand worldwide (Badenhausen, 2014). Apple’s high level of
brand loyalty is considered rare for any product. In 2014, Jonathon Ive (Senior
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Sculley (Apple CEO, 1983–1993) told The Guardian newspaper in 1997 "People
talk about technology, but Apple was a marketing company. It was the marketing
promotion, arguably further resembling a form of art. Its unique influence over
consumers and the “relationships” people share with Apple products, together
with its current dominance in the technological era, establishes Apple’s marketing
as an intriguing field for a linguist to explore and has motivated this study
accordingly. It begs the questions therefore, how does Apple represent its
interpret from them and ultimately, what effect(s) is this likely to have on the way
investigation.
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adverts published between 2001 (Subsequent to the iPods release) and the
present date. The rational for reviewing this time period specifically is based on
ii) Are there any reoccurring themes that can be identified within the
adverts?
Deviating from the idea that language always plays the central role in interaction,
“without denying that it often does” (Norris, 2004: 3), a multimodal analysis will
are coded will be analyzed. Drawing on Kress and Van Leeuwen’s (2001) Social
Semiotic framework, the signs present in the adverts will be analyzed for
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“ideational”, “interpersonal” and “textual meaning” (Kress & Van Leeuwen, 2001).
its products. This will allow the prevailing connotations to be highlighted and
Harrison (2003) and Dillon (2006). This will justify the reasons as to why the
discussion will ensue with regards to what effect(s) these connotations intend to
connoted (Implicit) level will be attended to, echoing the works of Ronald Barthes
(1977) who has distinctly studied advertising from the perspective of sign theory.
Mark Johnson (2003) and Stephen Brown (2011) will be referred to. This will
products. These textual elements will be explored in the adverts and evaluated
accordingly with regards to how such lexical choices represent Apple products.
Thereafter, conclusions will be drawn based upon how they interact with the
will also be attended to, both in terms of the messages they aim to transmit to
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consumers about Apple products and how these connotations reflect the
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Literature review
Advertising
respectively as central and peripheral cues” (Mick et al., 2004: 23). The nature of
(Cook, 2001: 5, Dyer, 1986: 129, Durant & Lambrou 2009: 93). Since the
beginning of the 20th century, “advertising has developed into a privileged form
of social discourse that has unparalleled rhetorical force” (Beasley & Danesi,
understanding the world, “particularly through which the arbitrary and culturally
theorize and investigate (Nöth, 1990: 92-102; Ogden & Richards, 1923; Schirato,
1998).
(Mick et al., 2004: 20-21). This lead to a significant lack of progress made in
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Introduction to Semiotics
Signs, or “semiotic resources” (Berger, 2010: 11), are a “fusion of form and
meaning” (Kress, 2010:54). Signs are ideological (Voloshinov, 1973: 10), they
colours, gestures and objects are all considered signs. Ferdinand Saussure and
Charles Pierce are deemed two key figures in the early development of
about advertising from the perspective of sign theory” (Beasley & Danesi, 2002:
22).
Saussure took a social approach to the study of signs. His dyadic model
suggested that arbitrary signs construct language and these can be separated
into two parts. “A sign is made up of the signifier, a material vehicle and the
understood as having “meaning potential but not actual meaning” (Dyer, 1996:
118). Whereas the signified is recognized as “the concept or meaning which the
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signifier refers to” (Dyer, 1996: 118). The signifier and the signified are “materially
(2010: 61).
them to define reality in a particular way” (Machin, 2007. 13). It makes sense
“even though they might not have heard of the science” (Berger, 2010: 71).
“unmask the arrays of hidden meanings in the underlying level” (Beasley &
terms of meaning” (Mick et al., 2004: 23) offers valuable insight into the ways in
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Reading Images/Signs
Saussure’s theory of semiotic analysis for the study of language and applied it to
the study of images. He argued that all images are “polysemous” (Barthes,
1977:156) and concluded, “there exist two levels of interpretation of the linguistic
meaning” (2007: 128). For this reason alone, Baudrillard has accused advertising
as being an “entirely useless and unnecessary universe” (1998: 164) that exudes
“pure connotation” (1998: 164). Machin declared, “it is these associations that
connote particular ideas and values” (2007: 25) about the advertised brand or
(Dyer, 1982: 128) and referred to these connotative meanings as “myths” (1973).
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Despite the duality Barthes draws between denotation and connotation in the
by any sign could ever be complete” (1996: 83). This questions the validly of
Conversely to those who have denied the existence of a visual literacy, Kress
and Van Leeuwen have argued that just as “grammar is a means of representing
is also true for the “Grammar of Visual Design” (2006). From this perspective,
meaning is not always infused with subjectivity since there do exist neutral,
objective descriptions of meaning which are agreed upon within a certain culture.
Kress and Van Leeuwen’s (2001) framework realizes that the visual mode is
functional linguistics, they apply them to the visual mode, claiming that an image
can create “ideational”, “interpersonal” and “textual meaning” (Kress & Van
Leeuwen, 2001).
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(Stokes, 2013: 125). He believed that words govern the meaning of the images
2). Van Leeuwen (2005) uses the analogy of an orchestra, comparing the
lexical and visual aspects are experienced in unison and become one
more recent theories however, which have emphasized how “readers, rather than
isolation from its discursive context” (1991: 9). This revised understanding stems
meaning that will be realized “depends on the context – on who ‘reads’, where,
Iconographic Symbolism
visual composition represent people, values or ideas” (2007: 39). Vihma (1995)
indices, and symbols that are purposely chosen to serve particular semantic
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functions. She proposed how certain iconic qualities can influence a reader’s
sleek, forward-leaning iron can appear like a fast vehicle” (Mick et al., 2004: 12).
proposed that, “thick and angular letters, as opposed to slim and curved, will
communicate the quality of durability” (2007: 21). Van Leeuwen suggested how
value (2001). Panofsky asserted that it is impossible to trace the origins of such
trace the origins of the kind of values that become loaded onto a symbol” (2007:
40). It is these values that are responsible for manipulating social signs since
they are not arbitrary but ideologically loaded. Ultimately, this is what social
Visual Metaphor
guides and framings for thinking” (2010: 30). McQuarrie et al. (2013: 9) explain
the implicit nature of the visual message and the cognitive elaboration they
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Visual metaphors are considered advantageous for the advertiser because they
inject novelty, thus creating a stimulus for processing the ad (Goodstein 1993).
There remains however lively debate concerning whether any difference exists
some researchers have argued how metaphor does not arise at the surface level
of signification (i.e., pictures versus words), but rather at the level of logical
Peircean semiotics, which promotes the idea that “meaning is not passively
absorbed but arises only in the active process of interpretation” (Chandler, 2007).
forms of social interaction” (2006). Scott has argued for a theory of visual rhetoric
therefore remains for this study to investigate the contrasting and interrelating
effects of visual and lexical metaphor presented in the Apple ads, specifically in
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Signs in Advertising
Barthes argued, “the semiotic study of the persuasive signs used by advertisers
had profound implications for understanding modern cultures” (Beasley & Danesi,
seeing ourselves and the world” (2010). In light of this, it is clear why advertisers
youthfulness, success, status, luxury, fashion and beauty” (Beasley & Danesi,
2002: 27). Machin has stressed that advertisements typically resonate moral
values of capitalism, where product ranges are related with precisely these kinds
but hope” (2014: 331). The premise that guides semiotic analysis is that the
body and the human psyche” (Beasley and Danesi, 2002: 27). This explains why
Multimodality
engineered in such a way so that it achieves its purpose (O’Toole, 1994; Kress &
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as more than language” (Jewitt, C, 2014). It strives to makes sense of that which
is taken for granted and achieves this through drawing on semiotic resources by
(Thwaites, et al., 1994: 7, Thwaites & Davis, 2002: 9; Chandler, 2007). Although
multimodality can clarify what modes are used, “it cannot tell us about this
difference in style; it has no means to tell us what that difference might mean”
answer questions about the semantic implications that arise from interpreting
Linguistic Metaphor
language alone. Lakoff and Johnson’s (1980; 2003) book, ‘Metaphors We Live
By’, amplified Reddy’s earlier vision, revealing fascinating insight into the
action” (1980: 3). This gave rise to the contemporary theory that “metaphor is
and language” (Lakoff, 1993). According to Lakoff and Johnson, the most
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poetry.
Zhang and Gao noted how “advertisers have increasingly used conceptual
their products” (2009: 97). Leiss et al., consider metaphor “the very heart of the
McQuarrie et al., it is rare to find adverts that do not convey metaphor in at least
some capacity. “If the picture is straightforward, then the headline may be
between the domain of the advertised item and other domains’’ (Ungerer, 2000:
relating to attempts at naming and capturing “the essence of the alterations and
distinct, positive inferences about the advertised brand” (2005: 8). This goes
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636). Stern pointed out that a significant proportion of the intended audience
does not always comprehend the intended meaning of the metaphor (1988). This
Decoding the embedded meanings in Apple adverts will reveal why conceptual
Previous research into the use of metaphor in advertising has been somewhat
of metaphor in advertising, it does little to explain how they operate, or how they
synthesize effectively for the purpose of convincing the reader into adopting an
intended idea (Hermerén, 1999; Fan Yingxia, 2008). Those studies that have
deriving strong and weak implicatures and not regarded it as mappings across
conceptual domains (e.g. Wu Xiuming, 2007)” (Zhang & Gao, 2009: 97).
Kress et al., acknowledged how some things can be only expressed visually,
others only verbally, “but when something can only be said both visually and
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amalgamation of total semantic stimulus occurs and what effect this is likely to
able to deduce the varying ways through which “ideologically loaded” (Fairclough,
1989; Hines, 1999) signs are coded and how they interact with textual elements.
Personification
Brown offers the concise definition of personification as, “the figure of speech that
the object as a living thing. Recent attention has been directed towards the
al, 2011; Brown, 2011; McQuarrie & Mick, 1996; Toncar & Munch, 2001; Aaker,
world is reliant on figurative thinking” (Durgee et al., 2006) and it is clear that the
yogurts” (Brown, 2011) account for some of the familiar various personifications
that frequently transpire. These examples realize the notion that all forms of
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attributions of brand personality, and greater brand liking” (Delbaere et al., 2011:
121). Fleck et al. claimed, “personifying a brand through the use of spokespeople
is a strategy that some companies use to humanize their brands” (2014: 84). In
particular, it has been noted that advertisers personify the brand with human like
traits that are especially appealing to the brands target demographic (Aaker,
1997; Fournier, 1998). This allows a brand to both “differentiate itself from others,
al., 2005; Fleck et al., 2014). This suggests that an emphasis towards
conveyed. This gap in the research provides fertile ground for investigating in
present in Apple adverts. Asking how rather than why is a more recent and
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Methodology
Data Collection
In order to conduct a multimodal analysis over fifty Apple adverts were reviewed.
Seven were finally selected to form the primary dataset for the analysis. This was
product. This ensured that the analysis would be representative of the entire
Apple brand over the previous fifteen years and avoid limiting the conclusions
that could be drawn. Adverts which remain in current distribution were extracted
online through the official Apple website. Expired Apple adverts, dating back to
no earlier than 2001, were obtained via Google searches. A number was
adverts. For the sake of convenience and referral, the analysis and the results
section were presented simultaneously. This enabled the analysis of each advert
to follow respective of the order in which the adverts occur within the analysis.
The relevant literature was accessed through Aston University library, Aston
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Ethics
Data limitations
Social semiotics makes certain questions easier to answer about the meaning of
personally selected the data for this study. Consequently, the objectivity of the
Data Analysis
The chosen social semiotic framework for this study relies on Kress and Van
the adverts and particularly, how these signs convey the theme of
who has distinctly studied advertising from the perspective of sign theory.
Essentially, both the denoted and connoted level of meaning is attended to when
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appraised semioticans including David Machin (2007), Claire Harrison (2003) and
to identify and analyze the reoccurring themes present in Apple adverts. Attention
that inherently arise from them. These symbolic features are scrutinized
their lexical denotation and how their usage contributes to portraying Apple
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Results/Analysis
iPod – 2001 Figure 1
Brief
This advertising campaign for iPod debuted in 2001. It marked the beginning of
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the craftsmanship of the product. The Silhouette campaign shifted the focus from
urging consumers to purchase the device to asking them to "buy the emotion"
(Segal, 2012).
Colour
Designers at the Poynter Institute have argued how, “we respond to colour in
create moods that enhance meaning” (1991). Apple uses colour to connote the
70). This exaggerates the symbolism each colour conveys. Essentially, colour is
used to convey “ideational meaning” (Kress and Van Leeuwen, 2006), exhibiting
an emotional response between the silhouettes and the music they are each
consuming. This personalizes the iPod to each silhouette and is likely to have a
Machin has argued how “colour can denote specific people” (2007: 64). The
silhouettes feature two males and two females. Whilst the colours remain generic
to appeal to the viewer, arguably, they are stereotypically gendered and come to
signify the characteristics of each silhouette. This captures the distilled essence
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individuals rather than the intrinsic qualities of the product. Whilst the blue
background reflects the tranquil pose, the green corresponds to the vigorous
responses.
Colour is used as a way of “framing” (Kress and Van Leeuwen, 2006) the
Presenting four different poses occupying their own space conveys the notion
that the same product is being repeatedly modified for the person in control of the
Composition
language” (2003: 55). The silhouettes are centred within each square of the
composition and occupy the most amount of space. Increasing their “salience”
(Kress & Van Leeuwen, 1996) depicts them as the most important aspect since
they have “central symbolic value in the composition” (Machin, 2007:130). Apple
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Gesture
The ad relies heavily on the poses of the silhouettes clutching the iPod in an
The pose of each figure is different and signifies the varying types of music they
itself with the transference of this emotional distribution. Signifying what the
product will deliver rather than how it will work, implicitly asks the consumer to
Vector
Kress and Van Leeuwen understand vectors as “visual verbs” (1996). Two
silhouettes. The hands of the male and female in both the top and bottom
squares align with each other in a way that suggests they could be dancing with
one another (see appendix). Reverberating the emotional connection across the
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Modality
be” (2007: 46). This is why Van Leeuwen understands modality as a social
that it is not a matter of asking, “how true is this?” but rather, “as how true is it
represented?” (Van Leeuwen, 2005: 160). The lack of detail establishes a low
modality and generates an ad that is more consistent with fantasy than realism
because it deviates from authenticity. The silhouetted figures inhibit the viewer
from being exposed to any facial expression, whilst the absence of background
Signifying their emotions whilst concealing their identities and settings represents
this evaluation, I argue that such a depiction encourages the viewer to align
identical poses could possibly render. This is because “the more abstract the
image, the more overt and foregrounded its connotative commutative purpose”
(Machin, 2007: 26). The viewer is therefore invited to envisage having as much
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Brief
In 2007 it won the Grand Effie Award and later in 2010 Adweek declared "Get a
Mac" to be the best advertising campaign of the first decade of the new century.
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Image
“For Barthes, the elements in a photograph will have their meaning because what
traditionalism. Apple employs this notion to signify the essence of PC’s, alluding
to both the old fashioned nature of such computers and their respective users.
Meanwhile, the Mac person sports a casual look with an unzipped jacket and
facial hair. Essentially, Apple is comparing boring, unfashionable and out dated
their respective users. Arguably, their clothing intends to connote their separate
jobs, since one can infer that suits are generally worn to work. The viewer is
therefore directed into visualizing the Mac user as operating within a creative
Personifying the computers allows the viewer to “make sense of, or attain
mastery of, uncertainty” (Waitz, et al., 2010). Displaying an image of the Mac
next to a PC would significantly reduce the ideational impact of this advert, since
explanatory power of the only sort that makes sense to most people (Lakoff &
Johnson, 2003: 34). According to Aaker (1997) and Fournier (1998), advertisers
typically personify the brand with human like traits that are especially appealing
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“Pictures implicate even more associations and meaning which could be hardly
defining the essence of things in ways that may not be anything like a visual
equivalent of language (Dillon, 2006). Consequently, the phrases “I’m a PC” and
“I’m a Mac” “anchor” (Bathes, 1984) the meaning of the image and suffice for the
Gesture
The human face has been noted as “one of the most powerful resources in visual
imagery because people are ‘hard-wired’ from infancy to study faces and their
arm. Meanwhile, the Mac user connotes confidence and serenity, evidenced by
placing his hands in pockets and keeping a closed mouth, thus not feeling an
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Brief
The “Say Hello to iPhone” campaign circulated in 2007 and promoted the fifth
generation iPhone. By now, emphasis had shifted back to the aesthetic nature of
people.
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Although it is more common for humans to create image “demands” (Kress &
resource that positions the viewer in this context. Whilst the central iPhone is
“depicted as looking at the viewer” (Machin, 2007: 110), the two either side are
viewer, whilst the remaining iPhones make an “offer” (Kress & Van Leeuwen,
1996: 124).
line for their opportunity to be greeted. They offer information and allow the
viewer to evaluate the product and its multiple functions (Machin, 2007: 112).
This factor is further enhanced by the women’s gaze presented within the iPhone
towards the right, which makes no symbolic contact (interaction) with the viewer
and thus, no demand. The pending phone call on the far right supplements the
personified idea of the obliquely angled iPhones waiting for their turn to be
greeted, since one can infer that a pending phone call anticipates an imminent
salutation.
Meanwhile, the central iPhone metaphorically demands that the reader “say
hello”, inviting the viewer to align with the product. This serves an “interpersonal
function” (Kress & Van Leeuwen, 2001) by acting upon the viewer. Hartley has
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shown how looking at the viewer, or the right to do so, in itself suggests power
(1982). This signifies the iPhone as strong and dominant. The close distance of
the image foregrounds the iPhone and further contributes to this sense of
intimacy between the product and the viewer, whereby the viewer is invited into a
relationship with the product. Kress and Van Leeuwen interpret frontal angles as,
“what you see here is part of our world, something we are involved with” (1996:
143). This establishes a connection between the product and user, representing
evocative of a human.
Text
acts as a pun, demanding the reader “say hello” to the iPhone, rather than the
2011:3). Ultimately, the image and headline work together to form a “coherent
and meaningful whole” (Kress & Van Leeuwen, 1998: 188). Therefore, in this
case the words “anchor” (Barthes, 1977) the meaning of the image and hence,
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Colour
The colour of the font echoes the colour of the iPhones outer casing. This serves
a “textual function” (Kress & Van Leeuwen, 2002) by grouping the iPhones with
the slogan. Machin claims “advertisements typically use the same colour for the
more “flowing” and “cohesive layout” (Machin, 2007: 67). In this case, its function
is to establish the connection between the command and the product, urging the
Vector
An eyeliner vector can be appreciated extending from the women’s eyes across
to the man displayed in the newspaper article (see appendix). This further
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Brief
The iPhone 5 campaign circulated in 2007 and promoted the fifth generation
iPhone.
Image
The iPhone that features an image of a person laughing takes precedence over
intended affection the viewer is encouraged to affiliate with the product. The
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Colour
Ivry and Robertson demonstrated how the whole is perceived before the parts in
visual imagery (1998). The scattering of bright colours throughout the minimalistic
composition rests on the experiences one shares with dark and light colours
(Lakoff & Johnson, 2003). Machin points out that the same metaphorical
associations can be found in language, where truth, happiness and love are
associated with brightness, whilst deceit, sadness and evil are associated with
darkness (2007: 70). Apple uses bright and cheerful colours to signify positive
connotations. This serves an “ideational function” (Kress & Van Leeuwen, 2001),
throughout the ad. The viewer is therefore intended to identify these emotions
2001), guiding the reader’s attention directly to the product name, which in itself
establishes the personalized ethos of the brand. I base this argument on the
hypothesis that Apple coined this neologism (iPhone) in order to signify the
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The iconic Apple Symbols font is round and curvature, connoting Apple products
softness, smoothness, fluidity and ease” (2007: 99). These connotations intend to
reflect the slogan “Loving it is easy”. I take the emotive adjective “loving” in this
context to mean both, “using frequently” and “adoring its essence”. That is to say,
when one is affectionate about someone, or in this case something, they want to
be united. The delight that arises from its user-friendliness results in people
“loving it” habitually. The intensifier “so” emphasizes the extent of people who
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Brief
This is a screenshot taken from the Apple website featuring the MacBook Pro
Text
Using direct address through the personal pronoun “you”, the slogan invites the
reader to gaze into the image of the MacBook in an almost mesmerized way,
implying that the product’s visual desirability increases upon sustained viewing.
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Image
(Kress & Van Leeuwen, 1996: 124) and invites the viewer to evaluate the
aesthetic nature of the product. Crucially, the oblique angle gives depth to the
composition and works in harmony with the slogan, which encourages the viewer
to look deep into the image. Engaging the viewer in this way creates an intimate
and personal connection between the product and the viewer. Essentially, focus
towards the Apple logo is established by guiding the reader towards this iconic
symbol, which is placed (centrally) at eye level deep within the composition. The
Iconographic symbolism
Machin asserts that product logos can come to represent particular ideas and
values. (Machin, 2007:39). Beasley and Danesi interpret the Apple logo as “a
symbolic gesture clearly charged with latent religious connotations...” (Adam and
Eve), “…symbolizing the fact that it, too, provides ‘forbidden’ knowledge to those
who buy and use its products” (2002: 61). I argue that such religious inferences
also connote rebellion and liberty, associations strongly correlated with human
philosophy away from the conventionalized nature of PC. This allows its users to
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Modality
Kress and Van Leeuwen argue that modality is not about expressing absolute
truths but rather about aligning viewers with some truths and distancing them
from others (1996). The complete absence of detail in the background lowers the
modality and performs an “interpersonal function” (Kress & Van Leeuwen, 2001),
maintaining exclusive interaction between the product and the viewer. This is
aesthetic of the product remains the explicit focus of the ad. Machin points out
that modality in images is a key resource for “representing things, places, people
and ideas as if they are not quite real but rather as vague notions or fantasies”
(2007: 48).
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Brief
This is a screenshot taken from the Apple website featuring the ‘iMac with Retina
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Brief
This is a screenshot taken from the Apple website. It features the iMac with
Linguistic Metaphor
connotes the superlative nature of the product, since no screen resolution can be
perceived more accurately than what is essentially used to view it in the first
place.
In the product description it states, “there’s a very powerful mac behind all those
pixels.” This declarative acts literally in terms of the products technical capacity,
below.
Image
Horn argues, readers no longer rely solely on written text for comprehension;
“they absorb and process all that they see within a document to create meaning
for themselves” (1999). The low-angle image of the skier, who looks down on and
makes direct eye contact with the viewer, transmits power and dominance
(Hartely, 1982). Machin and Thornborrow demonstrated how “poses and the
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values they transport are used as a significant part of branding” (2006). The
skier’s arms are drawn wide and the action performed connotes impressive skill
and power. This factor is embellished by the suns glare, which radiates brightly
from behind the skier, further resonating supreme power. These connotations
capture the distilled essence of the product and give the impression of a powerful
sentient being (the skier) operating inside the machine, responsible for delivering
The images displayed within the computer screens below, which are explicitly
referred to as “the rest of the iMac family”, continue to reverberate the theme of
personalization. The iMac on the left is noticeably smaller than the one on the
right. This connotes parent and child, husband and wife, or any other respective
variant of this nature. The image of the female on the left characterizes that
particular iMac, whilst the image on the right signifies family orientation. It
invited to “meet” these two iMac’s as if they were a genuine human family. The
declarative which accompanies these two iMac’s states, “there’s an all-in one for
Composition
Kress and Van Leeuwen argue that placing elements at the top in a composition
presents this information as “ideal” (1996: 193). This theory is consistent with the
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(Lakoff & Johnson, 2003). Machin explains that ‘high’ suggests power, as in, “Her
Highness”, “upper class” and “top of the class” (Machin, 2007: 145), all of which
The image of the skier is placed at the top of the composition. This information is
thereby generalizing and idealizing the concept of power. The skier, who
naturally is in a heightened position due to the low-angle shot, aligns this notion,
thereby bringing harmony to the composition. Machin notes how “the ‘ideal’
ideological concept is offered. In this context, Apple sells the fantasy of “power”,
the iMac. Apple uses a photograph to capture this essence because of the high
modality that photographs naturally exhibit. This allows the “ideal” (Machin, 2007:
145) to be depicted, “not as what might be, but as what is (that is, the truth)”
(Harrison, 2003: 56). Ultimately, this confirms the notion that the iMac is
exposed in the bottom half of the composition. A more distant shot of the
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product. This conveys more factual information and invites the reader to evaluate
the product (Kress & Van Leeuwen, 1996: 193). Essentially, the image at the
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Brief
The final ad promotes the forthcoming launch of the Apple Watch. This
screenshot was extracted from the Apple website. Although spread over two
Text
The declarative in the top description states, “Apple Watch represents a new
chapter in the relationship people share with Apple products.” Lakoff and
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metaphor “LOVE IS A JOURNEY” (Lakoff & Johnson, 2003: 44), implying that the
latest Apple product instigates the next phase of the “relationship” people share
with Apple products. This personifies the product, establishing it as a person who
shares a “relationship” with its user. It also verifies the assertion that
“metaphorical concepts are defined not in terms of concrete images, but in terms
of more general categories, like passing” (Lakoff & Johnson, 2003:45). This is
likely to have a positive effect of the reader since a watch is attached to the wrist,
thus the impression of an emotional and perpetual bond between product and
user is established.
The slogan in the bottom section refers to the watch as “An intelligent health and
fitness companion”. Miller has noted how cars are also frequently treated as
friendliness. In the description it states, “Apple Watch can use what it learns
about the way you move…” The watch itself is depicted as being able to
“intelligent companion”.
Image
way to connect”, displays two watches that are angled in a way suggestive of
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engaging in sexual intimacy. The watch on the left is assigned a name (Jody
Akana), thereby characterizing that particular watch. The watch on the right has
its camera activated and hence, a blue light appears on the watches face.
According to Kress and Van Leeuwen “when something can only be said both
visually and verbally the way in which it is said will be different” (2006). In this
case, the slogan “anchors” (Barthes, 1977) the prevailing connotation of the
another. Revealing either the image or the slogan in isolation would fail to
transmit the personified connotation since the visual and textual elements work
together to form a “coherent and meaningful whole” (Kress & Van Leeuwen,
1998: 188).
Composition
between the slogan and image in each section. Integrating these compositional
elements realizes the link between the personified slogans and the
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Discussion
Does a “Visual Grammar” Exist?
I argue in favour of Kress and Van Leeuwen’s theory that there remain
language, clearly satisfies the “basic functions of language” (Machin, 2007: 64).
the composition. In that case, colour serves an “ideational function” (Kress & Van
performs a “textual function” (Kress & Van Leeuwen, 2001), framing the
silhouettes into their separate spaces. This individualizes the iPod to each
demand on the viewer and the emboldening of the font in iPhone 5 (Figure 4),
both serve “interpersonal functions” (Kress & Van Leeuwen, 2001), drawing the
reader’s attention to the pivotal elements of the adverts. Crucially, in each case
orchestrate these ideas and interactions into coherent and meaningful texts by
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foregrounded and makes symbolic contact with the viewer demanding that the
viewer acknowledge it like a person. Arguably however, this “demand” (Kress &
Van Leeuwen, 2001) largely relies on the imperative command displayed in the
slogan above. Thus, it may be unrealistic to suggest that the meaning of this
convincing example is evident in Figure 6 where the iMacs placed in the bottom
half of the composition are obliquely angled, thus making an “offer” (Kress & Van
Leeuwen, 2001) which invites the viewer to evaluate the product. In this respect,
the images in the adverts are operating in much the same way as speech acts by
by the imperative mood, an offer can be realized by the indicative mood. This
establishes particular kinds of relationships between the product and the reader,
Worth notes that although pictures are effective in depicting what is, they cannot
(Machin, 2007: 171). For this reason, images rely heavily on language to
“anchor” (Barthes, 1997) intended meanings and I accept that this was frequently
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the case in the analysis. It would therefore be naïve to suggest that visual
demonstrated in Figure 3 where the caption realizes the symbolic demand the
intimacy. Without the caption in either case, the viewer may struggle to realize
the semantic implications of the ad. This realization explains why Forceville
believes that Kress and Van Leeuwen arrive at their proclaimed existence of a
context through providing textual information and then satisfies the personalized
In other cases, the visual elements operate by enhancing the linguistic meaning.
That is to say, the visual and textual elements do not so much rely on each other,
but rather the amalgamation of both visual and textual signs amplify the intended
“idealized” (Machin, 2007), reinforces and illustrates the message of the textual
image itself connotes supreme power and emphasizes the distilled essence of
the product by functioning in unison with text. In this way, the product is
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personified as wholly omnipotent with this central theme transpiring through both
orientated visual signs. Again, the textual and visual signs function in harmony to
cannot, the same is also true in reverse (Dillon, 2006). This is illustrated in Figure
2 where the image signifies the stylishness and competence of Mac’s compared
through their clothing and performed gestures, which are the result of socially
engineered signs that are agreed upon within Western culture. This has
unparalleled rhetorical force on the viewer to that which words alone would fail to
Figure 1, Apple sells the emotion and personality traits of the silhouettes. Merely
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representing their enthralled poses suffices to promote the joy of listening to the
iPod. Words alone would struggle to capture this meaning in either of these
cases, especially in an effective and immediate way. Exhibiting the pleasure that
arises from experiencing the iPod sells the “emotion” (Segal, 2012) rather than
the product and consumers are more likely to identify with this than the intrinsic
circle, claiming that it reveals “circleness” more easily than could be described
with language. On this basis, it may be more reasonable to agree with Elkins who
because frequent exposure has familiarized readers how to interpret its content
and significance. However, there remain many kinds of images that readers are
(Elkins, 2003) and thus, the existence of a visual literacy is significantly impaired.
The vast application of its merit has lead to semiotics often being criticized as
discipline” (Chandler, 2007). This is a problem for Huxley, who states, “our
universities possess no chair of synthesis” (1941: 276). However, Kress and Van
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Leeuwen have gone as far to say that, “‘Visual literacy’ will begin to be a matter
for semiotics to cross over into other disciplines and a call to enrich its theoretical
virtue derives its frameworks from an array of disciplines, relying on aspects from
weak.
Leiss et al., note that a major disadvantage of semiotics is “its dependence upon
the skill of the individual analyst” (1990, 214). Whilst I accept that this is a
way to resolving this issue, since it provides a paradigm for analyzing visual signs
evades the common criticism that semiotics is “loosely impressionistic and highly
selecting particular examples in favour of the points they wish to make, instead of
also realize that this somewhat limits the objectivity of my analysis. Nonetheless,
the adverts selected were published over a fifteen-year period. Seven examples
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Hodge and Kress maintain that “semiotics offers the promise of a systematic,
not just instances of it” (1988: 1). Chandler also supports this view, it
semiotics does” (1988: 20). The synthesis of visual and textual signification is
2006) and advertising is just one of many mediums in which this observation has
and incontrovertible are generated by the ways in which sign systems operate in
semiotic theory” (2010: 156) and “what is signified in frames can be traced back
to the interest of the maker of the sign” (2010: 157). Lakoff and Johnson argue
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phenomena in the world in human terms” (2003: 34). This allows the viewer to
where the viewer is intended to interpret the “stylishness” of the Mac through
shot and widely drawn arms. Figure 7 depicts the obliquely angled watches,
“freedom” through the Apple logo. In all these instances, visual codes use
enables Apple to sell its products as “emotional” (Fig 1), “stylish” (Fig 2),
“sentient” (Fig 3), “loving” (Fig 4 & 7), “beautiful/rebellious” (Fig 5) and “powerful”
this discovery is consistent with Lakoff and Johnson’s findings that the most
“the very heart of the basic communicative form used in modern advertising”
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Conclusion
This study has shown how Apple consistently conveys the theme of
the social semiotic framework outlined by Kress and Van Leeuwen (2001), it has
Apple adverts. It has also revealed how advertising is an intricate form of human
characteristics all attributed with human kind. This is achieved through the use of
connotations that ascend from each of these respective modes derive from
socially and culturally shared ideologies. It has been established that each of
these connoted themes are conveyed through conceptual metaphor. The themes
be separated into two semantic fields, “affection” and “omnipotence”. I would like
to propose that these two categorized themes are consistent with the
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uses signs to connote particular discourses that “allow them to define reality in a
and gesture which establish particular kinds of relationships between the product
and viewer, most noticeably personifying the products as “loving”, “powerful” and
“sentient creatures” that can interact with their users. Thus, one can deduce that
visual signs do operate through ‘mood systems’. These ideas and interactions
are arranged into coherent and meaningful texts through compositional and
typographical choices, which correlate with the intended message of each advert,
the adverts the visual elements rely on the textual information in order to transmit
notion that visual signs rely on textual information and contextual significance.
meaning of the images (Machin, 2014: 327). In other cases, the linguistic
elements amplify the visual aspects. This is consistent with Van Leeuwen’s
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coherent and meaningful text (2005). Thus, I agree with Elkins preferred term
“visual competencies” (2003) over Kress and Van Leeuwen’s “visual literacy”
(2006). Nevertheless, I promote Kress and Van Leeuwen’s call for a need to
Further research could supplement this study by probing whether or not the
consumer based approach and probably utilize both quantitative and qualitative
brand, together with the recognition it has received for its marketing impacts,
understand them in human terms and align with them by forming “relationships”,
all of which result in the product becoming individualized for the user. Prior to
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connoting such ideas that typically are expressed with sentient beings.
There remains then exciting scope for original consumer research on how
drawing. This would solve some of the limitations of this study by evading the
issue of subjectivity. Ultimately, this would determine the validity of the findings
drawn in this analysis with regards to using Kress & Van Leeuwen’s (2001)
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Appendices
Vector lines (Figure 1)
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