af lar sorensen

7/29/2019 Af Lar Sorensen

1/33

BA-ThesisinMarketing&ManagementCommunication,May2011 LarsSrensen

1

Amultimodalapproachforadvertisingfor

professionalsinthefilm,televisionand

photographybusiness.

AfLarsSrensen

Supervisor:CarmenDanielaMaier

DepartmentofLanguageandBusinessCommunication

AarhusSchoolofBusiness

AarhusUniversity

Submission:1stofMay2011

Totalnumberofcharacters:41,127


2/33


2

SummaryBAThesisinMarketingandManagementCommunicationamultimodalapproachfor

advertisingforprofessionalsinthefilm,televisionandphotographybusiness.

Thissummarysetsouttowithacuriosityofhowadvertisingforasmallprofessionalaudience

andtheaimtoconductamultimodalanalysisofthreeprintadvertisementsfromTheAmerican

Cinematographerwiththefollowingquestionsinmind:

Whatarethevisualcommunicativestrategiesusedbyfilmandphotographymanufacturers

intheirprintadvertisementspublishedinthemagazineTheAmericanCinematographerand

howarethemodesandstrategiesemployedinordertopersuadeaprofessionalaudience.

Allthreesendersoftexthavethenarrowaudienceofprofessionalsina(relativelyseen)small

business.Asadvertisers,thecompaniesmultimodalchoicesareanalysedfromamultimodal

socialsemioticspoint.ThisapproachfollowsKressandvanLeeuwensadaptionandextension

ofHallidaysthreemetafunctions.Tofurthertheunderstandingofthemultimodalchoices,the

advertisementswillalsobeanalysedfromapersuasivepointofviewwiththeoriesofMessaris,

HalmariandVirtanenandputintocontextwithvanLeeuwensinformationlinking.

Basedonthefindingsitisconcludedthatthethreeadvertisementsalluseddifferent

approachestothepromotionalgenreofadvertising.Thefieldwithinwhichtheyagreedthe

mostuponwasonthetextualmetafunctionswerealladvertisementsusedapolarised

composition,whichenablesfortransitionalmeaningmakingwithinthecomposition.Also,it

seemsthatproductandbrandendorsementisseenasapersuasivemean.

Thethesisalsoconcludesthatiftheproblemstatementweretobetakenupagain,amore

elaborateanalysiswithseveralextraadvertisementswouldbenecessary.


3/33


3

Summary...............................................................................................................................2

1. Introduction....................................................................................................................4

1.1 MotivationandProblemStatement.......................................................................................4

1.2 Focus......................................................................................................................................4

1.2.1 Delimitationandreasonsofchoiceforresearchobjects.......................................................41.2.2 DelimitationsofMethod........................................................................................................5

1.3 StructureofBAThesis............................................................................................................5

2. Backgroundanddata......................................................................................................7

2.1 TheAmericanCinematographer.............................................................................................7

2.1. Printads...............................................................................................................................7

2.1.1 Panasonic...............................................................................................................................7

2.1.2 ChimeraLighting....................................................................................................................8

2.1.3 Kodak.....................................................................................................................................9

3. Theory..........................................................................................................................10

3.1 DiscourseanalysisandMultimodality..................................................................................10

3.1.1 Fromsocialsemioticstomultimodalsemiotics...................................................................10

3.1.2 M.A.K.Hallidayandsocialsemiotics..................................................................................10

3.1.3 Kress,vanLeeuwenandmultimodality...............................................................................12

3.1.4 VanLeeuwenandinformationlinking.................................................................................12

3.2 Persuasioninmultimodaltexts............................................................................................13

3.2.1 Messaris,HalmariandVirtanen...........................................................................................13

4. Methodology................................................................................................................15

4.1 Frameworksthatwillbeused..............................................................................................15

4.1.2Multimodalityandpersuation..............................................................................................15

4.1.2 Strengthandweaknessesoftheoreticalframeworks..........................................................15

5. Analysis........................................................................................................................17

5.1 Panasonic.............................................................................................................................17

5.1.1 Multimodality......................................................................................................................17

5.1.2 Linkingandpersuasion........................................................................................................18

5.2 ChimeraLighting..................................................................................................................18

5.2.1 Multimodality......................................................................................................................18

5.2.2 Linkingandpersuasion........................................................................................................205.3 Kodak...................................................................................................................................20

5.3.1 Multimodality......................................................................................................................20

5.3.3 Linkingandpersuasion........................................................................................................21

6. Conclusions...................................................................................................................22

Bibliography........................................................................................................................23

Appendices..........................................................................................................................25


4/33


4

Amultimodalapproachtoadvertisingfor

professionalsinthefilm,televisionandphotographyindustry

1. Introduction

EverydaywearebombardedwithglobaladvertisementstryingtosellusCoca-Cola,acaror

perhapstoothpaste.Whethertheymaybetelevisioncommercials,Internetads,postersor

billboards,theyareeverywhere.Why?Becauseconsumersareeverywhereandifaproduct

canbesoldeverywhere,thenwhynotadvertiseforiteverywhere.Butwhathappenswhen

youneedtoadvertiseforamorenarrowaudiencewhoarenoteverywhereandarenot

consumers,butprosumersandprofessionals?Howdothosecompaniesconveytheirmessage

andreachtheiraudience.Inordertofindout,thisthesiswillexaminethefieldofadvertising

aimedtowardsprofessionalswithinthefilm,televisionandphotographybusiness.

1.1 MotivationandProblemStatementConsideringthenarrowaudienceofprofessionalswithinthefilm,televisionandphotography

businessandthespecialneedsandknowledgetheyhave,comparedtoregularconsumers;

whatarethevisualcommunicativestrategiesusedbyfilmandphotographymanufacturers



1.2 Focus

1.2.1 Delimitationandreasonsofchoiceforresearchobjects.

Whenlookingforaprofessionaltargetaudience,thefilm,televisionandphotographybusiness

seemedveryinterestingastheypossesadvancedknowledgeandhavecleartechnicaldemands


5/33


5

totheequipmentthattheyareusing.Furthermore,comparedtoconsumersofCoca-Cola,they

areprettyrare.Thismeansthatinordertomakeaprofitablebusinessmanyequipment

manufacturersneedtoadvertiseglobally.Aswillbeelaboratedonlater,TheAmerican

Cinematographer(TAC)isanexcellentgatheringpointforthisglobalaudience.Itisatrademagazineanditsadvertisersknowtheiraudiences,asthereadersarealmostallprofessionals

fromwithinthefilm,televisionandphotographybusiness.Ihavechosenthreeadvertsbrought

inTACfromwell-establishedcompanies.Mychoiceoftheseprintadvertisementsisbasedon

theircomplexityandhowtheyseemtosupplementeachother.

1.2.2 DelimitationsofMethod

Thisthesisisnotmeantasanevaluationofwhetherornotthecompaniesadvertisingina

magazineforprofessionalsaresuccessfulincommunicatingtheirproductsandservices

persuasivelyornot,butmoreasananalysisandidentificationofthemultimodaland

persuasivetoolstheyapply.

ThetermProductendorsementwillbementionedinthisthesis.Howeverduetolimitsofthe

thesisandthefactthattheaimofthisthesisistomainlyanalysethemultimodaland

persuasivetools,Iwillbrieflymentionthephenomenon,howeverIwillnotgointodepthin

neithertheorynoranalysiswithinthissubject.

1.3 StructureofBAThesis

Thisthesisisdividedintofourparts.Asanycommunicativeact,theadvertisementsby

Panasonic,KodakandChimeraLightingtakeplaceinspecificcommunicativeanddiscursive

contexts,whichiswhythefirstchapteraimstogiveanintroductiontothetrademagazineand

itsadvertisers.Following,achapteronthetheoreticalframeworkwillaimtodefinethe

foundationofknowledgeandtoolstobeusedintheanalysisoftheprintadvertisements.The

chapterpresentstheories,whichhaveinfluencedthefieldsofsocialsemiotics,multimodality

andpersuasion.Derivedfromthat,achapteronmethodologyexplainsthosemethods,which

willhelpanswerthisthesisproblemstatement.Forthisreason,themethodsareclearly

selectedandlinkedtotheresearchquestions.Theanalyticalchapterisstructuredaroundthe

threemetafunctionsofHallidayaswellasKressandvanLeeuwen,dividedinlinguisticsbefore


6/33


6

linkingthemtogetherwithvanLeeuwensinformationlinkingaswellaspersuasivetheories

applied.Finally,theconclusivechapteraimstosummariseandputthefindingsinto

perspective.


7/33


7

2. Backgroundanddata

Whereveradiscoursetakesplace,itisvitaltotakethecontextintoconsiderationasacritical

elementwheninterpretingandanalysingthemessagesconveyed(Halliday:1994)andtherefor

thenextsectionswillservetogiveaninsightwithintheareaofprofessionalfilm,videoand

photography.Asmentioned,thedataconsistsofthreeadvertisementsallbroughtinThe

AmericanCinematographer.

2.1 TheAmericanCinematographer

TheAmericanCinematographerispublishedbyTheAmericanSocietyofCinematographers

andis,incontrarytoitsname,aninternationalpublicationwithatargetgrouprepresentedby

thegroupofprofessionalsinchargewithimagesforthefilmandtelevisionindustryallover

theworld.Themagazineusuallycontainsarticlesabouthowfamousfilmshavebeenshotand

interviewswithprestigiousdirectorsofphotographyandcameraoperators.Furthermore,it

containsadvertisementsforhappenings,exposandconferenceswithinthefieldoffilmand

televisionaswellasadvertisementsforproductslikefilm,cameras,lenses,sourcesoflighting

andgripandriggingequipment1.

2.1. Printads

2.1.1 Panasonic

TodayPanasonic,oneofthelargestelectronicproductmanufacturer,isaglobalbrandwith

expertisewithinmanyareaswhereelectronicshelppeopleintheireverydaylives.Howeverto

comethisfar,Panasonichasbeenthroughseveralbrands,namesandlogosindifferent

subsidiaries.Onethingthathasneverchangedisitsquestforinnovation.Startingoutinthe

yearof19182withanattachmentplugforconnectingelectricalcordstoalightbulbplugs,the

companythatlatercametobeknownasPanasonic,hasmadeeverythingfrommotors,

cathoderaytubetelevisions,medicalappliances,calculators,camcorderstoplasmascreensfor

1Gripandriggingequipmentistheheavydutyequipmentusedtohold,transportogsupport2http://panasonic.net/history/corporate/products/index.html


8/33


8

consumers,businessandprofessionalsaswellasthemedicalindustryandotherindustry

solutions.Whattheseproductshaveincommonisthatalmostallofthemwerefirstinitsfield

withagiventechnology.In20083Panasonicchangedfromhavingmultiplebrandsand

subdivisionsinseveralcountriestounitingunderonebrand,PanasonicCorporation,andstating,notavisionandmissionstatement,butaBrandpromise,whichitmakesto

customersandliveby:

Panasonicgeneratesideasforlifetodayandtomorrow.

Throughinnovativethinking,wearecommittedtoenrichingpeopleslivesaroundtheworld

Withintheprofessionalareaofvideoequipment,Panasonicmainlyproduceshigh-endvideo

cameras,monitorsandrecordingsystemsforBroadcastersandprofessionalvideographers.

TheadvertisementwaspublishedintheFebruary2010editionofTheAmerican

CinematographerandispromotingthePanasonicHPX200,whichisaHDbroadcastcamera

madeforbroadcastersaswellasprofessionalvideographers.

2.1.2 ChimeraLighting

TheUSbasedcompanyChimeramightnotbeknowbymanyregularconsumers,however

withinfilm,videoandstillphotography,ithasbeenanametorememberforthepast30years.

Asaproduceroflightingequipment,theymakelightbanks,softboxes,lightmodifiersand

lightinggripwithportabilityanddurabilityinmind.Toensurethatallchimeraproductsliveup

tothestandards,thecompanyhaveanextensiveproductionandqualitycontrolwithonething

inmind:Yourpeaceofmind4whichservesasapromisetotheusers;withthisgearyoucan

focusbeingcreative.

TheadvertisementwaspublishedintheOctober2010issueofTheAmericanCinematographer

andispromotingChimeraLightingsolutionsbyendorsementofDrewGardner,aprofessional

UKbasedphotographer,whomanyprofessionalsaswellashobbyphotographerslookupto.

3http://panasonic.net/brand/4http://www.chimeralighting.com/about-chimera


9/33


9

HisDVDs5areamongthemostsoughtforamonghobbyphotographers.Healsoteaches

advancedphotographylightingthroughouttheworld.Thefeaturedimageisfromtheproject

QueenElizabeth,whichwasaseriesofhistoricalre-enactmentsofthelifeofthequeen6.

2.1.3 Kodak

InventedbyGeorgeEastman,theopticalfilmusedinfilmandphotographyhasalonghistory.

Inthelate19thcenturytothebeginningofthe20

hcentury,Eastmandevelopedagelatinedry

plate,thatwasmuchmoreconvenientthanwetandglassplates,whichupuntilthenhadbeen

theonlyalternative.Eastmanmadefurtherdevelopmentsandcameupwithwhatwenow

knowasfilm.Hefoundawaytomass-producetheproductandfoundedthecompanyKodak,

whichweretoleadthefilmandphotographybusinessforacentury7.

Inthelate1990sdigitalcameraswerebecomingmorecommonandthesaleofanaloguefilm

hassincedeclinedrapidly.Theprofessionalphotographyandcinematographybusinesshave

alwaysbeenheavyusersoftheanaloguefilmandgoodcustomerstoKodak.Henceitwasabig

blow,whencinematographyleaderGeorgeLucasformallyannouncedthattheupcomingStar

Wars:EpisodeIIwastobeshotentirelyindigital8,leavingtheanaloguefilmbehind.Today

therearestillmoviesshotonfilm,howeverduetothetechnicaladvancementofdigital

technology,ithasbecomeeasierandcheapertogetanicefilmiclookbyusingdigitalcameras

thanbyanaloguefilm.InthislightitistheaimofKodaktoindulgetheuseoffilm.

ThefinaladvertisementwasalsopublishedinTheAmericanCinematographerasispromoting

thecreativeadvantagesofusinganaloguefilminsteadofdigitalequipmentbyendorsementof

cinematographerLanceAcord.MostnotablecreationsareworkssuchasLostinTranslation,

BeingJohnMalkovichandWheretheWildThingsare.

5http://www.drew.it/store/products.asp?cat=3688&inp=3690&cid=26http://photography-thedarkart.blogspot.com/2009_07_01_archive.html7http://www.kodak.com:80/global/en/corp/historyOfKodak/chronology.jhtml?pq-

path=2217/2687/26958http://www.starwars.com/episode-ii/bts/production/news20000409.html


10/33


10

3. Theory

Thefollowingsectionwillpresentanoverviewofthetheoreticalframeworksandthetheorists

whoseworkhaveinfluencedandcontributedtostudiesandpracticesmainlywithinthefieldof

multimodalityandsocialsemioticsaswellaspersuasion.Firstly,inordertoanswerthisthesis

problemstatement,itiscriticaltohaveabasicunderstandingofmultimodalityanditsorigins

fromwithinsocialsemiotics.Thereforethissectionismeantasanoverviewtofurtherthe

understandingofmultimodality,itsoriginanditsimportanceincomposingmeaning-making

processeswithinvisualworks.Secondly,incoherencetotheproblemstatementofthisthesis,

finallyIwillintroducethetheoreticalframeworkofpersuasion.

3.1 DiscourseanalysisandMultimodality

3.1.1 Fromsocialsemioticstomultimodalsemiotics

Thischapterwillintroducethemorphogenesisfromtraditionalsemioticstomultimodality.In

thisthesis,theanalysisrestsonamultimodalapproachandhowMultimodalitydescribes

approachesthatunderstandcommunicationandrepresentationtobemorethanabout

language,andwhichattendtothefullrangeofcommunicationalformspeopleuse-image,

gesture,gaze,posture,andsoon-andtherelationshipsbetweenthem(Jewitt,2009:14).As

elaboratedlater,multimodalityhasnotalwaysbeenrecognisedasavalidorevenpossible

methodforanalysis.Variousattemptstomultimodalityanditsmorphogenesisfromthestudy

ofexplainingmeaning-makingprocessesoflanguageinrelationtoculturallyandsocially

specificpracticeswillbeilluminatedinthefollowingsection.AccordingtoKressandvan

Leeuwen,2001)Hallidaystheoriesofsocialsemiotics[]providedtheinitialstartingpoint

forsocialsemioticmultimodalanalysis.

3.1.2 M.A.K.Hallidayandsocialsemiotics

Asjustmentioned,MichaelHallidayandhistheoriesofsocialsemiotictheoryof

communicationwasthespringboardofmultimodality.Hispointofdepartureisthatlanguage

isaproductofthesocialprocess(Halliday,1996:89).


11/33


11

InlanguageasSocialSemiotic(Halliday1996)Hallidayarguesforachangeinthewayof

thinkingaboutthestudyoflanguagefromfocusingonthesentenceto,instead,focusontext.

Hallidaydefineslanguageasnotconsistingofsentences,butitconsistsoftext,ordiscourse

(Halliday1996:89).

Hallidayeventuallydeveloped,fromasocialsemioticsapproach,thesystemicfunctional

linguistics(SFL)onwhichheelaborates:Itisfunctionalinthesensethatitisdesignedto

accountforhowthelanguageisused(Halliday:1994:13)Also,Alanguageisinterpretedasa

systemofmeanings,accompaniedbyformsthroughwhichthemeaningscanberealized

(Halliday1994:14).SFLfocusesontheanalysisofhowsemioticrecoursesareusedinasocial

contexttorealizeandcommunicatemeaning.HerebyHallidayspecifiedatheorywhich

suggestedthatlanguageisrealizedthroughthreebroadmetafunctions,whichhedescribedas

...manifestationsinthelinguisticsystemofthetwoverygeneralpurposeswhichunderlieall

usesoflanguage:(I)tounderstandtheenvironment(ideational),and(II)toactontheothersin

it(interpersonal).Combinedwiththeseisathirdmetafunctionalcomponent,thetextual,

whichbreathesrelevanceintotheothertwo.(Halliday1994:14).Hence,usingthis

framework,meaningcanbederivedfromeachofthethreemetafunctionsmakingupaspecific

textasapartofacontext.Stillar(1998)providesamoreeasilyaccessibleinterpretationofthisframework.InAnalysingEverydayTextsStillarproposesaschematicframeworkforapplying

Hallidaysthoughtstowardstextanalysis.Heprovidesavocabularyforexploringthefunctional

structures(grammar),whichthesocialfunctionsoftextsbuildon(semantics)(Stillar1998:20).

Asmyempiricaldataconsistsofothermodesbesideslanguage,Iwillintroduceanapproach

thatdoesnotcentreonthisparticularmode,butextendssocialsemioticstoincludemorethan

onemode(Jewitt:1).Thiswayofmetafunctionalapproachestoanalysetheuseofsemiotic

resourceshassincebeentakeninandextendedbyseveralothertheoristsinothermodesthan

language.MostnotablyStckl:2004,Kress:2001andvanLeeuwen:2006andthis

metafunctionalapproachwillserveasthebasisofthetheoriesusedtoanswertheproblem

statementofthisthesis.


12/33


12

3.1.3 Kress,vanLeeuwenandmultimodality

DerivedfromHallidayssystemicfunctionalgrammartheory,KressandvanLeeuwencreated

anothersocialsemioticsapproachtoembracethevisualmode.Intheirjointwork,Reading

ImagesTheGrammarofVisualDesignthetwotheoristshaveadaptedHallidaysmetafunctionalapproachandmethodofcreatingmeaningandtheyextendhisconceptsof

metafunctionalanalysisandapplyittothevisualmode.Theyexplainthat:Hallidaysmodel

withitsthreefunctionsisastartingpointforouraccountofimages[]becauseitworkswell

asasourceforthinkingaboutallmodesofrepresentation(KressandvanLeeuwen2006:20).

HartmutStckl(2004)arguesthatcommunicationhasessentiallyalwaysbeenmultimodal,but

that,amongotherthings,thedominanceoflinguisticsandthelackofadequatemodelshave

overshadowedanalysisofothermodes.Theinterestforthesystemicfunctionalapproach

appliedtotheanalysisofsemiotictextsbesideslanguageandsubsequentlytomultimodal

constructsdidnothappenuntilthelate1980s(Iedema2001:33).Thisinterestofother

semioticmodesismostnotableintheworksofTheoVanLeeuwen.Hehasinvarious

publicationshelpedemphasisetheimportanceoftakingdiscourseanalysisbeyondlinguistic

observations.IntheirjointworkKressandvanLeeuwenhavecreatedavisualsocialsemiotic

approachtoHallidaysthreemetafunctions.Wheretextualsocialsemioticshastheideational,

interpersonalandtextual,thevisualsocialsemioticsapproachhasRepresentation,which

describesparticipants(people,placesandthings)basedonsyntacticpatterns(Jewittand

Oyama2001).ToreplaceInterpersonalmetafunctions,thevisualsemioticapproachhavethe

Interactionalmetafunctionsdescribingtherelationshipbetweenthedepictedpartiesand

betweendepictedparticipantsandtheviewerbasedondistance,perspective,angleandgazes.

AndfinallythereistheCompositionalmetafunctionswhichdescribestructuresandlinks

lookeduponthroughplacement,salienceandframingofthevariouselements(Jewittand

Oyama2001).Intheirwork,KressandvanLeeuwenalsodrawonearliersemioticianslike

RolandBarthesinordertoprovideafulfillingapproach.Itsuccessfullyexplainshowthe

metafunctionscanhelptologicallybreakdownanimageormultimodaltextintheprocessof

understandingmeaningfromthevisualchoicesrepresented.

3.1.4 VanLeeuwenandinformationlinking

VanLeeuwenarguesthatthevalueofinformationrestsuponitsrelationtoitsenvironment

(VanLeeuwen2005:219).Thissectionwillthereforeusehisapproachtoexaminehowpieces


13/33


13

ofinformationarelinkedtootherpiecesofinformation,beitvisual,verbalorboth.Van

Leeuwenemphasisesthatdifferentkindsofcommunicationrequiredifferentusesof

informationandthus,hehasdividedthesubjectintothreemaincategories:Verbal-,visual-,

andvisual-verbal-linking(vanLeeuwen2005:219).Inallthreecategories,piecesofinformationcanalleitherbeelaboratedorextendedtootherpiecesofinformationandinthe

caseofelaboration,itrepeatsorrestatesinformationforpurposesofclarification.Inthecase

ofextension,itaddsnewinformation,linkingittotheexistinginformationinaparticularway

(VanLeeuwen2005:222).DerivedfromclassicalsocialsemioticsapproachesbybothBarthes

andHalliday,thevisual-verballinkingisusefulforinterpretingtexttoimagerelationships.This

enablesthediscussingofmodes,aswellashowmodesareconnected.Thisconnectionof

severalmodesservesthemultimodalapproachintheattemptofansweringthethesisproblem

statement.

Insummarythissectionhasservedtoprovideanoverviewofsocialsemioticsaswellas

multimodality.Thiswillfurthertheunderstandingofhowandwhyvariousmodestakepartin

themeaning-makingprocessesofmultimodaltextsandhowthetheorieshaveevolvedaswell

aswhatconstructsareessentialtolookforandidentifyinordertoreachmeaningand

recognizethepersuasiveactswithintheseconstructs.Tofurtherelaborateonhowpersuasionfunctions,thisnextsectionwillgointodepthofpersuasiveelementsbyusingtheoriesof

Messaris,HalmariandVirtanen.

3.2 Persuasioninmultimodaltexts

3.2.1 Messaris,HalmariandVirtanen

WhilePanasonic,ChimeraLightingandKodakareallmultimodaltextstheyalso,asmentioned,

belongtothepromotionalgenreofadvertising.Therefore,andtohelpanswertheproblem

statement,thissectionwillpresenttheoreticalframeworksusefultocharacterisationand

identificationofpersuasionwithinmultimodaltexts.

Theverynatureofpersuasionrequiresthatitsformsneedtobekeptimplicit.Veryfewpeople

liketobepersuadedagainsttheirownwillandthus,thebestkindofpersuasionisoften

implicitpersuasion(HalmariandVirtanen2004:229).Accordingtothempersuasionisseenas

alanguagewhicheithertriestoalterorstrengthenanopinionofacertaintargetaudience


14/33


14

(HalmariandVirtanen2004:229).Therefor,knowingtheaudienceisveryimportantwhen

communicatingpersuasion.ConsequentlyHalmariandVirtanenstressthatthedynamicsof

persuasionisdictatedbythewaytheaudiencereacts.Hence,intheend,itistheaudience

whodefinewhichkindofpersuasionwillsucceedandthus,whatformthepersuasivetextshouldtake(HalmariandVirtanen2004:7).Anothertheoristwhohasstudiedpersuasionis,

Messaris(1997).Hestudiedthevisualmodeofpersuasion,wherehehasdiscoveredthat

imageshavethepowertopersuadeinthreeways:Through(I)iconicitybyreferringtoimages

asicons,(II)throughindexicality,referringtoimagesasdocumentationorvisualtruthand

lastly(III)indeterminacy,referringtoimagesinabilitytovisualiserelationshipsbetweenthings

(Messaris1997:7)


15/33


15

4. Methodology

InthefollowingsectionIwillspecifywhichofthetheoriespresentedabovewillbeappliedin

theanalysisintheeffortofansweringtheproblemstatementofhowdocompaniesadvertise

foraprofessionalaudiencewithinthefilmandphotographybusinessandwhatmultimodal

andpersuasivemethodstotheyuseindoingso?

4.1 Frameworksthatwillbeused

4.1.2Multimodalityandpersuation

InthepreviouschapterKressandvanLeeuwenwerepresentedasthemaintheoristswhohave

providedtheanalyticaltoolforanalysingmultimodaltextssuchasadvertisements.Therefore,

itseemsonlynaturaltotakeametafunctionalapproachtobuildthefoundationofthisthesis

analysis,asthematerialtobeanalysedarethreeprintadvertisements.

Thisthesisproblemstatementisaddressedwithfocusontheusageofthetwomodesofimage

andlanguage.Theywillbeanalysedusingaframeworkthatwillserveasthefoundationofthe

approachtothepromotionalgenreofadvertisingforprofessionals.

ByapplyingtheschematicsmadebyCarmenD.Maier

9

,KressandvanLeeuwensthreemetafunctionsofvisualdesigngrammarwillserveasaframeworkforanalysingtheimagesand

willhelpdeliverthemultimodalanalysisbydissectingandinvestigatingthemostsalientpieces

ofimagery.By

TosupportthesetheoriesIwilldrawonvanLeeuwens(2005)conceptofinformationlinking.

Thiswillhelptounderstandcomplexmultimodaltextswhereseveralmodescansometimes

fightforsalienceandattention.Asdelimitation,Iwillonlyanalysetheimplicitmaterialandthe

mostimportantexplicitelements.

4.1.2 Strengthandweaknessesoftheoreticalframeworks

IfullyrecognisethatbothKressandvanLeeuwensapproachtomultimodalsocialsemioticsas

wellasHalmariandVirtanenstheoryofpersuasionhavelimitations.Itisimportantto

9Includedintheappendices.


16/33


16

rememberthatanyanalysisbasedonKressandvanLeeuwensapproachtomultimodaltextsis

asubjectiveinterpretation.Thismeansthateventhoughcertainmeaningsaresought

conveyedinthemultimodaltexts,thereisariskthatanothermeaningisgainedbythe

audience.However,asmentionedearlier,itisimportanttonote,thatthethesisproblemstatementisconcernedabouttheusageofsemioticresourcesandmultimodalchoices

employedinordertopersuadetheaudience.

Regardingpersuation,KressandvanLeeuwenarguethatpersuasiondoesnothappenata

multimodallevelastextsareinaconstantchangeanddialoguewithitstargetaudience.As

discourseandsocialsemioticchangestheaudiencewillreadthetextsdifferentlythanatthe

timewherethetextanditspersuasivechoicesweremade.Inthisperspective,itmeansthat

HalmariandVirtanenstheorywillprovideuswithacontemporaryviewpointandmethodfor

analysingpersuasion,whichwillbesufficientforus.


17/33


17

5. Analysis

AnalysisIwillonlyanalysewhatismostimportantinansweringthethesisproblemstatement,

andthereforetherewillbeelementsdepicted,whichwillnotbeaccountedforinthefollowing

analysis.

5.1 Panasonic

5.1.1 Multimodality

Ideationalmetafunction

Thistextismostlyofnarrativeprocesses.Wehavethreeparticipants,thegirl,thehorseand

thecamera.Betweenthegirlandthehorse,wehaveabitransactionalrelationastheherarms

representavectorholdingthestick,whichagaincomesfromtheheadoftheplayhorse.From

theplayhorsewehaveatransactionaleyelinevectorfromthehorseseyes(reactor)tothe

camera(phenomenon).Also,thecloudsseemtodrawavectortothecamera.

Interpersonalmetafunction

Theimageisanimageofsubjectivity,astheviewerisonlyabletoseefromamediated

viewpoint.Thesubjectwithintheimage(thegirl)isseenfromanobliqueangle,which

connotesdetachmentandsymbolisesthatwhattheviewerseesisnotapartofourworld,

whichcohereswiththedreamlikelookoftheimage.Asthereisanabsenceofgazeatthe

viewer,theimageisanofferimage,connotingthattheviewershould/couldwantbeinthe

dreamlikelandscape.

Textualmetafunction

Herewehaveapolarisedimage,asthereisnoonesalientelementinthecentre.IntheIdeal

areaoftheadvertisementwehavethetextinafieldofitsown(linkingtothefieldinthe

imageandthegiventext),andinthegivenarea,wehavethetextdescribinghowPanasonic

withthisnewcamera,willmakethedreamsoffilmmakerswithhightechnicaldemandscome

true.Linkedwiththetextintherealareainafieldofitsown,thetextscoherewiththe

brandpromisemadebyPanasonicasmentionedearlier:Throughinnovativethinking.


18/33


18

Intheleftwehavethegiven,whichinthiscaseisthatofdreams,heredepictedbyagirl

runningaboutinafieldhavingfunwithnoworriesatall.Andontherightside,wehavethe

new,inthiscasethebrandnewcamerafromPanasonic,connotingthatifitwasntyourdream

before,itisyourdreamnow.

Withregardstosalience,twoelementsstrikeout.Firstlythegirlstrikesoutwithherreddress,

butalsothecamerawithitscontrasttothewhitetonesanditssharpnessdrawsattention.

Theimageofthefieldandgirlarealsodisconnectedfromtherestofthemultimodaltext,asit

asframedbyemptyspace.Thisfurtherextendsthenotationthatthefieldisadreamandnot

fromourworld.

5.1.2 Linkingandpersuasion

Thedifferentelementsinthistextarelinkedinseveralways.Thewordfieldisconnectedto

theimageofthefield(dream),whichisconnectedtotheworddream,inthebodytextinthe

realarea,whereallthetechnicaldetailsoftheprofessionalproductarelistedforthe

demandingprofessionalaudiencetosee.

Toconclude,inordertopersuadetheviewers,Panasonicmakesuseofmultimodalmeaning-

makingconstructsconnotingthatthisisthenewdreamcameraoftheviewer.Alsodepictinga

dreamlandscapelikethiscannothelptheviewersgetassociationstotheepicfilmsofTheLord

oftheRing.Byusinglinguisticandvisuallinking,andimplicitlytellingtheviewerthatthisisin

factthedreamcamerawiththetechnicalspecificationstomatchaprofessionalvideographer.

5.2 ChimeraLighting

5.2.1 Multimodality

Ideationalmetafunction

Herewehavealotofbothconceptualandnarrativeprocesses.

MostimportantlyistheparticipantofQueenElisabethI.Withhercollarandhair,sheasthe

superordinateparticipantisconnectedtomorethantwoparticipantsthroughatreelike

structurethroughoutthetableandroom.Thesesubordinatesarecarriersandsymbolic

attributes,whoservetoposefortheviewer.


19/33


19

Withinthenarratives,wehavealotofnon-transactionalprocesses,asthereseemtobe

eyelinevectorsfromallofthedepictedparticipants,butneveraninstance,whereto

participantslookintoeachotherseyes,whichmakesitaroomfullofreactors.Totheviewers

thiscanconnotechaos;hencethethoughtthatthispictureswasreallyhardtotake,astherearesomanyfactorstoaccountforwithsomanyparticipantsandnarratives.


Thisisanofferpictureasnoneoftheparticipantsgazeattheviewer,whichmeansthatthe

representedparticipantsaredepictedasobjectofcontemplation.

Again,thisisapictureofsubjectivity,astheviewercanseewhatthereistoseeonlyfroma

particularandimposedpointofview.E.I.havenopossibilitytoseewhatisontheothersideof

thetable.Thesocialdistanceto(mostof)theparticipantscircafromthewaistup(medium

shot),whichconnotesasocialinterpersonalrelationshipwiththeviewer.

Textualmetafunction

Themultimodaltextispolarized,thuswefindanideal/realrelationship.Thetoppartisthe

givenandconsistsoftheverywellconstructedscenewithitsdramaticlightingandadvanced

setupofparticipantsandprops.Inthelower(real)part,themostsalientelementisthe

thumbnailimageduetoitscoloursandtherestbeingendarkgreyandwhite.Thisisabehind

thescenesphotographofDrewGardner.Also,thetextBigideasneedbiglightingsolutions

cohereswiththeconstructedimageontop,connotingthatsuchdetailedandperfectly

masteredsetupsandmatchingresultsrequiregoodequipment.Alsoconnotingthatifthe

viewerhasabigideaofashoot(liketheimageofthequeenandherentourage,Chimera

Lightingistheanswer.Thisiselaboratedwithtextualelementtotherightandcontinuingto

emphasisethatchimeraisusedbyphotographersandotherlightingspecialists,connotingthat

iftheviewerhasagoodideaandwanttogetresulstasthespecialists,Chimeraistheonly

solution.


20/33


20


Themultimodaltextconsistsofdifferentelementsthatarelinkedtogetherinseveralmodes.

Thegluebetweentheelementsisdefinitelythecoherencebetweenbigideasandgreat

productswithChimeraLightingasthemiddlemanandfacilitator,givingtheviewertheimpressionthatwithChimeralightingequipment,theycanturntheirownideasintogreat

works.

ToconcludeChimerapromotestheirlightingequipmentbymeansofpersuasionusing

endorsementoffamousphotographerDrewGardner.Thisisdonebyemployingmultimodal

persuasivemeansbylinkingthemodesoftextandimage.

5.3 Kodak

5.3.1 Multimodality

IdeationalMetafunction

HerewehaveanarrativeinthefactthatwehaveatransactionalvectorformedbyLance

Acordsbodytotherolloffilminthelowerleftcorner.ThisshowsthatLanceAcordistheactor

andtherolloffilmisthegoal,connotingtotheviewerthat:Thisiswhatyouwant.


Itisapictureofsubjectivityastheviewercanseewhatthereistoseeonlyfromaparticular

andimposedpointofview.Itisanarrowsubjectandyouseealmostnothingbutthesubject.

Theimageconnotesinvolvementastheviewerseestheimageandthesubjectoftheimagein

afrontalangle,whichtellstheviewersthatwhattheyseeisapartoftheirworld.Thevertical

angleismostlyineyelevel,whichmeansthatthereisarelationofequalitybetweenthe

Viewerandthesubject.Thoughtheangleismostlyeyelevel,aslightlowanglecanalsobe

arguedfor.Thismakesthesubjectlookimposingandawesomeintheeyesoftheviewer,

indicatingthepersonandviewerinasenseareequal,butthatthepersonisinawayslightly

superiortotheviewer.Withthishalfequal,halfsuperiorlook,thepersondepictedisgazingat

theviewer,addressingtheviewerdirectly,andmakingitanimageofdemand.Connotingthat

thepersondepicteddemandssomethingfromtheviewer.

Textualmetafunction


21/33


21

Thecompositionispolarisedasthereisnosalientelementintheexactcentreoftheimage.,

whichleasustotheconceptofideal/realandgiven/new.Interestinglythereisnonew,justthe

givenelementoftext:Thatthemedium,whichanartistuses,isasimportantastheartitself

connotingthatgivenandoldmedium(film)isusedbyartistsbychoiceandthatisequallyimportantaswhenanartistchoseswhethertopaintonsilkore.g.paper,denotingfilmasthe

onlychoiceforrealartists.

Intheidealareawehavethepersonsfaceaswellasatextwithhisnameandcredentials.In

therealpartoftheimage,wehaveatextorquite,presumablebyLanceAcord,sayingthathe

doesnotconsidershootingdigital,unlessitissupposedtolooklikedigital,connotingthat

digitaldespitewhatpeoplearesaying,willneverreallylooklikefilm.Alsointherealpart,he

continuestoelaborateonthecreativeadvantagesoffilmandemphasisthatveryspeciallook

filmcangive.


ThemultimodaltextbyKodakmainlyusesimplicittext,whichareallquotesbyLanceAcord.To

furtherthethoughtthatthesearehiswords,whicharewritteninascripttypeface,whichis

veryinformalandconsequentlypersonal(Wysocki2004:127)

Explicitlywehavetwotexts.Theseareshowninasansseriftypeface10.Thefirstisthereto

presentthedepictedpersonasLanceAcord.Cinematographer,director,philosopherand

visionary.Thisgiveshimcreditabilityasitisestablishedthatheisinthebusinessandthatheis

avisionaryonethatlooksforward.Rejectingthatfilmisantiquated.

Toconclude,inordertopersuadetheaudienceKodakmakesuseendorsementbyLance

Acord,arenownedprofessionalfilmmaker.Thisisdonebyapplyingmultimodalpersuasive

meansbyintroducingLanceAcordasamanwhoyouarealmostonlevelwith,andthenagain

youarenot.Connotingthattheviewerhassomethingtoaimfor,seeingLanceAcordasarole

model.Heistherenownedfilmmakerandvisionarywhousesfilm,becauseitistheonlyway

togettherealfreedomofcreativitywiththerightlook.

10Whichdonotlookhanddrawnincontrasttotherestofthetext.


22/33


22

6. Conclusions

Thepurposeofthisbachelorthesishasbeentoconductamultimodalanalysisofthreeprint

advertisementsfromTheAmericanCinematographerwiththefollowingquestionsinmind:

Whatarethevisualcommunicativestrategiesusedbyfilmandphotographymanufacturers



Themultimodalchoicesmadeinthethreeadvertisementswereaccountedforandanalysed

basedonKressandvanLeeuwens(2006)Visualdesigngrammarandtheirthree

metafunctions,schematisedbyCarmenD.MaierasIdeational,interpersonalandtextual

metafunctions.

Thefocusoftheanalysiswasonhowthecompaniesreachedtheprofessionalaudience,and

takingamultimodalapproachrevealedthatintheinterpersonalmetafunctions,twoofthe

threecompanieshadchosenimages,whichofferedinformationtotheviewers,whilethe

thirdwasdemandingaction.Allofthethreecompanieshadchosenimagesofsubjectivity

meaningthattheviewerisbeingimposedwhatheorshewillsee.Inthetextualmetafunction

allcompaniesemployedpolarisedmultimodaltexts.Furthermore,itwasrecognisedthattrade

specificlingowereusedthroughouttheadvertisements.Asabitofsurprisetheuseof

endorsementwasalsoheavilyused,whichconnotesthatmanyintheprofessionalworldof

filmandtelevisionhaverolemodelstowhichtheylookup.

InmyopiniontheKodakadvertisementwasthebest,mostcomplexandwellthoughtof.

Especiallyseenfromalinguisticpointofview,thetextsandoverallaimoftheadvertisement

workedwellandtheelementswereincohesionbymeansinformationlinking.

Whilethisthesissatouttoconductamultimodalanalysisofthreeadvertisements,Iwill

concludethatifsuchananalysiswastobedoneagain,thedataforanalysisshouldbemore

extensive.Although,thethreeadvertisementshadbeenchosenspecificallyfortheir

complexityamongmanymonthsofeditionsofTheAmericanCinematographer,thebasisfor

comparisonwasnotadequate,bothduetotoolittleatheoreticalframework,butalsothefact

thattheadvertisementssimplyprovedtoodifferentforfurthercomparison.


23/33


23

Bibliography

Monographies

Halliday,MichaelA.K.(1978):Languageassocialsemiotic:Thesocialinterpretationof

languageandmeaning.Maryland:UniversityParkPress

Halliday,MichaelA.K.(1996):LiteracyandLinguistics:afunctionalperspective.In:Hasan,R.;

Williams,G:LiteracyinSociety,AddisonWesleyLongmanLimited.

Halliday,M.A.K.(1994).AnIntroductiontoFunctionalGrammar.(2ndedition.)London:

Arnold.

Kress,G.&vanLeeuwen,T.(2001).MultimodalDiscourse:Themodesandmediaof

contemporarycommunication.London:Arnold.

Kress,G.&vanLeeuwen,T.(2006).ReadingImages:TheGrammarofVisualDesign.(2nd

edition.)Oxon:Routledge.

Messaris,P.(1997).VisualPersuasion:TheRolesofImagesinAdvertisement.ThousandOaks,California:SagePublications.

VanLeeuwen,T.(2005).IntroducingSocialSemiotics.Oxon:Routledge.

Anthologies

Halmari,H.&Virtanen,T.(eds.)(2005).PersuasionAcrossGenres:Alinguisticapproach.

Amsterdam:JohnBenjamins.

Fairclough,Norman(2003):AnalysingDiscourse:Textualanalysisforsocialresearch,London:

Routledge,1stedition

Articlesinanthologies


24/33


24

VanLeeuwen,T.(2004).TenReasonsWhyLinguististsShouldPayAttentiontoVisual

Communication.In:LeVine,P.&Scollon,R.(eds.),DiscourseandTechnology:Multimodal

DiscourseAnalysis.(pp.7-19).Washington,D.C:GeorgetownUniversityPress.

Stckl,H.(2004).Inbetweenmodes:Languageandimageinprintedmedia.In:Ventola,E.,C.

Cassily&Kaltenbacher,M.(eds),PerspectivesonMultimodality.(pp.9-31).JohnBenjamins

Jewitt,Carey;Oyama,Rumiko(2001):Chapter7:Visualmeaning:asocialsemioticapproach.

In:vanLeeuwen,Theo&Jewitt,Carey:Handbookofvisualanalysis,pp.134-156

Stillar,GlennF.(1998):TheResourcesofDiscourseAnalysis.In:AnalyzingEverydayTexts.

SAGE,pp.1457

Other

Kash,H.(ed.)(2005):Supplementarytextsfortextualsemiotics.Ass.Prof.AarhusSchoolof

Business.

Websites:

Panasonic:

http://www.panasonic.com/

http://www.panasonic.net/

Kodak:

http://www.kodak.com/

ChimeraLighting:

http://www.chimeralighting.com/

Tiffen:

http://www.tiffen.com/


25/33


25

AmericanCinematographer

Http://www.theasc.com/

Appendices

Advertisements:

1.Panasonic

2.Kodak

3.ChimeraLighting


26/33

in a fi eld of its own

2009 Panasonic of North America

If you dream of shooting 10-bit 4:2:2 master quality but believe you cant afford it, the new AG-HPX300 P2 HD camcorder

changes your dreams into reality. With a $10,700 list price, the HPX300 is the worlds first affordable 10-bit 4:2:2

camcorder. And theres nothing even close. With a standard 17X interchangeable lens and newly-developed three 1/3"

2.2 megapixel 3-MOS imagers, you can record 1080 and 720 HD as well as SD content using master-quality AVC-Intra,

DVCPRO HD, DVCPRO50, DVCPRO and DV compression all with the benefit of P2s faster, independent frame,

file-based workflow. As rich in creative features as it is in style, the HPX300s innovative, low profile, shoulder-mount

design lets you shoot freely through a beautiful, master-quality world. Its no longer a dream. The HPX300 is here.

Visitwww.panasonic.com/p2hd.

when it counts

Shown with optional

wireless mic receiver.


27/33


28/33


29/33

Spring 2007 Visual Discourse Analysis

THE TEXTUAL METAFUNCTIONComposition

INFORMATION

VALUE

Centred

(an element

the Centre - is

placed in the

centre of the

composition)

Circular The non-central elements in a centred

composition are placed both above and

below and to the sides of the Centre, and

further elements may be placed in

between these polarized positions

Triptych The non-central elements in a centred

composition are placed either to the rightand left or above and below the Centre.

Margin The non-central elements in a centred

composition are identical or near-identical,

so creating symmetry in the composition.

Mediator The Centre of a polarized centred

composition forms a bridge between Give

and New or/and Ideal and Real, so

reconciling polarized elements.

Polarized

(there is noelement in the

centre of the

composition)

Given The left element in a polarized

composition, or the left polarized element

in a centred compositionNew The right element in a polarized

composition, or the right polarized element

in a centred composition

Ideal The top element in a polarized

composition, or the top polarized element

in a centred composition

Real The bottom element in a polarized

composition, or the bottom polarized

element in a centred composition

SALIENCE The degree to which an element draws attention to itself (color, tonal

values, sharpness, definition, or other features)

FRAMING Disconnection The degree to which an element is visually separated

from other elements through framelines, pictorialframing devices, empty space between elements,

discontinuities of colour and shape, and other features.

Connection The degree to which an element is visuallyjoined to

another elements, through the absence of framing

devices, through vectors and through continuities or

similarities of colour, visual shape, etc.


30/33

1

Spring 2007 Discourse Analysis

Carmen Maier

NARRATIVE AND CONCEPTUAL PROCESSES

THE IDEATIONAL METAFUNCTION

TYPES OF STRUCTURES/PROCESSES PARTICIPANTS

NARRATIVE

Serve to present

unfolding

actions &

events,

processes of

change,

transitoryspatial

arrangements

a. Action Transactional Unitransactional

a vector, formed by a

depicted element,

connects two

participants

Actor & Goal

Bitransactional

a vector, formed by a

depicted element,

connects two

Interactors

Interactors

Non-transactional

a vector, formed by a depicted element,

emanates from a participant, the Actor,

but does not point at any other participant

Actor

b. Reaction Transactional

an eyeline vector connects two

participants

Reacter

&

Phenomenon

Non-transactional

an eyeline vector emanates from a

participant, the Reactor, but does not

point at another participant

Reacter

Circumstances(Setting, Means

&Accompaniment)

Secondaryparticipants

which could be left out

without affecting the

basic proposition

realized by the narrative

pattern, even though

their deletion would of

course entail a loss of

information


31/33

2

THE IDEATIONAL METAFUNCTION

TYPES OF STRUCTURES/PROCESSES PARTICIPANTS

CONCEPTUAL

Representparticipants in

terms of their

class, structure

or meaning,

namely in terms

of their

generalized and

more or less

stable and

timeless essence.

a.

Classificational

Relate participants

to each other in

terms of a kind

of relation, a

taxonomy

Covert taxonomy

The Superordinate is either only indicated

in the accompanying text, or inferred

from such similarities as the viewer may

perceive to exist between the

Subordinates

Superordinates

&

Subordinates

Overt

taxonomy

Single-levelledA participant

(Superordinate) is

connected to two or

more other

participants

(Subordinates)

through a tree

structure with two

levels only

Multi-levelledA participant

(Superordinate) is

connected to two or

more other

participants

(Subordinates)

through a treestructure with more

than two levels

b. Analytical

Relate participants in terms of part-whole structure

Carrier(the whole)Possesive

Attributes(the parts)

c. Symbolic

Are about what a

participant is ormeans

AttributiveRepresent meaning and identity as

conferred to one participant, the Carrier.

There are two participants: the participantwhose meaning or identity is established

in the relation, the Carrier, and the

participant which represents the meaning

or identity itself, the Symbolic Attribute.

Human participants usually pose for the

viewer.

Carrier

&

Symbolic

Attributes (madesalient through

representation,

pointed at, look out of

place in the whole, or

conventionally

associated with

symbolic values)

SuggestiveRepresent meaning and identity as

coming from within, as deriving from

qualities of the Carrier themselves.

CarrierA generalized

essence,

not a specific moment


32/33

1

Spring 2007 Visual Discourse Analysis

Carmen Maier

THE INTERPERSONAL FUNCTIONRelations between represented participants (human or not) and the viewer

CONTACT

Gaze

Demand pictures Gaze at the viewer(address the viewer directly, realizing a visualyou)

Offer pictures Absence of gaze at the viewer

(represented participants are depicted as objects ofcontemplation)

SOCIAL

DISTANCESize of frame

Intimate/personal Close shot (head and shoulders)

Social Medium shot (waist)

Impersonal Long shot (full figure)

ATTITUDE

Perspective

Subjectivity

(the viewer can see what

there is to see only from aparticular & imposed point

of view)

Involvement Frontal angle(what you see is part of

our world)

Detachment Oblique angle(what you see is notpart

of our world)

Viewer power High angle(makes the subject look

small and insignificant)

Equality Eye level angle

Representation

power

Low angle(makes the subject look

imposing and awesome)

Objectivity

(the image revealseverything there is to know

violating sometimes thelaws of naturalistic

description or the laws of

nature.

Action

orientation

Frontal angle

(this is how it works, this ishow you use it,

this is how you do it)

Knowledge

orientationTop down angle(it contemplates the world from

a god-like perspective, puts it atyour feet, rather than within

reach of your hands)


33/33

MODALITY MARKERS

Colour saturation A scale running fromfull colour saturation to the absence of colour,that is to black and white

Colour differentiation A scale running from a maximally diversified range of colours tomonochrome

Colour modulation A scale running from fully modulated colour, with, for example, the

use of many different shades of red, to plain, unmodulated colour

Contextualization A scale running from the absence of background to the most fullyarticulated and detailed background

Representation A scale running from maximum abstraction to maximumrepresentation ofpictorial detail

Depth A scale running from the absence of depth to maximally deepperspective

Illumination A scale running from the fullest representation of the play of lightand shade to its absence

Brightness A scale running from a maximum number ofdifferent degrees ofbrightness to just two degrees:black and white, or dark grey and

lighter grey, or two brightness of the same color

af lar sorensen

Documents