UNIVERSIDADE CATÓLICA PORTUGUESA ANEXOS. por. Ana Cristina Godinho de Albuquerque. Faculdade de Ciências Humanas

Transcription

1 UNIVERSIDADE CATÓLICA PORTUGUESA GÉNERO E MULTIMODALIDADE NA AULA DE ILE: COMPREENDER E COMENTAR O TEXTO PUBLICITÁRIO ANEXOS Tese apresentada à Universidade Católica Portuguesa para obtenção do grau de doutora em Linguística por Ana Cristina Godinho de Albuquerque Faculdade de Ciências Humanas Março de 2017

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3 UNIVERSIDADE CATÓLICA PORTUGUESA GÉNERO E MULTIMODALIDADE NA AULA DE ILE: COMPREENDER E COMENTAR O TEXTO PUBLICITÁRIO ANEXOS Tese apresentada à Universidade Católica Portuguesa para obtenção do grau de doutora em Linguística por Ana Cristina Godinho de Albuquerque Sob orientação da Professora Doutora Isabel Salazar Casanova Faculdade de Ciências Humanas Março de 2017

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5 Anexos A Material didáctico utilizado no ano lectivo 2010/11

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7 ANEXO A1 READING IMAGES THE GRAMMAR OF VISUAL DESIGN Gunther Kress and Theo van Leeuwen are two linguistics who have developed a methodology for interpreting images. On the following pages you will find some examples of how their theory can be applied to the interpretation of print advertisements. The authors believe that images, as any mode of visual or textual design, fulfill three major functions (which they call metafunctions): A representational metafunction which represents the world around us and inside us. It answers the question: What is the image about?. An interactive metafunction which represents the social relations between the producer of the image, the viewer and the participants represented (people, objects or places). It answers the question: How does the image engage the viewer?. A compositional metafunction which gathers all the elements of the image into a coherent whole. It answers the question: How do the representational and interpersonal meanings relate to each other and integrate into a meaningful whole?. REPRESENTATIONAL METAFUNCTION MAKING MEANING There are two main types of representations: narrative and conceptual. The narrative represent dynamic actions and events.the conceptual represent the more or less stable meanings and have a didactic function. Conceptual meanings can easily be identified by absence of action. Which of the following ads are narrative and which are conceptual? 1

8 Narrative representations include different types of processes: action, reactional, mental and verbal. Each process contains at least one primary participant (people, place or thing) and may also contain secondary participants called circumstances. ACTION PROCESSES connect participants as doing something to or for each other by means of a vector. The relation between participants is created by an action. Action processes can be of two types: Transactional there are two participants, one is the Actor (the one who performs or instigates the action) and the other is the Goal (at whom the vector is directed). These can be: àunidirectional the vector is drawn from the Actor towards the Goal àbidirectional participants play either the role of Actor or the role of Goal, simultaneously or alternatively. Due to this double role, they are called Interactors. Non-transactional there is only one participant called the Actor and it has no goal. Kress and van Leeuwen say that the viewer is left to imagine who or what he may be communicating with. What type of action processes can you find in these ads? Can you draw the vectors between the Actors and the Goals? REACTIONAL PROCESSES occur when the vector which establishes the relation between the participants is formed by an eyeline, by the direction of the glance or the gaze of one of the participants. Reactional processes can also be: 2

9 Non-transactional there is only one participant called the Reactor (human or humanlike creature) who does the looking. The viewer is left to imagine what he or she is thinking about or looking at. Transactional the viewer gets a clear idea of who or what the Reacter is looking at. This is called the Phenomenon (it can be a person, an object or a situation). These can also be unidirectional or bidirectional. Who are the Reacters and the Phenomena of the reactional processes in these ads? Can you draw the eyeline vectors? Which are unidirectional and bidirectional? MENTAL PROCESSES and VERBAL PROCESSES connect human ou animate participants with some sort of content, through dialogue balloons or thought bubbles. In the case of dialogue balloons the participant is the Speaker, and in the case of thought balloons the participant is the Senser. 3

10 CIRCUMSTANCES are secondary participants which are related to the main participants but not by means of vectors. Even though they may carry important meanings, circumstances could be left out without affecting the basic meaning realized by the narrative process. The following ads will consider the three different types of circumstances: Circumstances of Means tools used in action processes Circumstances of Setting contrast between foreground and background Conceptual representations include three types of processes: classificational, analytical and symbolic. CLASSIFICATIONAL PROCESSES establish a relationship between participants in terms of a taxonomy, where some participants play the role of Subordinates in relation to at least one other participant which is the Superordinate. This one can be explicitly represented in the picture or not. The equivalence between the Subordinates, which are members of the same class, is visually realized by a symmetrical composition. ANALYTICAL PROCESSES create relations between participants in terms of part-whole structure. They involve two kinds of participants: one Carrier (the whole) and a number of Possessive Attributes (the parts). In the How to Civilize at 7.00 a.m. ad on page 2, the coffee, 4

11 the newspaper, the watch, the briefcase are all items (Possessive Attributes) which are part of the routine of one kind of people, members of the same class, considered the civilized (Carrier). Which of the following ads are classificational and which are analytical SYMBOLIC PROCESSES: according to Kress and van Leuuwen symbolic processes are about what a participant means or is. These processes can take two forms: the attributive and the suggestive. In the attributive symbolic processes, meaning is made through the emphasis given to one of the participants in relation to the other (either through colour, size, placement in the composition, etc). The images are composed of two parts, the Carrier and the Symbolic Attribute. The carrier receives its meaning by the symbolic attribute and the relationship between them. In the suggestive symbolic processes, there is only one represented participant (the Carrier) through which the meaning is carried. Colours or light often play an important role in these images to create mood or atmosphere which help to focus on generalised essence rather than detail. Which participants in the following ads carry attributive and suggestive meanings? 5

12 INTERACTIVE METAFUNCTION THE POSITION OF THE VIEWER There are three kinds of relations between participants: 1. Relations between represented participants ( people, things or places in the image) 2. Relations between interactive participants (real peope who produce and make sense of the images). This interaction can be direct (eg.: taking photographs, drawing maps) or indirect (different contexts of production and reception, such as paintings or ads). 3. Relations between interactive (image producer and viewer) and represented participants, i.e., the interactive participant s attitudes towards the represented participants. Kress and Van Leeuwen distinguish three important aspects to take into consideration when analysing these relations: Gaze, Social Distance and Attitude. GAZE has to do with how the vectors drawn from the participant s eyelines connect with the viewers (human or human-like). These can be of two types: Demand when the gaze (sometimes accompanied with gesture) demands something from the viewer. This creates a closer, more intimate relationship (a sort of visual you ). Offer there s no direct eye contact between the participant and the viewer. The relation is impersonal as the represented participant becomes more like a source of information or contemplation. Would you define the following as images of Offer or Demand? 6

13 SOCIAL DISTANCE has to do with the choices to present participants (human and objects) as close to or far away from the viewer, showing different degrees of familiarity. Different sizes of frame (in filmic terms) suggest different relations between participants and viewers : Close-ups realize intimate/ personal meanings. Medium shots realize social meanings. Long shots realize more impersonal meanings. What kind of relation between partipants and viewers is suggested by distance in the following ads? ATTITUDE has to do with selections of points of view, different angles, which in images are translated by perspective. Different angles reflect different choices of perspective and, more objective or subjective points of view and, consequently, different relations between participants and viewer: Frontal Angle involvement Oblique Angle detachment High Angle viewer power Low-level Angle represented participant power Eye-level Angle equality 7

14 Can you recognize the angles and the attitudes in the following ads? COMPOSITIONAL METAFUNCTION LAYOUT Composition relates the representational and interactive meanings of the image to each other through three interrelated systems: 1. Salience has to do with ways of attracting the viewer s attention realized by factors such as foreground and background placement, relative size, lighting, colour and tone contrasts, differences in sharpness, ecc. 2. Framing has to do with the presence or absence of framing devices such as dividing lines which connect or disconnect elements of the image. 3. Informative value has to do with the placement of elements in the image: left and right, top and bottom, centre and margin. The principles of information value, salience and framing also apply not only to images, but also to multimodal texts which combine visual and textual elements, as the ads we have analysed so far. 1. SALIENCE Salience creates a hierarchy of importance among the elements that compose the ad and making some more prominent than others. It results from one or a combination of factors such as size, sharpeness of focus, tone and colour contrast, placement in the visual field, perspective or other factors such as cultural icons or symbols. Salience indicates a reading path which begins with the most salient elements in the picture and then moves to the less salient elements. 8

15 Which salient elements do you recognize in the ads? 2. FRAMING Framing is related to the connection or disconnection betweeen visual elements in the image. Kress and van Leeuwen say that the stronger the framing, the more it is presented as a separate unit of information, and therefore, the absence of framing indicates a higher connection between the elements. Disconnection can be realized by lines, empty spaces between elements, discontinuties of colour and shape, ecc. On the other hand, connection can be realized by the absence of framing devices, through vectors or similarities of colour, shape, etc. How does framing affect the connection or disconnection between the elements in these ads? 3. INFORMATIVE VALUE 9

16 3.1. LEFT / RIGHT Given and New Kress and van Leeuwen distinguish between Given information (placed on the left of the page) and New information (placed on the right of the page). Typically, common knowledge or already known information comes on the left and the new, key information comes on the right. Which meanings would be considered Given and New on the following ads? 3.2. TOP/ BOTTOM Ideal and Real Many ads combine visual and textual information vertically rather than horizontally and very often this composition increases the sense of contrast between the visual and textual parts. The upper section tends to appeal to emotions and convey the idealized meanings, while the lower section tends to show the more informative and practical meanings. According to Kress and van Leeuwen if the upper part of the page is occupied by the text and the lower part by one or more pictures, the text plays, ideologically, the lead role, and the pictures a subservient role. How is the contrast between Real and Ideal conveyed in the following ads? 10

17 3.3. CENTRE / MARGIN If one element of the ad is placed in the middle of a circular composition it is called the centre and this means that it is presented as the nucleus of the information, and all the other elements in the margins are the peripheral, dependant elements. Centre and Margin can combine with Given and New and Ideal and Real such as in Triptychs (layouts which combine Given/ New or Ideal /Real with a Centre which acts as Mediator ). If there is no central element, the composition is polarized. Can you recognize the centred and marginal elements of the following ads? 11

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19 ANEXO A2 ADVERTISEMENT COMMENTARY WRITING The aim of commentary writing is to produce a more or less detailed analysis of any text, extracting all potential meanings and, when possible, relating those meanings to a wider cultural and social context. Most advertisements combine text and image and, therefore, advertisement commentaries require the analytical ability to interpret both textual and visual meanings. Advertisements are very powerful means of discourse and, because they combine several semiotic modes such as text, image, colour or layout, these meanings are not always easy to disclose. On the other hand, many encode underlying ideologies through irony, bias, stereotyping or inferences that need to be recognized in order to make full sense of the message. The exercises on the following pages will help you develop the necessary visual and textual awareness as well as the writing skills to produce effective advertisement commentaries. TASK 1 LONGINES WATCH PRINT ADVERTISEMENT ANALYSIS Suppose you had to write a commentary on the Swiss-made Longines Dolce Vita watch advertisement featured below. Naturally, the first thing to do is to spend some time observing the image carefully. Then, a few random notes would probably help you organize ideas, and if you used the terminology provided by Kress and van Leeuwen on the Grammar of Visual Design, your ad would probably look like this EXERCISE 1 : Before you read the model commentary, discuss the notes with a partner by referring to the section Reading Images, the Grammar of Visual Design on p. 36. Can you infer the meanings associated to the notes? What else can you add? Try to answer the following questions: 12

20 1. What is the main topic? Who is the target audience and how is it addressed? 2. What is the producer or the marketer s position? What do they expect from the audience? 3. What kinds of devices are used to attract the viewer s attention? How do these devices connect with meanings? 4. Are there issues of gender, race, status, bias, irony, etc to consider? 5. Are some ideas considered to be more important than others? Is there anything implicit which should be made explicit? EXERCISE 2: Read the text carefully and underline the words and expressions that refer to the visual concepts studied before. At the same time, pay attention to the structural stages on the right. EXERCISE 3: Consider the questions from exercise 2. How are they addressed in the commentary? Is the writer s opinion clearly stated? What is your opinion on the advertisement? Is this an effective way to reach the target audience? LONGINES DOLCE VITA ADVERTISEMENT COMMENTARY Being very cautious one can only claim that the Dolce Vita ad s communicative purpose is to entice consumers to go and buy this Longines watch. The structural moves the ad uses in order to achieve this purpose are (from top to bottom): logo (including brand and slogan of the company), picture 1, picture 2 (including product and name) and a footer (with technical details about the product). These structural moves are encoded into the textural features described below. Regarding the placement of elements in the text, the ad (targeting a Western Englishspeaking audience) is clearly arranged in a top-bottom structure. The top (representing the ideal i.e. abstract, general notions) is occupied by the brand s logo and, especially, by a very stylish Audrey Hepburn. The bottom part of the ad, representing the real i.e. detailed information, displays the watch s shape together with specific technical details about it. At the centre of the ad (a main focus of attention), consumers may read the following message in English: Elegance is an attitude. Regarding salience, lighting and colour, the whole ad is in black and white, which means nostalgia, seriousness, truth and detachment. In fact, it would not be far-fetched to claim that these colours may also be associated with Elegance (the motto of the ad). Hepburn s brightness stands out against a dark, grayish background; the watch, for its part, is surrounded by strong lightning. As far as framing is concerned, Hepburn and the Longines Dolce Vita watch are clearly disconnected from each other in the sense that they are both encapsulated in different black/ white boxes. Nevertheless, there are enough hints to suggest a clear connection between them. Hepburn s figure blends with the watch s shape along a perfect vertical axis, and both pictures (Hepburn s and the watch s) are literally linked by the watch s verbal message (i.e. Elegance is an attitude, in the black box). With such clear continuity patterns, it would not be illogical to claim that the watch is associated with elegance which ultimately refers to the Ideal Audrey Hepburn. It is also interesting to notice that from her upper position, Hepburn acquires the power vis-à-vis the consumer. It also seems relevant to point to the fact that the famous actress stands at a far close social distance from the consumer. Introduction (Identification) Description (analysis of structure) Description (analysis of compositional content) Description (analysis of compositional content) Description (analysis of compositional content) Conclusion ( interaction & judgement) María Calzada Pérez, 13

21 EXERCISE 4: Grammar in context As most writing at university level, commentaries are expected to be written critically and formally. The language should be simple and precise, but at the same time you are expected to respect organizational conventions and use appropriate register. To develop an argument based on observation and evaluation may be difficult at first, but visual discourse awareness and the use of appropriate vocabulary and grammar will help you develop the necessary skills. Different writers make different lexicogrammatical choices to reach their purposes. These choices are related both to the meaning and the contexts of communication and this is why grammar analysis is important. Exploring grammar can help you see how language is used to present a view of the world and interact with the readers. The following table includes some of the grammar strategies used on the Longines Dolce Vita commentary. Can you fill it in with some examples from the text? Main Verb Tenses Passive Voice Nominalization Modifiers Modality Conditionals Linking connectives/ transition Topic Sentences Complex sentences 14

22 TASK 2 ABSOLUT VODKA PRINT ADVERTISEMENTS ANALYSIS The following Absolut vodka ads are part of one of the longest running advertising campaigns in the world, created by TBWA advertising agency which headquarters are in New York. The ads are based on the bottle shape plus a two word tagline: Absolut. The campaign started around 1980 and has produced more than 1500 ads. The four below are just a small example. EXERCISE 1: Spend some time observing the ads and jotting down any useful notes for analysis. You should focus on comparing and contrasting the images and check differences and similarities between them. Discuss the observations with your partners. Make sure you address the following points: target audience, representational, interactive and compositional meanings, attention seeking devices, inferred meanings or ideological pressupositions. 15

23 EXERCISE 2 : Now read the commentary on the Absolut Vodka campaign and highlight any relevant concepts for visual and textual analysis. Try to label the stages on the right. ABSOLUT VODKA ADVERTISEMENT COMMENTARY The first element of an Absolut ad that we recognize is the bottle. Each ad features the bottle, or the shape of the bottle, prominently. Because these ads have been running for almost 20 years, we have become familiar with how Absolut ads present themselves. In actuality, the text at the bottom of the page is more attractive to the eye because of its brightness. But, since we know that the text gives away the key to the meaning of the ad, we, as readers, look to the bottle first. We can, hopefully, discern the meaning of what is happening with the bottle on our own, without the text. This dynamic makes the Absolut bottle the most salient element on the page. Each new ad that a reader comes across will draw them in by establishing a sense of curiosity. Readers want to know how the bottle is being presented in this particular ad. The salience of the bottle doesn't always come about by flashy or bright coloring, like most advertisements. Usually provided by the ad itself, salience, in the case of Absolut ads, is also provided by the reader. Readers know where to look for the bottle, or bottle shape, because it is almost always directly in the center of the page. Absolut makes use of the center to establish the fact that the bottle is the "nucleus of the information on which all the other elements are in some sense subservient" (Kress and Leeuwen, 204). The margins surrounding the center may contain information, but it is only secondary to the image in the center. Most Absolut ads leave the upper, left, and right margins void, while filling the bottom margin with text. It is at this point that Absolut ads become unique. When a reader cannot fully comprehend what the ad is attempting to convey, they are still able to identify with the basic element of the ad, which is the bottle. The most important part of the ad, in terms of advertising goals, still shines through to a reader. Even if they do not realize what the text means, or what is pictured, the realization that this is an advertisement for vodka is still there. Readers look to the bottle first, so they can discern the meaning of the ad, but sometimes, the text does nothing to establish the meaning. If the reader is not familiar with the signs in the ad, or with the word following "ABSOLUT," they are at a loss as to what the ad is referring to. When a reader does not attach meaning to an Absolut ad, they are not in the audience that the ad is aimed at. Most of these codes make reference to some sort of cultural object or element, so the readers who do not pick up on the reference simply do not contain that piece of cultural knowledge. In the end, the Absolut Vodka advertising campaign caters to cultural knowledge. Each ad makes reference to some aspect of pop culture. Even if the ad is referencing itself, Absolut has become such a landmark, it can be considered a cultural icon. The word "absolut" gives each ad a definitive quality. At the same time, Absolut is made out to be the definitive vodka. In much the same way, each ad attempts to define what our culture is all about. 16

24 EXERCISE 3: Did the reading match your pre-reading predictions? In your opinion, does the commentary cover all the important points? Would you add anything else? EXERCISE 4: Grammar in context As you fill in the table, think of how the writer s lexicogrammatical choices relate to the meanings of the text. Main Verb Tenses Passive Voice Nominalization Modifiers Modality Conditionals Linking connectives/ transitions Topic Sentences Complex sentences 17

25 TASK 3 JOINT CONSTRUCTION (GROUP WRITING) ü Choose any print advertisement from an English language newspaper or magazine and bring it to class. In groups of four (max), present your advertisement to your classmates and explain the reasons of your choice. Brainstorm ideas and choose one out of the four advertisements to analyse with your group. ü In order to prepare for the writing task, make notes on the ad and make sure you cover the main points: target audience, advertising aims, representational, interactive and compositional meanings, social and cultural background of production, implicit and explicit meanings, etc. Use the Useful Questions table on p. ü Check one metafunction at a time but use only the elements that you feel are important (like the salience of the bottle in the Vodka ads). You should continuously ask yourself why the marketer used this particular resource. On the other hand, many meanings you understand at an intuitive level, but make sure that you make them explicit when you write. ü As you could see from the model texts we have read, there is no single correct way to structure an advertisement commentary, however, the structures used in those texts can be a good starting point. The minimum structure should include at least three stages: Context ^ Description ^ Judgement. Don t forget to plan before you write: discuss possible ways to structure your text, decide on appropriate stages and paragraphs. ü You should try to engage the reader not only by explaining the visual and textual meanings, but also by stating the reasons why the observation is significant. Simply by selecting particular qualities of the ad, you are already expressing an opinion about their importance, however, don t forget that your analysis should try to convince your reader that your interpretation and evaluation are valid, so you need to support your views with evidence and examples from the image. ü Write a first draft, proofread it and give it to another group for feedback. Welcome suggestions and consider any changes within your group. Don t forget that proficient writers often write more than one draft! Check grammar, spelling and punctuation. When it s perfect, hand it to your teacher Enjoy! 18

26 ADVERTISEMENT COMMENTARY WRITING ANSWERS EXERCISE 2: Read the text carefully and underline the words and expressions that refer to the visual concepts studied before. At the same time, pay attention to the structural stages on the right. LONGINES DOLCE VITA ADVERTISEMENT COMMENTARY Being very cautious one can only claim that the Dolce Vita ad s communicative purpose is to entice consumers to go and buy this Longines watch. The structural moves the ad uses in order to achieve this purpose are (from top to bottom): logo (including brand and slogan of the company), picture 1, picture 2 (including product and name) and a footer (with technical details about the product). These structural moves are encoded into the textural features described below. Regarding the placement of elements in the text, the ad (targeting a Western Englishspeaking audience) is clearly arranged in a top-bottom structure. The top (representing the ideal i.e. abstract, general notions) is occupied by the brand s logo and, especially, by a very stylish Audrey Hepburn. The bottom part of the ad, representing the real i.e. detailed information, displays the watch s shape together with specific technical details about it. At the centre of the ad (a main focus of attention), consumers may read the following message in English: Elegance is an attitude. Regarding salience, lighting and colour, the whole ad is in black and white, which means nostalgia, seriousness, truth and detachment. In fact, it would not be far-fetched to claim that these colours may also be associated with Elegance (the motto of the ad). Hepburn s brightness stands out against a dark, grayish background; the watch, for its part, is surrounded by strong lightning. As far as framing is concerned, Hepburn and the Longines Dolce Vita watch are clearly disconnected from each other in the sense that they are both encapsulated in different black/ white boxes. Nevertheless, there are enough hints to suggest a clear connection between them. Hepburn s figure blends with the watch s shape along a perfect vertical axis, and both pictures (Hepburn s and the watch s) are literally linked by the watch s verbal message (i.e. Elegance is an attitude, in the black box). With such clear continuity patterns, it would not be illogical to claim that the watch is associated with elegance which ultimately refers to the Ideal Audrey Hepburn. It is also interesting to notice that from her upper position, Hepburn acquires the power vis-à-vis the consumer. It also seems relevant to point to the fact that the famous actress stands at a far close social distance from the consumer. Introduction (Identification) Description (analysis of structure) Description (analysis of compositional content) Description (analysis of compositional content) Description (analysis of compositional content) Conclusion (interaction & judgement) María Calzada Pérez, 19

27 EXERCISE 4: Grammar in context The following table includes some of the grammar strategies used on the Longines Dolce Vita commentary. Can you fill it in with some examples from the text? Main Verb Tenses Passive Voice Nominalization Modifiers Modality Conditional Linking connectors/ transition Topic Sentences Complex sentences Present simple are encoded, is arranged; is occupied; is surrounded; is concerned; are disconnected; are encapsulated; are linked; is associated; placement; information; attention; elegance; salience; lighting; nostalgia; seriousness; truth; detachment; brightness; framing; connection technical details; textural features; clearly arranged; abstract, general notions; very stylish; detailed information; following message; dark; grayish background; strong lightning; clearly disconnected; clear connection; perfect vertical axis; literally linked; verbal message; continuity patterns; upper position; famous actress one can only claim ; consumers may read the following message ; it would not be far-fetched to claim ; it would not be illogical to claim ; it also seems relevant to point to the fact _ In fact; as far as framing is concerned; nevertheless; It is also; it also seems The first sentence of every paragraph, except paragraph one. Few samples for analysis: 3 rd paragraph: The bottom about it 5 th paragraph: Hepburn s figure black box 6 th paragraph: With such clear continuity patterns Hepburn 20

28 TASK 2 ABSOLUT VODKA PRINT ADVERTISEMENTS ANALYSIS EXERCISE 1: Spend some time observing the ads and jotting down any useful notes for analysis. You should focus on comparing and contrasting the images and check differences and similarities between them. Discuss the observations with your partners. Make sure you address the following points: target audience, representational, interactive and compositional meanings, attention seeking devices, inferred meanings or ideological pressupositions. üconceptual representations ü salience of bottles & guitar ücultural meanings ü plain, soft backgrounds übottles on top, text bottom ü bright bottles ü bright, white text ücentral bottles üempty left, right, top margins ücontrast dark bottle, dark text 21

29 EXERCISE 2 : Now read the commentary on the Absolut Vodka campaign and highlight any relevant concepts for visual and textual analysis. Try to label the stages on the right. ABSOLUT VODKA ADVERTISEMENT COMMENTARY The first element of an Absolut ad that we recognize is the bottle. Each ad features the bottle, or the shape of the bottle, prominently. Because these ads have been running for almost 20 years, we have become familiar with how Absolut ads present themselves. In actuality, the text at the bottom of the page is more attractive to the eye because of its brightness. But, since we know that the text gives away the key to the meaning of the ad, we, as readers, look to the bottle first. We can, hopefully, discern the meaning of what is happening with the bottle on our own, without the text. Introduction (Identification & background information) This dynamic makes the Absolut bottle the most salient element on the page. Each new ad that a reader comes across will draw them in by establishing a sense of curiosity. Readers want to know how the bottle is being presented in this particular ad. The salience of the bottle doesn't always come about by flashy or bright coloring, like most advertisements. Usually provided by the ad itself, salience, in the case of Absolut ads, is also provided by the reader. Readers know where to look for the bottle, or bottle shape, because it is almost always directly in the center of the page. Absolut makes use of the center to establish the fact that the bottle is the "nucleus of the information on which all the other elements are in some sense subservient" (Kress and Leeuwen, 204). The margins surrounding the center may contain information, but it is only secondary to the image in the center. Most Absolut ads leave the upper, left, and right margins void, while filling the bottom margin with text. It is at this point that Absolut ads become unique. When a reader cannot fully comprehend what the ad is attempting to convey, they are still able to identify with the basic element of the ad, which is the bottle. The most important part of the ad, in terms of advertising goals, still shines through to a reader. Even if they do not realize what the text means, or what is pictured, the realization that this is an advertisement for vodka is still there. Readers look to the bottle first, so they can discern the meaning of the ad, but sometimes, the text does nothing to establish the meaning. If the reader is not familiar with the signs in the ad, or with the word following "ABSOLUT," they are at a loss as to what the ad is referring to. When a reader does not attach meaning to an Absolut ad, they are not in the audience that the ad is aimed at. Most of these codes make reference to some sort of cultural object or element, so the readers who do not pick up on the reference simply do not contain that piece of cultural knowledge. In the end, the Absolut Vodka advertising campaign caters to cultural knowledge. Each ad makes reference to some aspect of pop culture. Even if the ad is referencing itself, Absolut has become such a landmark, it can be considered a cultural icon. The word "absolut" gives each ad a definitive quality. At the same time, Absolut is made out to be the definitive vodka. In much the same way, each ad attempts to define what our culture is all about. Description (compositional elements) Description (compositional elements) Description (compositional elements) Description (compositional elements) Conclusion 22

30 EXERCISE 4: Grammar in context As you fill in the table, think of how the writer s lexicogrammatical choices relate to the meanings of the text. Main Verb Tenses Passive Voice Nominalization Modifiers Modality Conditionals Linking connectors/ transitions Topic Sentences Complex sentences Present simple, present perfect simple and continuous, present continuous provided by, is made out to brightness, salience, information, realization, reference, knowledge prominently, because of its brightness, hopefully, the most salient element on the page, flashy or bright colouring, secondary to the image in the centre, etc. We can, hopefully; may contain information; cannot fully comprehend, can discern; can be considered a cultural icon Even if they do not realize ; even if the ad is referencing itself Because, in actuality, but, while, in the end, in much the same way, at the same time The first sentence of every paragraph. Few examples: 1 st paragraph: Because these ads themselves. 2 nd paragraph: Usually reader. 4 th paragraph: When bottle, etc. 23

31 ANEXO A3 PRINT ADVERTIMENTS ANALYSIS TEACHER SUPPORT Reading Images The Grammar of Visual Design (p. 36) Although the theoretical framework should not be difficult for most students, some concepts may be new and hard to assimilate, therefore, my suggestion is that input should be divided into three lessons of 45 minutes more or less one lesson per metafunction. Lesson 1 Summary: What is multimodality? Brief introduction to the notion and needs of a grammar of visual design. Three functions of discourse. Analysing representation in print adverts: how is the world represented by print advertising? Analysis of narrative representations. Visual circumstances: Means and Setting. What is multimodality? The reality of multimodality use Power Point 1 to observe the difference between newspapers, school books and ads from 50 years ago and now. Point out the difference between the monomodal print texts from the old days and the combination of modes included in most modern texts. Elicit the different kinds of modes (semiotic modes) you can find on internet pages (print, images, graphs, pop-ups, music, layout, graphics, movement, etc). In the 21st century people have found new ways of making meaning. There are more choices available, many accessible powerful tools, and these have helped to change our view of the world. Nevertheless, at school we still speak and learn more about how to comprehend written texts than the visuals that accompany them. Reading comprehension is traditionally associated to the understanding of meanings enclosed in the words and sentences that compose texts, but the fact is that, nowadays, meanings no longer rely only on words but also on the images and other modes that come along with texts. Most discourse is now multimodal and hence the demand for devices that help to explore and understand the contemporary semiotic practices. The grammar of visual design was 24

32 conceived precisely to provide the modern readers and viewers with appropriate tools to make sense of communication in today s world. What are metafunctions? Comes from Halliday s systemic-functional grammar and refers to the kinds of meanings that are produced simultaneously by the different modes of discourse. The prefix meta- refers to the broad functions of each type of meanings (for Halliday these are the experiential (or ideational), interpersonal and textual metafunctions). In visual analysis, Kress and Van Leeuwen propose three correspondent ones: Representational Metafunction gives us tools to answers the question: What is the image about? Analyses representations of outer and inner world: actions, reactions, thoughts, sayings, etc. Interactive Metafunction establishes the relations between represented participants, the viewers, and the people involved in the production of images. Analyses the kind of interactions that are created between viewer and represented participants: personal, impersonal, intimate, distant, emotional, etc. Compositional Metafunction analyses the relations between representational and interactive meanings. It analyses how the texts combine with the images and what kind of effect does this combination produce on the viewer: more or less salient elements, foreground / background combinations, connection or disconnection between elements, etc. Power Point 2 follows pp 36 to 46 in the anthology In some cases, some background information on the adverts is provided in italics. SLIDE 1 Very brief example of the three metafunctions in action Representational meanings: look for the signs that tell us the image s story : happy relation between mother and daughter, mother sits down to approach daughter s height, smiles denote joys of motherhood/ childhood, the pleasures of cuddling, similarities in clothing, etc. Interactive meanings: mother and daughter gaze the viewer directly. What kind of reaction/ attitude is expected from the viewer? What was the producer s intention? 25

33 Compositional meanings: how does the text combine with the image? What and why do textual and visual elements occupy the positions that they do (left, right, top, bottom, centre, margins)? What is the most salient element in the picture? What role do colours, size, sharpeness or perspective play in the overall meanings? REPRESENTATIONAL METAFUNCTION SLIDE 2 Narrative and Conceptual meanings Orchid advert: Narrative Stop Racism advert: Conceptual Swiss Mocha advert (coffee flavoured drink): Conceptual Jet advert (airline): Narrative What kind of stories do the narrative ads try to sell? What kind of ideals or essences do the conceptual ads relate with? SLIDE 3 Action Processes Boxexercise Instructor advert: the 2 represented participants play the role of actor and/ or goal either simultaneously or one after the other. The relation between them is transactional and bi-directional. Got milk advert: part of the Got milk? campaign which endorsed several celebrities to promote the health benefits of milk. They all have milk moustaches. This one portrays Chris Brown, R & B singer, and was cancelled after the case with Rihanna (charged guilty of assault, $ bail). Non-transactional relation where only one participant plays the role of actor. Finesse advert: 2 represented participants, the relaxed client and the masseuse represented by the hands. The transactional (unidirectional) relation between the actor and the goal is realized by the vector that links them. 26

34 SLIDE 4 Reactional Processes Budweiser s advert: The viewer immediately recognizes the Reacter, the one who does the looking. The process is non-transactional as the viewer is left to imagine what or who the participant is looking at there is no Phenomena. Pepsi-cola advert (vintage): there are two different participants: the man acts as the Reacter who looks at the woman with the strange Xmas tree hat on her head. At the same time, she is the actor in a non-transactional action process ( woman puts the hat on ) and the reacter in a reactional process ( woman looks at herself in the mirror ). This whole complex process ( woman puts the hat on and looks at herself in the mirror ) becomes the Phenomena of the reactional process in which the man is Reacter. He reacts to this with an amused or maybe teasing smile. The University of Akron Advert: the face-to-face placement involve the participants in a bidirectional reactional relation where they play the roles of Reacters and Phenomena simultaneously. SLIDE 5 Mental and Verbal Processes Crunch gym advert: the potatoes act as Speakers and connect the verbal utterances enclosed in the dialogue balloons. Child Nutrition Act Ad: Sponsored by a nonprofit group, the Physicians Committee for Responsible Medicine (PCRM), which was lobbying for mandatory offering of vegetarian and vegan school lunch options to be included in the Child Nutrition Act bill which was to be taken up by Congress on the month the ad came out. The White House asked to remove the ad. The advert illustrates a common technique used in advertising which features a young Afro- American girl as the Senser who acts as mediator in the mental process of thought. At the end of the lesson, you can elicit a correspondence between the processes and verbs to help clarification: Processes: Action à doing Reactional à seeing Mental à thinking Verbal à saying 27

35 SLIDE 7 Circumstances Circumstances are easy to distinguish because, although they may carry very important meanings, they could still be left out of the advert without affecting the most important basic meaning, that is why they can be considered secondary participants. They can be compared to adverbial or noun clauses (they hunt with the gun; they hunt by the lake) Rowenta advert: the guns are the means with which the process is executed and they also form the vector circumstance of means. The setting of the process is recognizable because of the softer colours of the background compared to the foreground. Parliament Cigarettes: circumstance of setting becomes clear in this ad. You can discuss how the colours in the background contrast with the participants in the foreground to make meaning. Lesson 2 Summary: Conceptual representations: classificational, analytical and symbolic processes. Interactive Meanings. Relations between represented participants and interactive participants. Gaze, Attitude and Social Distance. SLIDE 8 Conceptual Representations There are two main types of conceptual representations: classificational, analytical and symbolic. Classificational processes relates a subordinates (similar elements) to their superordinate (which does not have to be represented in the image). The polishes, waxes and cleaners are all elements of the same class of beauty car products as the different swatches are different models of the same type of watch. They are often represented symmetrically. Analytical processes relate different parts to a whole. The furniture, linen and lamps are parts of a whole which is the Ikea bedroom, as the different car components are the parts that compose the car. The car and the bedroom are Carriers and the parts are the Possessive Attributes 28

36 SLIDE 9 Fashion Analytical Processes Fashion shots are analytical, too, in the sense that they often display the parts of an outfit. Analysis always involves selection. SLIDE 10 Symbolic Processes Symbolic processes are about what a participant means or is and they can be of two types: attributive and suggestive. Symbolic Attributive includes two participants: the Carrier, whose identity is established in the relation, and the Symbolic Attribute, which represents the identity itself. Human participants usually pose for the viewer, they display themselves, rather than being shown in some action. (In the DKNY ad, the apples are the symbolic attributes which symbolize temptation and sexuality, the original sin in Christian theology). Symbolic Suggestive these processes have only participant which is the Carrier, the participant which has the qualities. (the palm tree in the travel agency ad, which carries the associated meanings of relaxation, soothing, peaceful paradise) INTERACTIVE METAFUNCTION Explain the three kind of relations created by visual communication. These distinguish: 1. Relations between represented participants themselves. 2. Relations between these and the interactive participants (i.e. viewers and producers) 3. Relations between interactive participants ( things that interactive participants do to and for each other through images ). This can be a direct relation, as when you draw a map or instructions in the presence of the other, or indirect relation as through paintings, maps or ads. Kress & van Leeuwen point out Gaze, Attitude and Social Distance as the main means that realize interactive meanings. SLIDE 11 Gaze Gaze basically distinguishes between images where the RP gazes the viewer directly (images of Demand) and when it doesn t (images of Offer). A good example of Demand are the US army posters used during the war where a military would point and gaze directly at the viewer ( Your country needs you or We want you for the US army ). 29

37 Demand and offer should be very easy to distinguish. Chloé advert: Demand Sweet advert: Offer Bank of America advert: Demand SLIDE 12 Social Distance You can approach the subject of social distance by eliciting from the students what kind of meanings are created by closer to more distance shots and use the ads on the slide to analyse their suggestions. Visine advert: contrast the eye close-up to the long shot Taj Mahal. What kind of effects are created by the two? La Trobe university advert (Australian university): what kind of effect does the university mean to create with such close-up picture? Jordache Jeans advert: medium shot as the viewer is placed as if he were the photographer, placed at a distance to get enough of the girl s body and the head of the horse. Skiing advert: in what ways does the long shot picture realizes impersonal meanings? How could the picture be made more personal? SLIDE 13 Attitude Braun advert: frontal angle and the gaze of demand help to create equality: men, monkeys and viewers are all at the same level. Halle advert: the oblique close-up helps to create the sort of intimate but still detached relation with the viewer. Intimacy is created by the gaze of demand and the close-up, however, the oblique angle helps to create some detachment with the viewer. Video Creations advert: in what ways does the high angle create viewer power? What kind of powers are given to the target viewer? Leonisa advert (women s clothing line): low-level angle, represented participant power is clear. 30

38 Lesson 3 Summary: Analysis of composition the layout of print ads. Salience, framing and informative value. Remind the students that the three metafunctions: representational, interactive and compositional operate simultaneously and are only separated for analytical purposes. The compositional metafunction combines representational and interactive meanings as well as the connections between these and the textual meanings. Composition relates precisely to the ways all these are composed into a meaningful whole. To analyse compositional meanings we should take three aspects into consideration: 1. Informative value this covers the placement of elements in the page: left or right, top or bottom and centre or margin. 2. Salience has to do with the most salient elements in the page which can be realized through colour, size, tone, cultural connotations, etc. 3. Framing has to do with the presence of lines, divisions or other framing devices in the images. INFORMATIVE VALUE SLIDE 14 SALIENCE George Mason University advert: salience is created by the student s size and bright colours of gown and scarf, as well as the contrast created by background and perspective. Catto advert: salience is created by the cat-like woman size and leaning-forward position as well as the similarities of shade between the woman s hair and the whisky. I-phone advert: salience is created by the colours and size of the phone compared to the black and white of the letters. Corn-flakes advert: salience is created by the muscles and body of Michael Phelps as well as his fist up. 31

39 SLIDE 15 FRAMING Wendy s advert absence of framing helps to connect all the elements. Louisiana Tech University advert framing helps to separate the different sections of the ad. SLIDE 16 Given & New Information (given is placed on the left and new is placed on the right) General Motors advert: consider the reasons why the imge was placed on the left and the text on the right. Remind the students that most western languages read and write from left to right. Given and New is related to Theme and Rheme which distinguish the starting point of the message, realized in English by the first position in the clause (it sets up the context for each clause) which is Theme, and what comes after the point of departure, i.e. what is presented in the context set up by theme. What is the difference in emphasis given in the boy kissed the girl or the girl was kissed by the boy? The General Motors ad shows the well known racing cars on the left but the text on the right reinforces the idea that the technology used in the old racing cars is the same used in the winning GM cars. Taking it to the streets means taking the same technology into street GM cars. Stella Artois advert (Belgian Beer with tradition dating back from the 14 th century): copy says: The Eiffel Tower was built in 1889 for the Paris exhibition. It was designed by Alexandre Gustave Eiffel. To this day, it remains the tallest structure in Paris. Why was this information placed on the left of the image? Bicycle advert (Beistegui Hermanos, Spanish manufacturer): What is the new and given information on the ad? 32

40 SLIDE 17 Ideal and Real Information (ideal meanings are placed on the top and real ones are placed on the bottom) Cancer Care advert (nonprofit organization that provides free, professional support services for people cancer) in contrast with the Lego advert: what are the differences between placing the copy at the top or the bottom of the page? Why does copy occupy a more ideal place in the Cancer Care ad? SLIDE 18 Nuclear and dependant meanings (nuclear meanings usually occupy the centre and dependant meanings occupy the margins). Coca-cola advert: The bottle of coke occupies the centre, the nucleus of the information and the hamburgers around are subservient to it (the massage is: there are no hamburgers without coke). Ittihad University advert: the globe and the university in the background occupy the central position (the nucleus of the information). This a triptych (often common in folded brochures) which combines given information (on the left) with new information (on the right). The focus of the ad is on the different colleges rather than on the pictures of students and the globe and university work as mediators between given and new information. Anthology p. 47 is a summary of questions published by Clare Harrison which can guide visual analysis of still images within Kress and van Leeuwen s framework of visual semiotics. 33

41 USEFUL QUESTIONS FOR ANALYSIS in Clare Harrison, Visual Social Semiotics: Understanding How Still Images Make Meaning REPRESENTATIONAL METAFUNCTION 1. Who are the represented participants (RPs) in the image? Include human and non-human objects. 2. Are there any vectors in the image that indicate action? If so, what kind of story does this action tell? 3. Are the human RPs looking at each other, creating online vectors? If so, what does this tell me about the story of these people? 4. If there are no vectors, what is the image trying to tell me in terms of social/ cultural concepts? What types of conventional thinking do different objects evoke in me? 5. Is the image a complex one with more than one process embedded in it? If so, how do these embedded processes add to my overall understanding of the image? INTERACTIVE METAFUNCTION 1. Does the image include human RPs? If so, what type of image act is taking place, a demand or an offer? 2. If the image act is a demand, how does this affect me? And is it accompanied by any gestures or expressions that make it forcible? 3. If the image act is an offer, why has the producer of the image chosen to make the RP an object of study? 4. How close do I feel to the RPs in the image? Does the closeness make me feel as if the RPs are friends or strangers? In either case, why has the producer of the image chosen to evoke these feelings in me? 5.What do I notice about the perspective in the image? What vertical and horizontal angles have been used? 6. How does the horizontal angle affect my sense of involvement with the RPs? 7. How does the vertical angle add to my knowledge of power relations between myself and the RP and between the RPs themselves? COMPOSITIONAL METAFUNCTION 1. How have the RPs been placed to provide information and why has the producer of the image chosen this placement? 2. Which RPs are more salient than others and how does this salience affect the impact and meaning of the image? 3. How are the RPs held together or separated within an image, and why? 4. How does the use of colour or lack of it affect the rhetorical message of the image? 5. How real does the image appear to the reader, and does this sense of reality affect the validity of its message and that of the accompanying text? 6. Are there other ways this image could have been organized that would strengthen its message and more effectively enhance its accompanying text? 8. What other semiotic resources could the producer have used to create a different impression? 34

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43 Anexos B Tarefas de escritas utilizadas no ano lectivo 2010/11 2

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45 ANEXO B1 WRITING TASK Name: Class: Diagnostic Commentary Writing The following alcohol press campaign for Wild Africa Cream was banned by the Advertising Standards Authority in December Describe the ad in detail trying to infer the possible visual and verbal meanings. In your opinion, why did ASA ban this advertisement? (Write words). 37

46 ANEXO B2 COMMENTARY WRITING Name: T: The Anti-Barbie doll self-esteem campaign was launched by Body Shop in 1998 and appeared in several stores in the UK, Australia, Asia and the USA. Posters of Ruby were banned in the USA, after a complaint by Mattel (the makers of the real Barbie doll), and on the Railway in Hong Kong because authorities considered that the doll s nude condition could offend passengers. Describe the ad in detail trying to infer the possible visual and verbal meanings as well as the reasons for controversy. (Write words). 38

47 ANEXO B3 PART III COMMENTARY WRITING (50 marks) PETA People for the Ethical Treatment of Animals is an American animal rights organization which is known for its shocking and controversial awareness campaigns. The Save the Whales campaign was meant to urge people to go vegetarian on the claim that vegetarians are thinner and healthier than meat-eaters. The ad came out in 2009 in Florida and was eventually removed by PETA, following intense controversy in the media. Write a short commentary on the ad considering the reasons behind the controversy ( words). (NB: Blubber: excessive body fat) 39

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49 Anexos C Alterações ao material didáctico utilizado no ano lectivo 2009/ 10 Tarefas de escrita utilizadas no ano lectivo de 2009/10

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51 ANEXO C1 Imagens retiradas da proposta didáctica utilizada em 2009/10 Conversion Process 41

52 ANEXO C2 Texto substituído pelo comentário sobre o anúncio da Longines anexo A2 TASK 1 KELLY CALÈCHE PRINT ADVERTISEMENT ANALYSIS Suppose you had to write a commentary on the Hermès Kelly Calèche perfume advertisement featured below. Naturally, the first thing to do is to spend some time observing the image carefully. Then a few random notes would probably help you organize ideas, and if you used the terminology provided by Kress and van Leeuwen on the Grammar of Visual Design, your ad would probably look like this: EXERCISE 1 : Before you read the model commentary, discuss the notes with a partner by referring to the section Reading Images, the Grammar of Visual Design on p. the notes? What else can you add? Try to answer the following questions:. Can you infer the meanings associated to 1. What is the main topic? Who is the target audience and how is it addressed? 2. What is the producer or the marketer s position? What do they expect from the audience? 3. What kinds of devices are used to attract the viewer s attention? How do these devices connect with meanings? 4. Are there issues of gender, race, status, bias, irony, etc to consider? 5. Are some ideas considered to be more important than others? Is there anything implicit which should be made explicit? EXERCISE 2: Read the text carefully and underline the words and expressions that refer to the visual concepts studied before. At the same time, pay attention to the structural stages on the right. 42

53 KELLY CALÈCHE ADVERTISEMENT COMMENTARY The young amazon magazine advertisement was produced to promote the new Kelly Calèche fragrance by Hermès, launched in Summer A woman in her mid 20s is portrayed as walking firmly, head high, with her back turned to the camera. She wears leather trousers, boots and accessories and carries a leather whip, the thong curled around a pink bottle of perfume. The leather items relate with the leather goods produced by Hermès as well as with the fragrance which is described as a floral perfume touched by fine leather. The advertisement revolves around one main action process, represented by the firm tread of this independent, determined young blonde. Rather than the stereotyped sparkling model gazing at the viewer, the advertisement producers opt to address the 21 st century women consumers through this self-confident, liberated, passing by woman. The relation between viewer and represented participant is, consequently, one of total detachment emphasized by the oblique/ low angle and the woman s back turned to the camera. The viewer is positioned in a somehow inferior dimension, which reinforces the woman s sense of independence. The whip also speaks to empowerment: female, pretty, sexy and yet ready to take-charge. Considering the compositional aspects of the advertisement as a whole, the woman is clearly given the central, dominant position, her superpowers attested by the unreality of the whip lightly holding the perfume bottle in the air. The viewer is then drawn to the rest of the elements on the advertisement: the short text and Hermès logo on the top right corner and the oversized pink bottle of perfume on the bottom right. Both these elements occupy the privileged position of new information giving details about the product, the reason why the advertisement was produced. The top and bottom positions, however, ascribe different meanings to the text and the bottle. At the bottom of the page, the salience of the bottle comes from its shiny, transparent, bright front position as opposed to the smooth pink haze atmosphere of the background. This makes the bottle look tangible, real, right there within reach (or purchase, if you wish ). The text, on the other hand, is placed on the top according to Kress and van Leuuwen (2006), the place for what is ideal. Here, the viewer learns about the fragrance name and brand and comes across the campaign slogan: en escapade. The tagline helps to build the bridge between the two worlds: no matter how powerful, distant or sophisticated the dominant figure may be, there is hope for every one the idealized aspiration at brief escapade is within every woman s dreams. In the end, the visual composition serves the marketers aim: Kelly Calèche will make you feel powerful buy it. Altogether, the Hermès perfume advertisement is consistent with the construction of the role of women in the 21 st century: a fit, liberated woman who makes her own way in the world. She is, however, portrayed as a high class, distant, superior, superpowered woman. Whether this new role is real or unattainable, the ad doesn t say Introduction (Context: Identification & background information) Description (analysis of representation and interaction) Description (analysis of compositional content) Description (analysis of compositional content) Conclusion Judgment 43

54 Tarefas de escrita utilizadas no ano lectivo de 2009/10 ANEXO C3 DIAGNOSTIC TEST COMMENTARY WRITING The following press campaign for Courage Beer was banned by the Advertising Standards Authority in December Describe the ad in detail trying to infer the possible visual and verbal meanings. In your opinion, why did the ASA ban this advertisement? (Write words). 44

55 ANEXO C4 III COMMENTARY (50 MARKS) Misereor, an international development agency of the Catholic Church in Germany, issued a print advertisement campaign as a reminder of the impactof war on orphans around the world. This WarOrphans Campaign won several advertising prizesin 2007, including awards in the Cannes, New Yorkand the Eurobest International Advertising Festival among others. The advertisement below features the Iraq version of the campaign. Write a short commentary ( words), describing the image and considering the reason why it was honoured with so many awards. 45

56 ANEXO C5 III COMMENTARY (50 MARKS) Misereor, an international development agency of the Catholic Church in Germany, issued a print advertisement campaign as a reminder of the impact of war on orphans around the world. This War Orphans Campaign won several advertising prizes in 2007, including awards in the Cannes, New York and the Eurobest International Advertising Festivals among others. The advertisement below features the Somalia version of the campaign. Write a short commentary ( words), describing the image and considering the reasons why it was honoured with so many awards. 46

57 ANEXO C6 III COMMENTARY (50 MARKS) Misereor, an international development agency of the Catholic Church in Germany, issued a print advertisement campaign as a reminder of the impact of war on orphans around the world. This War Orphans Campaign won several advertising prizes in 2007, including awards in the Cannes, New York and the Eurobest International Advertising Festival among others. The advertisement below features the Chechnya version of the campaign. Write a short commentary ( words), describing the advert and considering the reasons why it was honoured with so many awards. 47

58 ANEXO C7 III COMMENTARY (50 MARKS) An advertising agency in Sri Lanka launched a campaign for UNICEF in 2009 to call for an end to child soldier recruitment. The campaign was called Bring Back the Child, it targeted armed groups and the children affected. Unicef worked together with the provision of rehabilitation services for children who were released. The agency used stories from real child soldiers who spoke about their aspirations for bigger dreams and ambitions other than soldiering. Write a short commentary ( words), describing the advert and considering the importance of such campaigns. 48

59 Anexos D Tabela de Critérios; Planificação 2010/ 11; Grelha Avaliativa do Teste Diagnóstico

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61 ANEXO D1 Tabela de Critérios GENRE FIELD (CONTENT) TENOR (TARGET READER) EXEMPLARY (5 marks) Writing purpose is achieved in an effective and engaging manner (2,5 marks). Creative, logical staging that moves the reader smoothly through the text (2,5 marks). Excellent understanding and development of topic supported by relevant, creative details. Adequate academic style: mostly objective and impersonal. Variation can occur within conventions. STRONG (4 marks) Purpose of genre is clear and well defined. (2 marks) Consistent and appropriate staging for the genre. (2 marks) Clear, interesting understanding of field reinforced by appropriate details. Mostly adequate for the genre, but occasional inconsistency. SATISFACTORY (3 marks) Appropriate text for writing purpose (1,5 marks); Staging may be inconsistent but introduction and conclusion are clear. (1,5 marks) Moderate understanding of topic. Average but fairly clear attempt at development and support. Inconsistent and may be too personal or emotional, but still acceptable. DEVELOPING (2 marks) Writing purpose may be unclear or inconsistent (1 mark). Staging probably inadequate for the genre, but reveals some planning effort (1 mark) Limited range of ideas or understanding of field. Some parts maybe unclear but generally not impeding comprehension. Mostly too personal or inappropriate for the genre. WEAK (1 mark) Writing purpose is undefined. Text does not meet genre purpose. Unclear staging makes text hard to follow. Topic misunderstood, misinterpreted and/ or poorly developed. Requires effort from reader due to impeding errors. Erratic or no control of tenor, little or no sense of audience or conventions. MODE (REGISTER) APPRAISAL WORD CHOICE Creative use of technical and/or abstract written language. Judicious evaluation of ideas, arguments, attitudes, people or things and texts. Sophisticated choice of words. No interference from L1. Correct use of technical and/ or abstract written language. Appropriate evaluation of ideas, arguments, attitudes, people or things and texts. Clear word choice. Occasional interference from L1 but never impeding. Limited range of technical or abstract language. Occasional spoken. Clear appreciation of things, ideas or people, but mostly personal or unsophisticated lexis. Mostly clear word choice. Occasional impeding interference from L1. Erratic or little control of written academic patterns. Often spoken. Poor or irrelevant judgment of things, ideas or people and/or spoken and immature lexis Unclear or impeding sentences or paragraphs combine with some clear, non-impeding structures. Either too spoken, limited or inappropriate language Lacks appreciation of things either/or too spoken or immature judgment Repetitive, unclear meanings. REFERENCE CONJUNCTION Clear reference to things, people and texts as the writing unfolds. Logical relations between sentences and phases clearly constructed. Attempt to use elaborated, sophisticated resources. Good control of reference to things and people. The text is cohesive and does not require effort from reader. Good control of typical conjunctions of academic writing and some attempt at elaborated structures Generally cohesive text although no attempt at varied reference to avoid repetition. Good grasp of basic linking, but little attempt at more elaborated structures. Erratic control of reference to people and things. Cohesion requires effort from the reader. Very basic or inconsistent linking between sentences. Either too short sentences or run-ons. Unclear reference to things and people. Little logical relation between sentences. The reader may lose track of content due to lack of cohesion. GRAMMAR SPELLING & PUNCTUATION Confident, elaborate and creative use of grammar structures. Free of grammar mistakes. Virtually free of spelling mistakes. Correct paragraphing with good variety of sentence length. Variety of grammar structures. No major grammar problems. Few minor errors. Correct or mostly correct paragraphing and variety of sentence length. Good grasp of basic structures. Some nonimpeding grammar problems. Some non-impeding spelling mistakes. Occasional wrong paragraphing or run-ons and/ or irregular punctuation or sentence length. Erratic control of grammar structures. Some basic grammar mistakes but generally non-impeding. Erratic control of spelling. Erratic control of paragraphs and punctuation. Grammar mistakes are impeding and make the writing hard to follow. Numerous and/ or impeding spelling mistakes. Little or excessive paragraphing or punctuation. 49

62 ANEXO D2 Planificação do curso LINGUA INGLESA II 2010/ 2011 Wk DATE CONTENT MATERIAL Feb Intro: syllabus, course, dates, getting to know each other, etc. Adv wks 1 8 th - 10 th Lead-in to Advertising: wks. Lesson1 copies The Persuaders (90 min PBS documentary) Laptop + Lesson 2 HW: Research: what happened to Song? Loudspeakers 2 Feb 15 th 17 th Lesson 3 ASA + Banned Ads Power Point Anthology P.1 Lesson 4 Gentle Art of Persuasion P. 2 Diagnostic Commentary (45/ 50 min) HW: Vocabulary P Feb 22 nd - 24 th Lesson Carn Lesson 6 March 1 st 3 rd Lesson 7 Lesson 8 March 9 th - 10 th Lesson 9 Lesson 10 6 March 15 th 17 th Lesson 11 Advertising Techniques PP & Wks P Reading Images The GVD: intro HW: Vocabulary P. 13 & 14 Reading Images analysis of representation. Reported Speech: intro HW: Reported Speech Exercises. Reading Images analysis of interaction. Stereotype & Ideology P 5 7 HW: Representation and Stereotypes + Watch Oscars Feb 27 th Reading Images analysis of composition. Benetton: PP & discussion. Text Images with the Power to Shock. HW: Vocabulary P. 23 & 24 Writing Commentaries: analysis. Passive Voice: intro. HW: Passive exercises. Writing Visual Commentaries: analysis Group work. HW: Vocabulary P. 25 & 26 Joint construction on board and group work. Preparation for test. PP Comm copies PP PP PP PP PP magazines Lesson 12 Mini-test: read comp + commentary 7 8 March 22 nd 24 th Lesson 13 Lesson 14 March 29 th -31 st Lesson 15 Cinema P HW: Cinema vocab. P. 53 & 54 Conditionals: intro. Movie genres and directors P HW: Vocabulary P. 57 Film Awards. The Oscars. Lead-in P. 64 Conditionals and mixed conditionals. PP 50

63 9 10 Lesson 16 April 5 th 7 th Lesson 17 Lesson 18 April 26 th 28 th Lesson 19 Lesson May 3 rd 5 th Lesson 21 Lesson May 10 th 12 th Lesson 23 Lesson May 17 th 19 th Lesson 25 Lesson 26 May 24 th -26 th Lesson 27 Lesson 28 Film Awards P 67 OR Hugh Grant Biography P 58 Film ratings. P. 74 HW: grammar Film reviews. P. 66 Cinema Vocabulary. HW: grammar Radio (P ) either/ or Pop Art (P ) HW: grammar or vocabulary EASTER Grammar and vocabulary consolidation. Mini-test: Grammar & Vocabulary Presentations Presentations Presentations Presentations Presentations Flexible Flexible Flexible 2ºs Elementos Avaliação (Test): May 31 st, Exame Complementar : June 21 st Writing June 22 nd Oral 51

64 ANEXO D3 Grelha avaliativa do teste diagnóstico baseada na tabela MASUS STUDENT FEEDBACK SHEET The aim of this writing task is to diagnose your writing skills and identify areas that require improvement. Most students will not get a grade of 4 or 5 in all areas of assessment. This does not necessarily mean there is a problem. For instance, a grade of 3 simply means that your writing needs continuing development in that particular area. Grades of 1 or 2 indicate that you need to focus on strengthening that area. KEY TO MARKING WRITING SKILLS CRITERIA MARKING A. Structure and development of text generic structure appropriate to the task relevant descriptive language clear position statement appropriate statement of conclusion B. Writing Style language appropriately formal and abstract range of vocabulary logical flow of ideas use of academic conventions C. Grammatical Correctness accurate sentence structure correct subject / verb agreement consistent and appropriate tense choice, correctly formed correct use of reference D. Qualities of Presentation spelling punctuation paragraphing reflects essay structure handwriting legible 5 = excellent / academic style/ very accurate / very appropriate 4 = good/ no problems / accurate / appropriate 3 = average / minor problems /mainly accurate / largely appropriate 2 = only fair / some problems / often inaccurate / often inappropriate 1 = poor / major problems / inaccurate / inappropriate Adapted from 52

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67 O SISTEMA DE AVALIATIVIDADE Adaptado de Droga e Humphrey (2002: 75 99) (Tradução livre da terminologia, de acordo com a análise dos textos) ATITUDE Afecto Julgamento Apreciação Exprime sentimentos positivos ou negativos sobre estados emocionais ou expressões físicas indicadoras de estados emocionais. Categorias de análise: Felicidade (ex: good about myself; funny; happy; fell alive) Infelicidade (sad; severe) Segurança (confident; proud; effective) Insegurança (scared; terrified; alone or different; innocent; afraid to tell her) Satisfação (free; comfortable) Descontentamento (don t feel good; angry) Avalia os comportamentos das pessoas o que fazem, dizem ou naquilo em que acreditam de acordo com valores institucionalizados. Podem ser positivos ou negativos e abrangem dois tipos: Sanção Social de ordem moral ou legal (simply wrong; insulting; shocking; controversial; offensive) Estima Social de ordem pessoal como capacidade, competência ou disposição física (sexiness and sensuality; drinking is bad; weight problems; emotionally stable) Avalia objectos, processos, o estado das coisas e as pessoas, mas não os seus comportamentos. Podem ser positivos ou negativos. Categorias de análise: Reacção Responde às perguntas: did it grab be? Did I like it? (strong lighting; vibrant colours; big size; warm strong colours; skinny, blond and perfect; thinner and healthier) Composição Responde às perguntas: did it hang together? Was it hard to follow? (in bold; in the right side corner; red background ) Valorização Responde à pergunta: was it worthwhile? (innovating; important) 50

68 GRADUAÇÃO Recursos descritos consoante a Força (maior ou menor intensidade) e o Foco (mais ou menos definido) Força Foco Graduação Explícita Graduação Implícita Claro e definido Ligeiro ou impreciso Adverbiais (quite clear, really, completely, some kind) Adjectivais (full of, excessive, intense) Quantidade (most striking, great majority, everyone, little bit) Tempo (eventually) Distância (very distant). Gradução incluída nos itens lexicais (love/ like) Totally false Real stories seems almost to be saying it s not just a way of saying COMPROMETIMENTO Recursos utilizados para negociar posições e entrar em diálogo com o outro. Atribuição Modalidade Disclaimers e Proclaimers Uso de referência a alguém ou a alguma fonte. Pode ser: Neutra (sem apoio/ recomendação) it transmits; stating that; the ad shows Positiva (com apoio/ recomendação) emphasize; recreate; promoting; are creating; representing Negativa (renúncia) this fact suggests; implicit message Avalia a presença de outras vozes no texto através de recursos modais. Ex: Auxiliares modais should be; can notice; can be interpreted; seems to be; can say; shouldn t feel Adjuntos modais obviously; intentionally; obviously; seeming Disclaimers são usados para rejeitar uma voz e proclaimers são usados para apresentar uma posição que é difícil de rebater. Exemplos: Disclaimers appears to be; tried to be Proclaimers I believe; I think; the fact that; really; obvious; my belief 51

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85 ANEXO F2 Dois dos textos resultantes da Escrita Colaborativa efectuados antes da Tarefa 2 The advert promotes a video game in a very subtle way. It s a video game ad that passes the message that you can live online the life you cannot live offline (in real world). The colours are very important in this ad because the contrast between red, black and yellow suggests an explosion, hell or a volcano. The slogan suggests that in the game people can be violent without real violence and this way players may destress through gaming. The foreground illustrated with the car, the wheel and the fragments of glass, leads the consumer to the main message which is involved with the black background that can represent death. In the end, the ad not being admitted by ASA it s a shame, because it is certainly a creative although too subtle and innovative way of advertising. The Burnout Dominator PSP game advert was banned by the ASA in June The image shows a smashed car and a burning tyre against a dark background. There is shattered glass on the road to create the impression of a violent car accident. Regarding layout, the most striking element in the ad is the car. It's red colour, the smoke coming from behind, the smashed front as well as the reflection of the fire on the car s rear suggest tragedy and the viewer is led to believe that the driver is dead. Concerning the tyre, it can be said that it helps to complement the idea of destruction and violence. The burning fire, and the fact that it is placed in the foreground, creates the illusion of movement and emotion, as if the viewer was already taking part of the game. However, the most controversial aspect of the advert is the slogan: "Inner peace through outer violence", because appealing to violence through peace is not generally accepted. In my opinion, this is why the advert was banned by the ASA and they were quite right to do so. 68