NIKE. Promotion through values. By Marie Haargaard & Anne Hjortsholm. Supervisor: Carmen Daniela Maier

Transcription

1 NIKE Promotion through values By Marie Haargaard & Anne Hjortsholm Supervisor: Carmen Daniela Maier Department of Language and Business Communication Aarhus School of Business Aarhus University 2009

2 Anne Hjortsholm and Marie Haargaard NIKE Promotion through values

3 Summary Today, companies face increasing competition. It has become vital for companies to communicate and promote their brand rather than their products. Therefore, we believe it is highly relevant to investigate how Nike, a global conglomerate, promote their brand. In particular, we find it interesting to explore the following hypothesis: In Nike s commercials, Nike promote their brand through specific values by employing a complex interplay of multimodal choices in order to build up their persuasive and branding strategies. Moreover, to explore the hypothesis, we ask: Which multimodal choices are employed in the commercials? How are the values promoted trough persuasive and branding strategies? Due to the complexity of our hypothesis, we will employ three major frameworks: social semiotics, film theory, and marketing communication. These three frameworks will enable us to analyse and interpret four of Nike s commercials: I Can, Fate, Courage, and A Dream Deferred. In order to gain insight into our hypothesis and the sub-questions, we will firstly conduct a multimodal analysis of the four commercials, which will be based on social semiotics and film theory. In concrete, our multimodal analysis derives from social semiotics and therefore, we will apply approaches from Theo van Leeuwen and Rick Iedema, who both expanded Halliday s social semiotics approach to other types of texts. Moreover, we will combine these approaches with concepts from film theory, in specific, we will apply Edvin Kau s approach on editing strategies and Jørgen Stigel s approach on voice-over narration. Secondly, we will combine our findings from the multimodal analysis with our third framework, marketing communication, which will enable us to investigate the persuasive and branding strategies in the commercials. We will apply our theoretical knowledge on persuasion, specifically the approaches by Robert H. Gass and John S. Seiter, and Helena Halmari and Tuija Virtanen, whereas our branding approaches will primarily derive from David A. Aaker and Chris Jill. These approaches enable us to investigate how the values are promoted through persuasive and branding strategies. In concrete, our thesis gradually provides insight into the hypothesis. From our multimodal analysis, it becomes evident that the four commercials both correlate and differ in terms of multimodal choices. In this regard, it also becomes obvious that none of the four commercials focus on Nike s products. Furthermore, the commercials provide a great insight into our hypothesis since they all communicate values. And not only do the commercials communicate values, they also highlight the same specific values: the passion for sport, the belief in oneself, and the willpower to succeed. A further insight into our hypothesis is provided by the interpretation of persuasive and branding strategies. The persuasive strategies reveal that Nike employ both implicit

4 and explicit persuasion, nonetheless, the most evident strategy is implicit persuasion. As a consequence, Nike promote values without specifically stating them: because Nike let the receivers draw their own conclusions, the promotion of values becomes stronger as the receivers are able to reflect upon them and thereby engage in high involvement. In addition, the branding strategies further reveal that Nike s values are primarily promoted through an emotional approach, where the multimodal choices encourage the receiver to create positive associations with Nike. The branding strategies also reveal evidence of self-expressive and emotional benefits, and through these benefits, Nike s values are also communicated. In this regard, it is interesting to note that the multimodal communication of values is enhanced by giving Nike a brand personality. Hence, the visual, verbal, and aural modes in the commercials express certain human characteristics of Nike, which support the three signified values: the passion for sport, the belief in oneself, and the willpower to succeed. These human characteristics are helped by non-product-related characteristics, and especially, by celebrity endorsements. In specific, Nike indirectly promote their values through the attitudes of the celebrities. Finally, it was interesting to observe that the Swoosh and Nike s slogan, JUST DO IT, visually and verbally support the brand personality and thus the values. Conclusively, our investigation confirms the hypothesis as it underlines that Nike promote their brand through values in the four commercials. And not just through values, but through specific values. Furthermore, it is evident that the values help to build up the persuasive and branding strategies in the commercials, which again confirm our hypothesis. Thereby, we can finally conclude that Nike promote their brand through specific values.

5 Table of Contents 1. Introduction Description of Purpose and Problem Statement Delimitation Structure of BA Thesis 2 2. Presentation of Nike 4 3. Background Theory Social Semiotics M.A.K. Halliday Multimodality Kress and van Leeuwen Iedema Van Leeuwen Linking Film Theory Kau Van Leeuwen Sound Stigel Marketing Communication Persuasion Branding Method of Analysis Strengths Weaknesses Multimodal Analysis I Can Representation Visually Verbally Musically Sound-wise Orientation Visually Sound-wise Organisation Fate Representation Visually 21

6 Verbally Musically Sound-wise Orientation Visually Sound-wise Organisation Courage Representation Visually Verbally Musically Sound-wise Orientation Visually Sound-wise Organisation A Dream Deferred Representation Visually Verbally Musically Sound-wise Orientation Visually Sound-wise Organisation Conclusion of Multimodal Analysis Analysis of Marketing Communication Strategies Persuasion Branding The General Branding Strategies Nike s Brand Personality Conclusion on Marketing Communication Strategies Conclusion 43 Reference List Glossary Appendixes

7 Responsibilities and word count B = Both, A = Anne, and M = Marie Word count: Total characters (no spaces): 97, Introduction B 1.1. Description of Purpose and Problem Statement B 1.2. Delimitation B 1.3. Structure of BA Thesis B 2. Presentation of Nike M 3. Background Theory A 3.1. Social Semiotics A M.A.K. Halliday M Multimodality M Kress and van Leeuwen M Iedema A Van Leeuwen Linking M 3.2. Film Theory M Kau M Van Leeuwen Sound A Stigel A 3.3. Marketing Communication A Persuasion A Branding M 4. Method of Analysis M 4.1. Strengths M 4.2. Weaknesses A 5. Multimodal Analysis M 5.1. I Can M 5.2. Fate M 5.3. Courage A 5.4. A Dream Deferred A 5.5. Conclusion of Multimodal Analysis A 6. Analysis of Marketing Communication Strategies M 6.1. Persuasion M 6.2. Branding A The General Branding Strategies A Nike s Brand Personality A 6.3. Conclusion on Marketing Communication Strategies M 7. Conclusion B

8 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 1. Introduction This chapter introduces our problem statement as well as our purpose for exploring the chosen subject. Moreover, it includes the delimitation of our thesis and an explanation of our thesis structure Description of Purpose and Problem Statement An orange is an orange is an orange. Unless, of course, that orange happens to be a Sunkist, a name eighty percent of consumers know and trust. (Russell L. Hanlin (CEO, Sunkist Growers) qtd. in Aaker 2002: 1) Today, companies face increasing competition. The threats of new products and cheaper substitute products demand companies to build their promotion on more than just physical products. Consequently, products are no longer the only focus in advertising and the success of a product rests on the company s ability to communicate their brand. Therefore, in order to survive and succeed in today s competitive environment, a product needs to be followed by a strong brand. A powerful brand, which does not only exist due to its products attributes or functional benefits, but a brand with strong and positive associations. Put differently, a brand must contain value for the consumers: value, which the consumers can identify with. As it becomes more crucial for even established brands to communicate and promote who they are rather than merely what they produce, we find it both interesting and relevant to investigate how a global conglomerate with a variety of products and markets communicate their brand and in specific, if they promote through values. Therefore, we have chosen Nike, an American company, who manufacture sportswear and -equipment. Nike experience fierce competition from other established brands, which hold a high market share in the sportswear and - equipment markets, and from less known brands with similar or cheaper substitute products. All in all, even though Nike are an established brand, it is crucial for their survival to persuasively communicate who they are. Therefore, we find it interesting to investigate the following hypothesis: In Nike s commercials, Nike promote their brand through specific values by employing a complex interplay of multimodal choices in order to build up their persuasive and branding strategies. With the purpose of investigating our hypothesis, we will ask two sub-questions: Which multimodal choices are employed in the commercials? How are the values promoted trough persuasive and branding strategies? Thus, to answer our hypothesis and the proposed sub-questions, we will exploit four of Nike s commercials: I Can, Fate, Courage, and A Dream Deferred. As mentioned earlier, products are no longer the only focus in advertising, hence it is interesting and relevant to 1

9 Nike Promotion through values Anne Hjortsholm and Marie Haargaard investigate if Nike promote their brand through specific values in these commercials. In order to do this, we will conduct a multimodal analysis of the four commercials. The multimodal analysis will be derived from social semiotics and we will combine it with theoretical concepts from film theory. Subsequently, in order to identify the main persuasive strategies, we will apply approaches from the field of persuasion and combine these with our multimodal findings. Finally, we will apply approaches on branding in order to further elaborate on our hypothesis and thus, if Nike promote their brand through specific values Delimitation As stated earlier, we will examine four of Nike s commercials: I Can, Fate, Courage, and A Dream Deferred, in order to answer our hypothesis and sub-questions. Our choice of these commercials is based on their complexity and how they supplement each other in terms of multimodal choices, which is also why we have chosen to delimit our analysis to these four. Moreover, in the multimodal analysis, we will only analyse what is relevant for the purpose of answering our hypothesis and sub-questions as well as highlight the most interesting features employed. Therefore, we will not go into detail with every aspect of the commercials. For instance, we will not use textual analysis to analyse lyrics 1 or the poem in A Dream Deferred, but instead analyse how the verbal mode interacts with the visual mode. Neither will we employ reception analysis, because we will not discuss audience perception. However, we will shortly state the target audiences of the commercials in order to determine how the commercials are directed towards them. Moreover, our thesis also contains delimitations in regards to theory. For instance, we will not apply Roland Barthes, as we will only use approaches inspired by him: specifically, Theo van Leeuwen and Jørgen Stigel s approaches on anchorage. Subsequently, we have chosen only to apply approaches that will aid us in our analysis and interpretation. Furthermore, in our presentation of Nike, we have again chosen to delimit our focus to what is relevant for our investigation, hence we will not elaborate on Nike s company structure, their mission and vision statements, and their business as well as promotional strategies in general. Likewise, in our exploration of Nike s persuasive and branding strategies, we will delimit our interpretation to the strategies, which are both evident in the commercials and relevant for the purpose of answering our hypothesis and sub-questions. With these remarks on our delimitations, we will in the following explain how we have chosen to structure our thesis Structure of BA Thesis Our thesis is divided into five dominating chapters, which are Chapter 2. Presentation of Nike, Chapter 3. Background Theory, Chapter 4. Method of Analysis, Chapter 5. Multimodal Analysis, and Chapter 6. Analysis of Marketing Communication Strategies. Firstly, in Chapter 2. 1 Words, which appear in our Glossary, are written in italics. 2

10 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Presentation of Nike, we will briefly introduce the global conglomerate Nike as well as shortly comment on their choice of name, logo, and slogan as these are relevant in both our multimodal analysis and our interpretation of marketing communication strategies. Secondly, we will introduce three major frameworks in Chapter 3. Background Theory: namely social semiotics, film theory, and marketing communication. These three frameworks are chosen due to our hypothesis and the complexity of our data, thus our thesis claim for interdisciplinarity. The correlation between the frameworks will be elaborated upon in Chapter 4. Method of Analysis. Moreover, this chapter will explain how we will approach our analysis as well as the strengths and weaknesses within it. Hereafter, in Chapter 5. Multimodal Analysis, we will conduct a multimodal analysis of the four Nike commercials and round of with some general conclusive remarks. Finally, in Chapter 6. Analysis of Marketing Communication Strategies, we will employ our multimodal findings in order to interpret the persuasive and branding strategies used in Nike s commercials and finish with some conclusive remarks. 3

11 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 2. Presentation of Nike As mentioned in Section 1.1. Description of Purpose and Problem Statement, we will examine the hypothesis that Nike promote their brand through specific values in their commercials. Therefore, as stated in our delimitation, we will only present background details about Nike which are relevant for our examination of the hypothesis. Essentially, the foundation of the global conglomerate began in the 1960s with founder Philip Knight, who sold running shoes out of the trunk of his car (Frisch 2004: 4-5). The company, which was then known as Blue Ribbon Sports, grew steadily and in 1971, a new line of shoes introduced the name Nike, which originates from Greek mythology and represents the winged goddess of victory (Mollerup 2001: 172). In combination with the new line of shoes, a logo, which over time became known as the Swoosh, was created. The logo suggested movement as well as speed and because it somewhat resembled a wing, people could associate it with Nike (Frisch 2004: 17). However, it was not until 1978 the company changed name from Blue Ribbon Sports to Nike. Henceforward, Nike began producing clothing lines and today Nike s Swoosh is at home in all sports, in all parts of the world. (Frisch 2004: 15) As a result, the Swoosh is the most recognised athletic logo in the world and additionally, it has become so well-known that many of Nike s products no longer carry the name just the famous Swoosh. (Frisch 2004: 17) Supplementary, Nike s slogan JUST DO IT was established in the 1990s and today it is as well recognised as the logo. Over time, Nike have become famous on the basis of both their advertising as well as their celebrity endorsements. The first celebrity to endorse Nike s products was track star Steve Prefontaine, 1973, who was known as a very passionate runner (Frisch 2004: 23). Since then, Nike have had a wide range of celebrity endorsers: some of the most famous are Michael Jordan and Tiger Woods. Moreover, throughout the years, Nike have built product lines and campaigns around major athletes, and hence forging an attitude that was distinctly Nike: hardworking, competitive, and tough. (Frisch 2004: 27) 4

12 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 3. Background Theory This chapter introduces the foundation of our theoretical knowledge used in the thesis. Due to the complexity of our data, our hypothesis, and the sub-questions we ask, we have applied three major frameworks: social semiotics, film theory, and marketing communication. Our motivation for connecting these three frameworks rests upon the complexity of our hypothesis, as it demands interdisciplinary work. Moreover, there are not many approaches to filmic advertising in marketing communication and visa versa, which is why we have chosen to combine film theory with marketing communication. In the social semiotics framework, we will introduce Michael Alexander Kirkwood Halliday, whose social semiotics approach is the basis of our theoretical knowledge on social semiotics. Subsequently, we will introduce approaches from Gunther Kress, Theo van Leeuwen, and Rick Iedema, who all expanded Halliday s approach on social semiotics to other types of texts. Secondly, we will introduce approaches and concepts from film theory and thirdly, we will finish the chapter with approaches from the field of marketing communication, hence persuasive and branding strategies Social Semiotics In contemporary research, there is a tendency to see language as fairly neutral: more specifically language is seen merely as a way to communicate knowledge. In contrast, social semioticians argue: language is itself not only a part of experience, but intimately involved in the manner in which we construct and organise experience. As such, it is never neutral, but deeply implicated in building meaning. (Halliday 1989: V) Moreover, social semiotics are not only concerned with the meaning of language, but with the social dimensions of meaning in any mode of communication. Therefore, we will also examine social semiotics of visual communication, which concerns what can be created visually and the interpretation of it (Jewitt and Oyama 2001: 134). To give a brief example of social semiotics in visual communication, the concept of point of view can be mentioned. Accordingly, point of view has the potential to create meaning as: it is possible to describe the kinds of meaning they [the different points of view] will allow image producers and viewers to create, in this case, the kinds of symbolic relations between image producers/viewers and the people, places or things in images. (Jewitt and Oyama 2001: 135) In other words, images as well as language can be used to create meaning and likewise, both can be applied in the process of creating and changing the nature of a social experience. 5

13 Nike Promotion through values Anne Hjortsholm and Marie Haargaard M.A.K. Halliday One of the most important social semioticians is Halliday. From a social semiotics approach, Halliday developed a theory on the fundamental functions of language, also called systemic functional grammar. One of the biggest strengths of Halliday s theory is its semantic basis, as it emphasises the role of meaning in grammatical theory (Halliday 1989: IX). Moreover, Halliday s theory has affected linguists to move their focus from sentences towards a focus on text (Iedema 2003: 31): the context in which meanings are exchanged (Halliday 1996: 89). Halliday s approach to social semiotics is thus categorised around two main concepts: language as a means of reflecting on things, and language as a means of acting on things. (Halliday 1996: 89) In connection, Halliday labelled the former ideational metafunction, where language is used to organise, comprehend, and express perceptions of the world. The latter was labelled interpersonal metafunction, where language is used for understanding social relationships. Moreover, Halliday developed a supplementary third metafunction, which he labelled the textual metafunction. In this metafunction, language is used for relating the written to the real world: therefore, it is concerned with the flow of information in a text (Halliday and Hasan 1989: 34-35). Derived from Halliday s systemic functional grammar theory are approaches, which have expanded the theory to other types of texts. Consequently, from Halliday s social semiotics notions, approaches have been extended to cross modes and hence become multimodal. Accordingly, it was in Kress and van Leeuwen s theories that the term multimodality developed (Iedema 2003: 32) Multimodality The term multimodality was introduced to highlight the importance of taking into account semiotics other than language-in-use, such as image, music, gesture, and so on. (Iedema 2003: 33) Generally, the multimodal approach is centred around two meaning making concerns. Firstly, the decentralisation of language as the preferred approach for meaning making, and secondly, the crossing between modes 2 (Iedema 2003: 33). Consequently: Multimodality, then, provides the means to describe a practice or representation in all its semiotic complexity and richness. (Iedema 2003: 39) 2 In order to fully comprehend the term multimodality it is necessary to clarify the term mode. Some researchers, such as Hartmut Stöckl, have developed approaches on modes and sub-modes. Consequently, Mode refers to any organized, regular means of representation and communication,, or new configurations of the elements of these. (Maier, Kampf and Kastberg 2007: 456) 6

14 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Moreover, multimodality functions across semiotic modes and most importantly, it does not prefer any mode over another Kress and van Leeuwen As aforementioned, Kress and van Leeuwen are the founding fathers of the term multimodality. Derived from Halliday s systemic functional grammar theory, Kress and van Leeuwen created a visual social semiotics approach. In their approach, Kress and van Leeuwen extended Halliday s metafunctions to images, although using altered terms: representational as a substitute for ideational, interactive as a substitute for interpersonal, and compositional as a substitute for textual (Jewitt and Oyama 2001: 140). In Kress and van Leeuwen s approach, the representational metafunction offers a range of choices on how objects can be presented and how they can relate to other objects. The interactive metafunction projects social relations, whereas the compositional metafunction deals with the way in which any semiotic mode coheres with the meaning of the whole (Kress and van Leeuwen 2006: 42-43). Hence, Kress and van Leeuwen s approach provides us with a tool to discover hidden meanings in still images and thereby functions as a descriptive structure (Jewitt and Oyama 2001: 154). However, it is not sufficient for analysing filmic text, which is why we introduce the approach of Iedema, which also has its basis in Halliday s three metafunctions. Different from Kress and van Leeuwen s approach, Iedema has developed the metafunctions in order to analyse filmic text Iedema As previously stated, Iedema has extended Halliday s systemic functional grammar theory to filmic text. Iedema employs the following terms for the three metafunctions: representation substitutes ideational, orientation substitutes interpersonal, and organisation substitutes textual. In specific, the three metafunctions serve to strengthen as well as amplify each other in filmic text (Iedema 2001: 193) and we will now elaborate on their contributions to the receiver s understanding of the meaning making. under the heading representation, we talk about what meanings represent visually, verbally, musically or sound-wise. (Iedema 2001: 191) Hence, representation deals with the meanings represented through different modes and, for instance, requests one to consider which subjects the filmic text portrays and which actions they perform. Second, orientation is to do with how meanings position characters and readers-viewers. (Iedema 2001: 192) Orientation thus utilises the identified meanings in representation to investigate the created relationship and the construed social distance between the characters and the receiver. 7

15 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Third and last, organization concerns how meanings are sequenced and integrated into dynamic text. (Iedema 2001: 192) In specific, organisation is concerned with the linking of meanings, thus how the different modes link the filmic text. One theoretician, who has directly approached the concept of linking in filmic text, is van Leeuwen and we therefore find it convenient to introduce his approach Van Leeuwen Linking Van Leeuwen stresses that the value of information rests upon its relation to its environment (2005: 219). We will therefore use his approach to discuss how pieces of information: verbal, visual and/or both are linked to other pieces of information. Van Leeuwen accentuates that diverse communicative settings require diverse uses of information (2005: 219). Accordingly, van Leeuwen has divided the subject of information linking into three main categories: verbal-, visual- and visual-verbal linking (See appendix 1. Tables on Linking). We will only briefly discuss the three categories and therefore not go into technical details, as these are described in our glossary. In all three categories, pieces of information can either be elaborated or extended to other pieces of information: In the case of elaboration, it repeats or restates information for purposes of clarification. In the case of extension, it adds new information, linking it to the existing information in a particular way. (Van Leeuwen 2005: 222) When interpreting filmic text, we will use visual linking to explain the linking of shots and scenes. Moreover, the visual-verbal linking is partly derived from classical social semiotics approaches by both Halliday and Barthes, and is useful for interpreting text-image relationships. With van Leuwen s approach, we are therefore able to not only discuss the modes in the commercials, but also how they are connected: the connection of modes thus serves the multimodal approach. As van Leeuwen s approach is concerned with the linking of modes, we thus find it relevant to continue with how editing can be used as a filmic liking device. Hence, we will now introduce approaches from film theory, which will enable us to further explore the methods used to enhance the meanings in the commercials. We will begin with introducing Edvin Kau, who has approached filmic editing strategies Film Theory We have chosen to employ approaches from Kau s study on separation, combination and penetration, van Leeuwen s approach to the mode of sound, as well as Jørgen Stigel s approach on voice-over narration. 8

16 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Kau In Kau s discussion on editing, he exploits selected concepts, their meaning, and how they can be perceived. Kau draws on approaches from Stefan Sharff s book, Elements of Cinema. Moreover, Kau states that the practice of editing can be approached in two ways: where the first is separation, which involves specifying or creating parts out of the material and the second combination, which involves bringing together or creating wholes out of the material (1998). However, we are mostly concerned with the former, separation, which is a tool that unites separate parts and thus creates a more intimate relationship between the characters. Furthermore, separation can also fragment scenes into single images and thereby create an ABABAB formation. In other words: Separation: fragmentation of a scene into single images in alternation A,B,A,B,A,B, etc. (Sharff 1982: 6) Apart from separation, which is concerned with the linking of shots, Kau also introduces a particular concept for binding shots. This concept is also derived from Sharff and is called penetration: actions or things which penetrates from one shot to the other. (Kau 1998) With Kau s approach in mind we will be able to discuss patterns of separation and how they contribute to the meaning Van Leeuwen Sound The last approaches introduced us to the linking of meanings in filmic text. As these concepts have the potential to influence the receiver s perception, it is therefore relevant to continue with van Leeuwen s approach on sound, since this mode also possesses the potential to influence the receiver s perception. Although sound is a distinctive different mode than the visual mode, it contains two methods to create relations between what is represented and the receiver: namely, perspective and social distance (Van Leeuwen 2006: 29). The former places the appearance of sound elements in a hierarchical order and thereby considers them as separate layers which differ in importance. Since each of the layers is separate, you can still control them, and you can emphasize certain elements, and de-emphasize others the way an orchestrator might emphasize the strings versus the trombones, or the tympani versus the woodwinds. (Weis and Belton 1985: 357) In order to describe these layers, van Leeuwen adopts Murray Schafer s terms: figure, ground and field, where figure is the most important sound. Ground is thus a keynote sound, which requires less attention than figure and finally, field serves as the soundscape (Van Leeuwen 2006: 182). It is important to highlight that any sound can appear as figure, ground or field as it all depends on the receiver and his/her perception. 9

17 Nike Promotion through values Anne Hjortsholm and Marie Haargaard When we are close to people (literally and figuratively) we speak more softly than when we have a more formal relation with them or speak to them in the context of a more formal occasion. As distance grows, the voice not only becomes louder, but also higher and sharper. The same applies to musical instruments (Van Leeuwen 2006: 188) Accordingly, sound can construct social distance and thus also different degrees of social distance. For instance, the choice of whispering instead of talking impacts the construed social distance. In specific, van Leeuwen argues that social distance varies from intimate distance, where the relationship between the sound and the receiver is of real or imaginary intimacy, to public distance, where the distance is realised by maximally loud sound. Another theoretician, who has approached the influence and impact of sound, is Stigel. Stigel has addressed the concept of voice-over narration and its influence on the receiver. Consequently, van Leeuwen s and Stigel s approaches thus correlate as they both explore the effect of sound in filmic text Stigel According to Stigel, advertising and all media-borne communication in general has a basic problem with establishing actual communication instead of just delivering information. Information is something one seeks or gives, because one has either too little or too much of it. Communication is created by parties seeking to understand each other and becoming involved in and sharing something in a given situation. (Stigel 2001: 322) Therefore, the receiver of a television commercial should not only be considered as a passive receiver of information, but as an actual part of the communication. As a consequence, a virtual space must be created. In interpersonal communication, the parties and their physical and social context create a direct space around the conversation. In media-borne communication, this space has to be virtually established. (Stigel 2001: 322) One element, which can help the establishment of a virtual space is voice-over narration, as it facilitates reciprocity and participation. Hence, voice-over narration can influence the visible on screen and thereby also the receiver s perception of it. Put differently, a strength of voice-over narration is its ability to create familiarity and intimacy by acting as a link between the visual mode and the receiver. Moreover, a second strength of voice-over narration is its ability to ensure coherence and unite the different visual parts into a greater whole. In this regard, it is important to note that Stigel employs Barthes term, anchorage, to describe how voice-over narration specifies and elaborates on the visual elements in television commercials. Conclusively, voice-over narration possesses an important persuasive role as it has a significant impact on the receiver s perception of the visual mode. Hence, in Stigel s approach, voice-over narration functions as implicit persuasion, which leads us to our last major framework, marketing communication. 10

18 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 3.3. Marketing Communication From the field of marketing communication, we will apply approaches on persuasion by Robert H. Gass and John S. Seiter, and Helena Halmari and Tuija Virtanen, as well as approaches on branding by David A. Aaker and Chris Jill Persuasion Persuasion has intrigued researchers since antiquity; yet, it is a topic which continues to have immense relevance in all human interaction. (Halmari and Virtanen 2004: 3) Consequently, many different theorists have approached the field of persuasion, for instance, Tzvetan Todorov (1976), Alastair Fowler (1982), and John M. Swales (1990). However, our approach on persuasive strategies is based on Gass and Seiter s approaches, which are focused around persuasion in a somewhat broad-spectrum as they believe explicit and implicit persuasive attempts are everywhere (2007: 2). Moreover, our approach also derives from Halmari and Virtanan, who have a more narrowed focus. The very nature of persuasion requires that its forms need to be kept implicit. Few like to be persuaded against their will and, hence, the best kind of persuasion is often implicit persuasion. (Halmari and Virtanen 2004: 229) According to Halmari and Virtanen, persuasion is understood as a language which either attempts to alter or strengthen an opinion or behaviour of a certain targeted audience (2004: 229). For this reason, the audience is of immense importance in persuasive communication and consequently, Halmari and Virtanen emphasise that the dynamism of persuasion is dictated by audience reactions. Hence, it is the audience that will define which kind of persuasion will succeed and therefore, what form the persuasive text should take (Halmari and Virtanen 2004: 7). Likewise, Gass and Seiter stress the magnitude of considering audience behaviour and they thus employ Richard Petty and John Cacioppo s Elaboration Likelihood Model of Persuasion (ELM), which proposes two basic routes to persuasion: the central route and the peripheral route. A receiver can be persuaded by either the central route, the peripheral route or both, which is labelled parallel processing. However, a given receiver will tend to choose one over the other (Gass and Seiter 2007: 36). As a consequence, the ELM correlates with the notions of implicit and explicit persuasion, as these can be used to favour either the central route or the peripheral route. Additionally, the ELM is a mean to define how a given audience will react on a persuasive element, hence either the central route or the peripheral route. To illustrate: if receivers are highly involved with a subject, they are likely to be persuaded through implicit persuasion as it will allow them to draw their own conclusions. In contrast, receivers who are not highly involved, will more likely be persuaded by means of credibility, encouraging associations, and explicit conclusions (Gass and Seiter 2007). Conclusively, when evaluating 11

19 Nike Promotion through values Anne Hjortsholm and Marie Haargaard persuasive messages it is vital to remember that the audience is of immense importance for the persuasive communication. From the field of persuasion, we move on to the concept of branding. Branding has been approached by many theoreticians: inter alia, Leslie de Chernatony (2003), David A. Aaker (2002), Chris Jill (2009), and Majken Schultz, Yun Mi Antorini and Fabian F. Csaba (2005). However, our approach primarily takes departure in Aaker and Jill Branding A brand that captures your mind gains behaviour. A brand that captures your heart gains commitment. (Scott Talgo qtd. in Aaker 2002: 137) In today s competitive environment, effective branding is essential for surviving. A successful product can no longer rest only on its tangible attributes and functional benefits, thus its survival cries for more. Therefore, Aaker proposes that the focus on tangible attributes and functional benefits of a product is one of the common pitfalls made in branding and instead, companies should realise the importance of developing and implementing a brand identity (2002: 25). A brand identity is a unique set of brand associations that the brand strategist aspires to create or maintain. These associations represent what the brand stands for and imply a promise to the customers from the organizational members. (Aaker 2002: 68) The perspectives provided to create an external brand identity are several, however, our focus is on the brand personality. The same vocabulary used to describe a person can be used to describe a brand personality. In particular, a brand can be described by demographics ( ), lifestyle ( ), or human personality traits. (Aaker 2002: 142) According to Aaker, a brand personality thus consists of human characteristics and these characteristics can both be helped by product-related attributes and non-product related attributes like symbols, celebrity endorsers, and the like. Furthermore, today s brands serve as an expression of the consumer s personality, lifestyle, and attitudes. The purchase and use of a branded product whether it is Apple, Betty Crocker or Nike - provides a vehicle for expressing a personality and lifestyle. (Aaker 2002: 154) Therefore, when considering brand strategies, it is important to keep the self-expressive and emotional benefits provided in mind. Emotional benefits add richness and depth to the experience of owning and using the brand. (Aaker 2002: 97) Hence, when the consumer use or purchase the product, an emotional benefit will provide the consumer with a positive feeling (Aaker 2002: 97). 12

20 Nike Promotion through values Anne Hjortsholm and Marie Haargaard A brand can thus provide a self-expressive benefit by providing a way for a person to communicate his or her self-image (Aaker 2002: 98) In specific, the self-expressive benefits have to do with how the receiver s surroundings perceive the expressed personality, whereas the emotional benefits are the feelings the product creates within the consumer. The distinction between these two are existing, however, sometimes blurred. Moreover, Jill proposes two main approaches when a brand tries to establish brand associations in advertising: namely, the rational and the emotional approach (2009: 369). The former approach appeals to the consumer s rationality, hence it focuses on the functional aspects and benefits of the brand. In contrast, the emotional approach appeals to the consumer s emotional state and... can enable consumers to make positive brand associations based on both the psychological and socially acceptable meanings, a psychosocial interpretation. Product performance characteristics are dormant while consumers are encouraged to develop positive feelings and associations with a brand. (Jill 2009: 370) 13

21 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 4. Method of Analysis As mentioned in the former chapter, the complexity of our hypothesis demands interdisciplinary work between social semiotics, film theory, and marketing communication. Moreover, our choice of combining film theory with marketing communication rests upon the issue that there are not many approaches to filmic advertising in marketing communication and visa versa. Firstly, we will apply social semiotics and film theory in the multimodal analysis. Hereafter, we will combine our multimodal findings with our theoretical framework on marketing communication. This method of analysis will enable us to investigate the employment of values in the four commercials. In our multimodal analysis, we will adopt Iedema s way of structuring both in terms of formal and content division. Hence, we will divide the analysis of each commercial into three major parts: representation, orientation and organisation. In combination with Iedema s structure, we will apply other theorists, who have been influenced by Halliday s social semiotics approach (See section ) as well as concepts from film theory, which will make our analysis less fragmented and more coherent. As an additional remark to the structure of the multimodal analysis, we will divide the songs into lyrics (which will be discussed under representation: verbally) and music (which will be discussed under representation: musically), which will enable us to go in depth with their meaning on different levels. Furthermore, in order to discuss both the verbal and aural mode, we will draw on van Leeuwen s approach on sound. Additionally, we will use Stigel s approach on voice-over narration in A Dream Deferred and Kau s editing strategies in Fate 3. Last, in all four commercials, we will include van Leeuwen s approach on linking devices to discuss the relation between the modes as well as the relationship between sender and receiver. Next, in Chapter 6. Analysis of Marketing Communication Strategies, we will use our findings in the multimodal analysis together with the persuasive approaches by Gass and Seiter, and Halmari and Virtanen, to go in depth with implicit and explicit persuasive strategies. Finally, we will apply our findings to the concept of branding, where our approach derives from Aaker and Jill. In this section, we will investigate Nike s branding strategies in the four commercials and additionally, how they convey values. 3 Stigel s approach will only be employed in A Dream Deferred as this is the only commercial, which contains voiceover narration. Likewise, Kau s editing strategies will only be employed in Fate since this is the only commercial, which clearly utilises separation and penetration. 14

22 Nike Promotion through values Anne Hjortsholm and Marie Haargaard The following figure (Figure 1) illustrates the implementation of our theoretical knowledge. Figure Strengths One of the strengths of our chosen method is the combination of frameworks as these enable us to explore our hypothesis. Put differently, by combining the multimodal approaches with both persuasive and branding strategies, we are able to not only explain the theoretical choices made in the commercials, but also interpret them. Moreover, the strength of our multimodal analysis is its basis in social semiotics approaches and thus our marketing communication analysis will be based on theoretical structures, which enables us to move from analysis to interpretation. This method is ground-breaking as there is not much written work on combining social semiotics with marketing communication. Finally, another major strength of our multimodal analysis is the implementation of other social semioticians and film theory in Iedema s structure Weaknesses There are two inconsequential weaknesses in our method, which we feel important to note. The first weakness is intertwined with the combination of social semiotics with marketing communication: there is not much written work combining the two, therefore, it shares the weakness that characterises any explanation of new territory. The other weakness is the exclusion of reception analysis. Nonetheless, we have not included reception analysis as it is not crucial for the investigation of our hypothesis. 15

23 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 5. Multimodal analysis As mentioned previously, we have chosen to analyse the four commercials: I Can, Fate, Courage, and A Dream Deferred due to their complexity and how they supplement each other in terms of multimodal choices. For instance, A Dream Deferred includes voice-over narration, whereas I Can contains several written statements. In contrast, the verbal lyrics and the music in Courage play an important role, while the sound elements are of importance in Fate. Moreover, A Dream Deferred displays one athlete s story, Fate follows two athletes parallel stories and Courage as well as I Can visually depicts a variety of athletes. Furthermore, as we stated in section 1.2. Delimitation, we will only analyse what is relevant for our hypothesis and the proposed sub-questions as well as highlight the most interesting features I Can The commercial, I Can, aired January 11, 1998 on American channel FOX network during a national football 5 game. The commercial was a part of Nike s I Can Play campaign and the main target audience is the American public. More specifically, the commercial contains two sub-audiences, namely the sports enthusiasts and the commoners. The sports enthusiasts are those who either embark on sport on a higher level or are interested in the subject, whereas the commoners are less interested in the subject. Moreover, both the two sub-audiences and the primary purpose, promotion of Nike, are present in all four commercials Representation Firstly, we will elaborate on the meanings represented visually, verbally, musically and soundwise Visually The characters presented in the commercial comprise numerous ranges of age, race, nationality as well as expertise and they are displayed both alone and in groups. As a result, the commercial in essence represents a great deal of the American population, hence it appeals to everyone: specifically, both the sports enthusiasts and the commoners. The scenes are filmed in a variety of angles and distances, whereby the characters are presented as equals. Moreover, the camera movement is either focused on a character or that of a moving camera: following a character. With the alternate camera movement and the variation of angles, both a sense of reality is enhanced as well as a formation of a very dynamic commercial. 4 Appendix 2., 3.,4., and 5. provide tables on I Can, Fate, Courage, and A Dream Deferred 5 For the sake of cohesion, we have chosen to apply the American term 16

24 Nike Promotion through values Anne Hjortsholm and Marie Haargaard An interesting feature employed in the scenes, which further enhances dynamism, is the use of contrasts. Not only do the commercial display contrasts in the diversity of characters and camera movement, but also in the use of colour scenes versus black and white scenes, the mix of commercially filmed events versus actual footage, and old versus new footage. By containing elements which everyone are able to relate to, whether in the effect of a memory or actions expressed by the characters, the commercial appeals to both the commoners and the sports enthusiasts. To continue, the first scene displays a close shot of a little girl, whose facial expression turns into a smile when the words, I CAN, appear in front of her. The second scene portrays a couple of black hands catching a ball, whereas the third scene, again presents the little girl still smiling, however, now through a medium shot, and a black boy is displayed in the background. The words, I CAN, reappear in front of the little girl and the word, PLAY, is added. Moreover, the statement, I CAN, fades away while, PLAY, remains as the commercial shifts from scene three to four, which displays a woman riding a bicycle in a forest. This visual wordplay continues throughout the commercial with words appearing, reappearing and fading away to emphasise the link between the verbal and the visual mode, as well as the equality of the various scenes. Moreover, adding to the sense of equality is the characters to some extent equal visual turns, which underlines their equal importance. However, there is one exception, namely the scene with Mia Hamm, a famous American soccer 6 player. Here, a still shot presents Hamm, whose gaze acts as demand, which underlines the importance of her verbal testimonial (See next subsection for further explanation). Another interesting aspect regarding the same scene is that the scene before Hamm s testimonial is faded into the still shot. As a result, Hamm is connected to the previous scene and those who are not aware of who she is will consequently relate her to soccer Verbally The commercial presents three verbal elements: the written statements, a testimonial by Hamm, and the lyrics: Cause it s a bitter sweet symphony, this life. Interestingly, the CAN statements are in present tense, whereas the testimonial is in past tense: I could be anything, I could do anything I wanted to. Thereby, the testimonial not only personifies the CAN statements, but takes them to another level as Hamm is an example of an athlete who created sports history. Moreover, Hamm s passion to succeed is acknowledged, which is the first explicit evidence on implementation of values. The testimonial thus portrays an intermediary, who succeeded in achieving her goals and thereby enhances the credibility of the CAN statement. Additionally, the CAN statements are especially interesting: because they are either written in 6 Once more, for the sake of cohesion, we have chosen to apply the American term and not the British. Additionally, it is important to note that she is not verbally introduced. 17

25 Nike Promotion through values Anne Hjortsholm and Marie Haargaard front of or right next to the characters, their connection to the characters is underlined. Moreover, the statements serve to link the verbal to the visual mode, and to communicate the passion and willpower of each character. In other words, the written statements represent the attitudes of the characters and for this reason, the statements implicitly represent these attitudes as belonging to Nike. Another important aspect is seen toward the end of the commercial, where the written statement is altered slightly to YOU CAN. Just as the testimonial, the use of, YOU, addresses the receiver and thus requests the receiver to accept the message. Subsequently, it is not until the last ten seconds of the commercial that the lyrics, Cause it s a bitter sweet symphony, this life, appear. According to Oxford Advanced Learners Dictionary, bittersweet means pleasure mixed with sadness. Put differently, life is a combination of satisfaction and disappointment. Once again, it is obvious that the value of having the willpower to overcome the disappointments in life as well as sport are implemented. In the end of the commercial, we are explicitly presented with the sender of the commercial, as nike is written in a script typeface, which is very informal and consequently personal (Wysocki 2004: 127), hence Nike become personified Musically The music from Bitter Sweet Symphony is played throughout the commercial and is persistently increased as it becomes louder and faster during the commercial, hence the commercial demands more attention from the receiver. Therefore, the music is positioned as figure, both because it is the most important sound and because the receiver must react upon it. Moreover, through the use of violins, the music creates connotations to classical music. Additionally, this piece of music consists of lively tones which connote positivism and thus coheres very well with the written statements and the implied visual and verbal connotations Sound-wise There are no sounds employed in the commercial. Nevertheless, the lack of sound is also an important tool since the exclusion of sounds and noise demands the receiver to focus on the verbal as well as the visual mode. Furthermore, the lack of sound emphasises the entertaining value as the commercial becomes more enjoyable to watch Orientation Secondly, this sub-section includes a description of the established relationships between the characters and the receiver, thus how the characters are positioned. 18

26 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Visually In essence, the commercial is a promotion of Nike and, for this purpose, the receiver must be able to identify with the characters. As previously mentioned, the commercial comprises numerous ranges of characters, which illustrates that the commercial appeals to both audience sub-types. Thus, by presenting such a broad assortment of characters, Nike ensure that a large number of receivers can identify with the characters and thereby comprehend their attitudes. As mentioned in representation, a variety of shots and angles are employed and a sense of reality is created, thus enhancing the relationship between sender and receiver. Also, as the characters are given equal visual turns, they appear as equals. However, this multimodal choice also indicates that whichever situation the receiver can identify with, Nike see everyone as equally important. Moreover, as stated earlier, the testimonial by Hamm includes a visual demand. Thus, Hamm is demanding the receiver to accept her as a credible source. Additionally, the commercial contains a few other demands, and had there been more, persuasion would have been too explicit and thus it could have dispelled the receiver Sound-wise The written statements function not only as a link between the verbal and the visual mode, but also as a link between the characters and the receiver: without the statements, the receiver would not acquire the same meanings. Thus, by use of anchorage, the meanings are further elaborated upon and specified. In other words, the verbal mode functions as an elaboration of the visual mode, making the receiver interpret the visual mode in a more specific relation. Also, as previously mentioned, the statements reflect the attitudes of the characters and thus emphasise the implicit promotion of Nike. The use of first-person pronoun, I, personifies the characters and thus enhances the relationship between the character and the receiver, which decreases the social distance. Conclusively, the social distance is personal distance. In one of the last scenes, where the personal pronoun, YOU, is implemented, Nike explicitly address the receiver, connoting that the receiver also has what it takes to succeed, namely passion and willpower. It thus becomes obvious that these written statements signalise values. With no prior direct addressing, the characters who function as intermediaries for Nike have the time to create a personal relationship and are thus more likely to be successful in generating a demand towards the receiver. Furthermore, in the statements, the verbs are very positive and encouraging, as for instance: HANG ON, and CONQOUR, which underline the attitude of believing in oneself. Also, the statements are imperatives, which bear resemblance to a command, and the characters thus command the receiver to pay attention. In this connection, it is important to note, that the statements are not directly linked to sport and thereby, they possess a more general character. The music also supports the relationship between the characters and the receiver as it promotes the personal distance. Moreover, the music can be 19

27 Nike Promotion through values Anne Hjortsholm and Marie Haargaard argued to frame the commercial as it marks the beginning with the little girl, and end, where nike is written on a black background Organisation Thirdly, we will comment on how meanings are arranged and integrated. The most important linking device in the commercial is the written statements, which link the verbal and the visual mode. As mentioned earlier, the visual mode functions as an elaboration of the statements, since it makes them more specific. The visual-verbal linking can thus be identified as both elaboration/specification and elaboration/explanation. Moreover, the statements connect the scenes by use of repetition of the word CAN, as well as a repetition of sentence structure such as: I CAN PLAY and I CAN DO THAT. Thus, the wordplay is constant throughout the commercial, with words appearing, reappearing and fading away and thereby connecting the scenes. Without this wordplay, the visual mode would not have been absolute. Likewise, the repetition of CAN serves to link the scenes as well as marking the beginning and end of the commercial by being exclaimed first and last. Also, the music serves to enhance coherence as the same music is played constantly throughout the commercial. Last, the camera movement also serves to create coherence as for instance zooming is used to create a part/whole connection and enhance dynamism. Along with the zoom effect, it is possible to identify other linking devices used to create coherence, as the scene with Mia Hamm, where we see a smooth transition from one scene to the next: this not only creates a connection between the two scenes, but also adds dynamism as it varies from the other scenes Fate In October 2008, Nike aired their most recent football 7 commercial, Fate, on American television. The commercial shows the parallel life stories of two professional American football players, LaDainian Tomlinson and Troy Polamalu, on their path to the American national football league. As the commercial was only showed on American television, the main target audience is the American public, however, we will again specify two sub-audiences, namely the sports enthusiasts and the commoners. As the receiver is not introduced to the two characters, one must possess certain knowledge to recognise the football players, thus, the commercial appeals differently to commoners and sports enthusiasts. The purpose of the commercial is to implicitly influence the audience and thus to promote Nike. As a result, the sub-communicative purpose of the commercial: 7 Once more, for the sake of cohesion we have chosen to apply the American term. 20

28 Nike Promotion through values Anne Hjortsholm and Marie Haargaard reminds us of how much hard work, sacrifice, and yes, fate it takes to make it to the top of the sport of football, the passionate and real journey the best in the game have gone through to suit up every Sunday (Nikebiz: Press release 2008) Accordingly, this is very similar to the communicative purpose noted in I Can, which highlighted that the power to succeed is based on human values: passion, willpower, and belief in oneself Representation Herein, we will elaborate on the meanings represented visually, verbally, musically, and soundwise Visually The first scene presents an ultrasound image connoting the very beginning of a human life. Secondly, the commercial cuts to the next scene, which displays a child lying in a crib wrapped in a blue blanket, which implies the birth of a baby boy. Hereafter, the commercial continues with depicting the life and upbringing of the two characters and throughout the commercial, they both appear very passionate about sport, football in particular. At no point in the commercial are the characters looking directly at the camera, thus the commercial solitary represents an offer. Moreover, the characters are constantly shown in action: playing, practising, or simply just paying attention in school 8. Another important note is, the authenticity of the commercial, which is stressed by the two characters depiction in actual uniforms and numbers. In general, the visual mode presents a chronological, authentic story of two men, who have the willpower to progress and push everything out of their paths until they finally meet each other at the culmination of the commercial. The commercial thus builds up to this culmination, as the two characters constantly push through obstacles and collide with whatever crosses their paths. As a result, their constant collisions are symbolising the passion and willpower it takes to make it to the top. Hereby, it becomes obvious that also this commercial express values. Lastly, the Swoosh appears in front of Tomlinson and functions as a vector from his arm as he pads Polamalu on the shoulder, whereby he indicates a common understanding that even though they are fighting each other it is only a game. The Swoosh thus symbolises an unspoken respect for the fellowship of the sport: even though they are playing on opposite sides they still share the same values. 8 It is important to keep in mind, that the commercial is directed at an American audience and the typical way to become a professional athlete in America is through the school system. 21

29 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Verbally The commercial concludes with two written items which require the receiver s attention. The first is introduced at the culmination of the commercial, after the two have collided, where the statement: LEAVE NOTHING is written across the screen. This imperative both correlates with the communicative purpose of the commercial as well as addresses the receiver. Further, the imperative connotes that in order to make it one must believe in oneself and have no inhibitions. Next, as stated previously, the receiver is presented with the Swoosh, and finally, underneath the Swoosh, the web-address for NIKEFOOTBALL.COM appears, which along with the Swoosh, clearly identify Nike as the sender of the commercial Musically The non-diegetic music requires the receiver s attention and thus functions as figure. The piece of music is an altered version of the song L estaci dell oro (The Ecstasy of Gold) composed by Ennio Morricone for the movie The good, the Bad and the Ugly. As the piece of music is not introduced, it possesses two meanings: one for those, who know the song and one for those, who do not. For the former, the song creates certain connotations to patriotism, sacrifices, and passion as it connotes resemblance to cowboys from western movies. In a way, the two characters in the commercial can thus be related to cowboys, whom are mostly loners trying to find their place in the world, travelling from town to town, and fighting off anything that comes in their way. Moreover, the non-diegetic music consists of piano chords and after the first initial scenes, drums are added, hence picking up the pace of the commercial. Additionally, other instruments such as guitar and violins are also included. The music is instrumental up until the first time we see a stadium, where a choir is added and the connotation to L estaci dell oro is made. Like the minor collisions, the music builds up to the culmination of the major collision, after which the music slows down, and thereby marks a change in pace. Throughout the commercial, the music is very deep and durable, just like football, and it builds up the receiver s expectations: something is about to happen. Moreover, the powerfulness of the music increases simultaneously with the strengths of the two characters, hence it adds dynamism to the visual mode Sound-wise In contrast to the former commercial, sound is employed. In this case, the sounds function as ground as they require less attention than the non-diegetic music. In specific, the sounds serve to enhance the reality of the commercial as well as highlight the crashes and collisions. The sounds thus serve to underline the action in the commercial and make the receiver pay more attention to some visual cues rather than others. During the matches, the sound of cheering is also present, which stresses the realness of the game and thereby the commercial. Finally, just 22

30 Nike Promotion through values Anne Hjortsholm and Marie Haargaard as the music s intensity increases, so does the sounds: this again adds dynamism as all elements go through the same increasing intensity Orientation In this sub-section, we will comment on the relationship between the characters and the receiver, hence how the characters are positioned towards the receiver Visually As we stated in our introduction of the commercial, the sub-communicative purpose is to remind the receiver of the sacrifices, hard work, and passion it takes to make it to the top. In order to communicate this successfully, the receiver must be able to identify with the characters. In this regard, the camera movement plays an important role: hence, a sense of reality is enhanced through the variation of shots and angles. In concrete, the characters are depicted in a variety of shots, ranging from close shots to long shots. In addition, we notice a moving camera when the characters are depicted in action, thus the receiver acquires the impression of following the characters with ones own eyes. Moreover, the authenticity also serves to add reality, which is evident by the depiction of the two characters in actual uniforms. Furthermore, as the commercial goes through the characters different stages in life, the receiver is ultimately bound to identify with several of the stages, whereby the sense of reality is enhanced as well as the impression of being presented with the entire truth, thus, the credibility is increased. In regards to identification, the use of eye-level angles position Tomlinson and Polamalu at the same level as the receiver, which connotes a sense of equality: Tomlinson and Polamalu are not unique and everyone possess the ability to succeed. Again, it becomes evident that values are employed in the commercial. Visually, the commercial uses implicit persuasion by lack of demands. Hence, at no point in the commercial does the receiver obtain eye-contact with the two characters: they are too focused on overcoming obstacles to pay attention to the camera. This effect again enhances the sense of reality, and consequently, makes it easier for the receiver to accept what is offered: through Nike one will obtain the attitudes and values one need to succeed Sound-wise With the music as field, it can be argued that the music connects the visual with the aural mode. Thus, the music makes it easier for the receiver to link the scenes: without this link, the receiver would not be able to interpret the entire meaning of the commercial. Additionally, the tempo of the music adds to the anticipation of the major collision of the two characters as it builds up the receiver s expectations. In connection, the absence of voice-over narration along with the inclusion of certain sounds increases the realness of the commercial. Hereby, the social distance 23

31 Nike Promotion through values Anne Hjortsholm and Marie Haargaard is also enhanced: without sound elements, the commercial would be less realistic and the relationship between the two characters and the receiver would become less intimate. Moreover, the social distance, which is a personal distance, increases the ability to identify Organisation In this sub-section, we will comment on how meanings are sequenced and integrated. As previously stated, the commercial is structured chronologically, except the scene after the major collision, which provides a flash back of the two characters as small boys. To explain this chronological structure, we will draw on Kau s ABABAB formation. Hence, the commercial can be argued to contain two main stories (A and B), which have been divided into smaller sequences and merged together to create a chronological whole. Alternatively, the effect would have been different if all the scenes with Tomlinson (A) had been shown first and afterwards, all the scenes with Polamalu (B) next. Thus, the effect of their parallel lives would not have been the same and Nike would not have been able to constantly draw a comparison between the two characters similar hard working and passionate journeys to the top, which is accomplished by the ABABAB formation. Additionally, Kau s definition of penetration is also employed. As previously stated, in the scene with the major collision, the two characters are thrown backwards as they collide, after which the camera cuts to character (A) falling backwards, then to character (B) also falling backwards but to the opposite side. This further underlines that even though the two characters are fighting each other, it is only a game as it was when they were children. Moving on, the most important linking devices in the commercial are the two characters and the music. As mentioned earlier, the music links the scenes and not only does it enhance the cohesive ties, but it also makes the transitions flow more naturally. However, the most obvious linking device is of course visual linking as the scenes serve as extensions from one to the other. Hence, the main visual linking devices are those of extension: temporal/next event and extension: logical/similarity. The former is evident in the chronological structure of the commercial, whereas the latter is used for the flash back, which displays the two characters falling backwards simultaneously. As mentioned before, the commercial is divided into an ABABAB formation, which is evident via visual cues: for instance, character (B) has long hair throughout the commercial and character (A) has short hair. Conclusively, throughout the commercial, several linking devices are employed and when Polamalu is still longhaired, the receiver is able to recognise him, when he is wearing a helmet: without these visual cues, the characters would not appear as the same persons from childhood to later life and the receiver would thus not understand the implied values: that it takes passion, willpower, and a belief in oneself to make it to the top. 24

32 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 5.3. Courage The commercial, Courage, was created in connection with the Olympics in Beijing, China, 2008 and shown in Asia, the United States, Latin and South America. The commercial thus targets a broader audience than I Can and Fate as it aired on several continents. Nonetheless, the commercial still addresses the same two types of sub-audiences, sports enthusiasts and commoners. Moreover, the commercial s main communicative purpose is to promote Nike and it especially celebrites the spirit within Nike s slogan, JUST DO IT. Besides the goal of promotion through the commercial itself, Nike s intention is also to arouse curiosity about the displayed athletes and thereby indirectly create more endorsement for Nike. Thus, the commercial invites the receiver to continue to the website, NIKE.COM/COURAGE, where it is possible to read and comment on the athletes courageous stories. In connection, Nike also created a group on youtube, where everyone can share videos, which they believe embody and personify courage Representation This sub-section provides an elaboration of the meanings represented visually, verbally, musically, and sound-wise Visually The commercial primarily portrays professional athletes, who differ in age, gender, nationality, and profession 9. The diversity among them possesses two main connotations. Firstly, it links to the Olympics, where different nations compete against each other in a friendly manner. Secondly, it persuasively signals Nike as a global conglomerate and it allows everyone, regardless of culture, age, gender, and nationality, to identify with it. This effect is furthermore stressed by the diverse scenes, which display science, scraps of the world s different cultures, various characters, paintings, animals, and the like. As a result, it is not only athletes or sports enthusiasts, who can identify with the commercial. Moreover, these different scenes emphasise the entertaining value as well as contain symbolic value, for instance, the cheetah symbolises rapidity as it is the fastest animal in the world. Despite of the employment of these diverse scenes, it is still the athletes, who are the focal point. It is thus interesting that the athletes are depicted from several angles, shots, and perspectives and that no athlete is depicted distinctly different from others, whereby they all become of equal importance. Consequently, the focus is not on the individual athlete, but on what they all have in common: namely, their passion for sport and their courageous stories. Moreover, the athletes are displayed in both victories and losses, which underline their passion for sport, their courage, and their position as fighters. One 9 Just as in I Can and Fate, the athletes are not introduced. Thus, the sports enthusiasts and the commoners will experience the commercial differently. 25

33 Nike Promotion through values Anne Hjortsholm and Marie Haargaard of the visual features, which further underline the athletes hard-working, fighting mentality, is their facial expressions. Interestingly, this choice of depicting thus becomes a visual expression of values. In regards to the scenes, it is important to note, that they are taken from real sports events and not recorded for the commercial: sports enthusiasts will therefore not only recognise the athletes but also the situations, whereas commoners will experience the commercial as more real and authentic. As a result, the employment of authentic scenes enhances the credibility of the commercial and thus also the credibility of the messages within the commercial, hence these stories display the truth about the athletes and Nike s willpower and courage. Yet another interesting aspect is the mixture of scenes displaying athletes and scenes displaying animals, science, and cultures, as this combination holds remarkable connotation. The athletes are not only passionate about sport, but ultimately, it is their nature and their basic instinct. Just like the bisons running on the savannah: they don t run for pleasure or enjoyment, they run because it is their nature. And likewise, the courageous child, who walks in the garden, because it is her/his nature to walk. In addition, three general comments about the compression of the many fast-paced, independent scenes must be made. Firstly, as mentioned earlier, the diversity in the scenes allows people from different backgrounds to identify and thus also interpret the commercial differently. Secondly, some of the scenes are extremely short and therefore, they will only be observed when the commercial is played in slow motion. Thirdly, the compression and fast-paced speed emphasises the entertaining value and tempt the receiver to see it again and again as one will experience new scenes and meanings each time Verbally The lyrics employed are from the song, All these things that I ve done, by The Killers. Besides the initial and final scenes, one statement is repeated I got soul, but I m not a soldier. This statement includes a word-play as it compares soul with soldier and in connection with the visual elements, it compares athletes with soldiers. Hence, the athletes each represent their country and fight against each other, but they are not at war. Soldiers also represent their country and fight against each other, nonetheless, soldiers symbolise one type of courage, while athletes embody another. In the end of the commercial, the statement, Yeah, you know you gotta help me out from the song All these things that I ve done, is verbally expressed. This statement addresses the receiver directly and highlights the importance of fellowship and solidarity, which is further stressed by the visual display of athletes and their helpers. Moreover, the connoted fellowship also creates associations to the Olympics, which has a long tradition of temporarily uniting nations to compete peacefully. Moreover, the lyrics function as anchorage as they provide specific meaning to the visual mode and guide the receiver to the wanted interpretation. As a final remark, the lyrics can be argued to serve as figure as they are 26

34 Nike Promotion through values Anne Hjortsholm and Marie Haargaard the key figure of the receiver s attention. This is further stressed by the intensity in the vocal, which connotes spirit, strength, and positivism. Furthermore, the commercial contains one written statement in the beginning, EVERYTHING YOU NEED IS ALREADY INSIDE. The statement is visually added in two pieces, firstly EVERYTHING YOU NEED and secondly IS ALREADY INSIDE, which provides the receiver with time to read and consider the statement. The statement directly addresses the receiver by use of the pronoun, YOU, leaving the receiver with a demand. Moreover, it connotes that everyone possess willpower and courage as it IS ALREADY INSIDE. The importance of the statement is signified by the colour contrast: the background with LeBron James, a professional basketball player, is in black and white, while the written is in yellow colours and thereby stands out. Moreover, the commercial concludes with the slogan, JUST DO IT, and subsequently, a black screen displaying the Swoosh as well as the web-address, NIKE.COM/COURAGE, whereby Nike are established as sender Musically The non-diegetic music functions as ground, since it requires less attention than the lyrics. Nonetheless, the music possesses an important role as it is played throughout the commercial and thereby frames it. In specific, the same instrument, namely a guitar, is marking the beginning and end. Moreover, the rhythm in the music is up-beat and connotes power and strength, which coheres with the lyrics. Additionally, the high tempo in the music complements the fast-paced scenes as it adds even more dynamism to the commercial Sound-wise There is no employment of sound in the commercial, hence the music, and especially the lyrics, as well as the visual mode require the receiver s entire attention: without disturbing sound elements, the other elements are able to persuasively play their role Orientation In this sub-section, we will elaborate on the established relationship between the characters and the receiver Visually As mentioned in the introduction of the commercial, the communicative purpose is to promote Nike. In order to persuade the receiver it is therefore crucial to facilitate identification and the variety of shots and angles enhance the possibility of identification in the commercial. However, the portrayed athletes are celebrities, which may make it difficult for both sub-audiences to 10 See analysis on A Dream Deferred or I Can for further elaboration on the effect of lack of sound. 27

35 Nike Promotion through values Anne Hjortsholm and Marie Haargaard relate to them. Nonetheless, the fact that the athletes are displayed in very emotional situations facilitates the identification: everyone experience victories and losses, where courage is needed, and everyone have experienced that life is bittersweet. Furthermore, the employment of common people from different cultures also supports identification, as it permits identification across nationalities and cultures, hence everyone can find someone in the commercial to identify with. To continue, all characters are performing an action and several scenes display interaction, whereby the characters, both the athletes and the common people, are positioned as social, intimate, and dynamic. The dynamic aspect is further evident by the fast-paced and compressed scenes Sound-wise The social distance constructed by the sound-wise elements is informal as what is presented or represented by the sound is regarded as one would regard someone with whom one has a businesslike but nevertheless informal encounter. In speech it is realized by a full voice a somewhat higher pitch and volume. (Van Leeuwen 2006: 191) This informal distance is created by the interplay between several elements. Firstly, as mentioned previously, the lack of sound enables the receiver to pay full attention to the song, whereby it appears closer: the lyrics function as figure and the music as ground. Moreover, the lyrics are in first-person, I got I m not, which personalises the message and thereby decreases the social distance and furthermore, invites the receiver to identify with the courage and willpower expressed in the commercial. In contrast, the written statement, EVERYTHING YOU NEED IS ALREADY INSIDE addresses the receiver directly and thus invites the receiver to establish an informal relationship. And finally, JUST DO IT also addresses the receiver directly and requests the receiver to accept the implied message. Hence, the receiver possesses the courage to accomplish whatever the receiver wants. Conclusively, this interplay becomes an expression of attitudes and values and thereby, it can be argued that the commercial contains values Organisation In this sub-section, we will comment upon the sequence and integration of meanings. Due to the many independent scenes, editing strategies could have been employed in order to foster coherence. Nonetheless, the commercial only contains one editing strategy, namely the written statement, EVERYTHING YOU NEED IS ALREADY INSIDE, which overlaps two scenes. Instead, the scenes are connected by linking devices, where the most important are the non-diegetic song and the athletes and consequently, the commercial contains both visual and visual-verbal linking. To begin with the song, it first of all frames the commercial as it is present from beginning to end and in specific, the sound of a guitar marks both the beginning and end. 28

36 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Hence, the music does not only add tempo to the commercial, but it also helps the different scenes to become a greater whole. On the other hand, the lyrics serve as anchorage, as they persuasively make the meanings in the visual more specific and is thus an example of visualverbal linking, namely elaboration/specification. Moreover, the repetition of the phrase, I got soul, but I m not a soldier both creates a strong persuasive message and plays a helpful role in regards to cohesion. Hence, the commercial provides an enormous amount of independent scenes and besides those portraying athletes, the scenes do not have an obvious visual connection. Therefore, the lyrics play a vital role by guiding the receiver to see the connections between the scenes. As mentioned previously, they can be argued to serve as visual linking devices. In specific, the commercial display a great amount of incoherent scenes, but it always returns to scenes with athletes, whereby the athletes link the commercial together. In this regard, the commercial can further be argued to contain visual linking in terms of Extension:logical/similarity, as there is no narrative connection between the scenes, besides the fact that they display similar objects (athletes) and theme (athlete and sport). In terms of structure, the commercial can be divided into three main parts, especially connoted by the verbal elements. In the first part, the non-diegetic music only consists of a guitar and the receiver is addressed directly through a written statement. Thereby, the commercial requires the receiver s attention and demands the receiver to reflect upon the message. In the second part, the lyrics begin, the intensity of the music increases, and subsequently, more instruments are employed. Moreover, in the end of this part, the music again shifts back to the original guitar sound, and the lyrics addresses the receiver directly, Yeah, you know you gotta help me out. In the third and final part, the non-diegetic music only consists of the guitar sound, just as in the beginning. Visually, Oscar Pistorius is displayed running and JUST DO IT is written across him. Hereby, Pistorius serves as a personification of courage and the spirit within JUST DO IT and once again, it becomes evident that values are employed. At last, the commercial concludes with a black screen displaying the Swoosh and NIKE.COM/COURAGE, whereby Nike as sender invites the receiver to continue exploring more on the website A Dream Deferred" The commercial, A Dream Deferred, aired in connection with the Olympics in Beijing, China, Just like Courage, the commercial thus targets a broad audience as it was displayed on several continents 11. The commercial shows Sanya Richards, a track and field athlete, who competes for the United States. Richards was struck down by Behcet s Disease and the commercial shows her struggle to regain strength. Thus, the commercial provides the receiver with an insight into Richard s rehabilitation and in specific, her fight to become ready for the 11 Moreover, A Dream Deferred also contains the two subaudiences, sports enthusiasts and commoners. 29

37 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Olympics Throughout our analysis, it is important to keep the main communicative purpose of the commercial in mind, namely the promotion of Nike. Nonetheless, the commercial also promotes Richards, but her story serves as promotion for Nike Representation In this sub-section, we will elaborate on the meanings represented visually, verbally, musically, and sound-wise Visually The beginning of the commercial is marked by a moving camera, which depicts an almost deserted town. Subsequently, the next scene displays the back of a woman, who walks in a dim hallway. Her walk is determined. In the next scenes, the woman is visually identified as Richards 12, who is training at a stadium. Richards appears focused and concentrated, which is underlined by her facial expressions and controlled body movements. Moreover, she wears a necklace with a cartridge, which symbolises her struggle and patriotism: she is a professional athlete, who serves her country in competitions. Besides Richards, the commercial displays an elderly woman, a little girl, a group of young girls, and Richards coach. The elderly woman, the little girl and the group of young girls all look directly at the camera and thereby address the receiver with a demand. Furthermore, the little girl and the elderly woman represent a contrast by their signified life position: the little girl s innocent eyes appear to be full of dreams and expectations about life, while the elderly woman has already lived most of her life and hopefully achieved her dreams. Hereby, the little girl and the elderly woman also serve as an indication of Richards former and future life. To continue, the group of young girls underlines Richards position as a role model and once again, their youthfulness creates associations to dreams, hopes, and expectations about life. Furthermore, the commercial includes several other elements, however, we will only briefly comment on those with highest relevance for our thesis, namely the church, the field, and the white dove. The church connotes faith, the faith which Richards must keep in order to regain strength, while the field connotes the emptiness, which Richards faces during her period of rehabilitation. On the other hand, the white dove derives associations to the Olympics opening ceremony and moreover, symbolises Richards redress, hope and belief in herself. As a result, the combination of these symbolic elements and the display of Richards struggle can be argued to connote values. As a final remark about the visual mode, the commercial concludes with a black screen displaying the Swoosh, whereby Nike are clearly visually identified as sender. 12 As we will elaborate on in Verbally, Sanya Richards name only appears in the verbal mode. 30

38 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Verbally The commercial contains a voice-over narrator: a deep, soothing and calm male voice, namely the voice of actor Danny Glover. As Glover is not introduced, he may affect those, who know his voice, and those, who do not know him, differently. The voice-over narrator recites the poem, A Dream Deferred, by Langston Hughes and once again, the connotations created by this poem may differ depending on whether the receiver knows the poem or not. The poem elaborates on the question What happens to a dream deferred?, which connotes a reference to Richards dream that was postponed due to illness. The poem concludes with the question Or does it explode?, which refers to Richards willpower to recover. The voice-over narrator is informal and possesses character of narration, as he varies his tone of voice. This variation makes the voice-over narrator appear more natural and thus more persuasive. Moreover, the voice-over narrator is present during the entire commercial, except the first and last scenes, and he thus guides the receiver through the commercial by providing specific meaning to the visual mode. Finally, the voice-over narrator can be argued to serve as figure, because he is the focus of the receiver s attention. The beginning of the commercial is verbally marked by several non-diegetic sports commentators speaking at once. Because they all speak at once, they almost appear as noise rather than actual speech. Nonetheless, if one listens carefully, it is possible to pick up the following words Now in the second semi-final Sanya Richards, Sanya Richards she has the fastest time in the first round of the 400 meter. When the sports commentators mention Richards name, the intensity of their voices increase: hence, the receiver may not pick up most of the spoken content, but the receiver will pay attention to Sanya Richards name. Thereby, this serves as a verbal introduction to Richards. As an additional remark, the sports commentators can be argued to function as figure in the first scenes, because they are the key figure of the ears interest. Finally, JUST DO IT, is written in the end of the commercial, which not only addresses the receiver directly, but also establishes Nike as the sender of the commercial Musically The non-diegetic music functions as ground, as it is a keynote sound, which requires less attention than the sports commentators and the voice-over narrator. Throughout the commercial, monotonous, deep and dark piano chords are apparent, which add sadness and melancholy to the commercial. Nonetheless, a shift in the music happens, when the sound of drums occurs and the music suddenly connotes positivism and hope, which coheres well with Richards regained strength. As a final remark about music, it is interesting to observe, that the intensity increases during the commercial, which thereby signals the increasing power and strength of Richards. 31

39 Nike Promotion through values Anne Hjortsholm and Marie Haargaard Sound-wise Sound elements are only present in the beginning and end, and in both situations, they can be argued to function as ground. As previously mentioned in I Can and Courage, the lack of sound in the remaining commercial can be argued to enhance the entertaining value as well as serve as a persuasive tool, since it enables the receiver to pay more attention to the voice-over narrator and the music. Nevertheless, the sound elements consist of cheering, which is present both in the beginning and end, and a ticking stopwatch, which is only present in the end. In the beginning, the cheering stresses the authenticity of the sports commentators and moreover creates associations to Richards position as a competing athlete, while the cheering in the end marks Richards comeback at the Olympics 2008 and once again, completes the realness of the commercial. The ticking stopwatch also connotes Richards comeback as well as her regained ability to compete. Together with the visual display of Richards running, the stop watch answers the voice-over narrator s final question Or does it explode? Orientation This sub-section provides a description of the established relationships between the characters and the receiver, thus how the characters are positioned Visually As mentioned in the introduction of the commercial, the main communicative purpose is to promote Nike. In order to successfully promote Nike, the receiver must be able to identify with the characters. To visually facilitate identification, shots as well as angles come in handy. Richards, who is the focal point of the commercial and hence also a very important object of persuasion, is depicted through a combination of low- and eye-level angles as well as close-, medium-, and long shots. These angles and shots invite the receiver to identify with Richards, which is especially stressed by the depiction of Richards in eye-level angle, since it indicates that she is on the same level as the receiver: even though Richards is a famous athlete, she still goes through the same struggles and battles as the receiver, hence the receiver can identify with her. Additionally, the camera movement is both still and dynamic and the shots differ in length, which not only add dynamism to the commercial, but also enhance the sense of reality, leaving the impression that the receiver is presented with the entire truth. Moreover, this effect also enhances the credibility of the commercial. Interestingly, the commercial includes several demands, however, not from Richards herself. In fact, Richards eyes constantly express focus and concentration: Richards is determined to regain strength and she thus utilises her willpower to recover, hence she is too focused to pay direct attention to the receiver and she therefore only addresses the receiver with offers. Since Richards is the character, whom the receiver should identify with, it is interesting that she only 32

40 Nike Promotion through values Anne Hjortsholm and Marie Haargaard indirectly requests the receiver to accept the message: namely, to undertake the attitudes and values, which are signified through her Sound-wise The voice-over narrator functions as a connection between what is shown on screen and the receiver. The voice creates an atmosphere of familiarity, intimacy, and mediation which acts as a connection link between screen event and screen viewer (Stigel 2001: 337). Put differently, the connecting link between the commercial and the receiver is established by the voice-over narrator s supplements to the visual mode: without him, the receiver would not capture the entire essence of the commercial, hence he guides the receiver to understand Richards deferred dream as well as her strong willpower. Thus, without the voice-over narrator, the receiver might experience the commercial as Richards daily training and the strong associations to willpower, sacrifrice, and hard work would be diminished. Additionally, the calmness of the voice-over narrator s voice decreases the social distance as he appears close and thus constructs a personal distance. Moreover, the voice-over narrator continuously asks questions, for instance Or fester like a sore? and through these interrogatives, he personally addresses the receiver. Furthermore, this personal distance makes the voice-over narrator appear more credible and thus, makes it easier to affect the receiver. The personal distance is also underlined by the music as it helps to establish the atmosphere in the commercial: both the melancholic, sad mood and the more positive, hopeful mood. Finally, the exclusion of sound in most of the commercial also influences the social distance. As mentioned in representation, the exclusion of sound enables the receiver to focus on the voice-over narrator, whereby his role becomes more significant and persuasion thus increases. Put differently, a continually employment of sound elements would break the intimacy between the voice-over narrator and the receiver, and thereby decrease the social distance Organisation In this part, we will comment upon how meanings are sequenced and integrated. The most important linking devices are the voice-over narrator, the music, and Richards. The voice-over narrator s significant role as connecting link becomes evident in both verbal and visual-verbal linking. Firstly, verbal linking is evident through Extension: Addition/Alternative, as the voice-over narrator adds alternative information to what is already said. Hence, the voiceover continuously questions what he has already said, Does it dry up like a raisin in the sun? Or fester like a sore?. Secondly, not only does the voice-over narrator create cohesion, but he also elevates the visual modes into a more poetic and abstract level, hence the poem recited fosters thoughtfulness and enables a higher degree of interpretation of the commercial. Put differently, 33

41 Nike Promotion through values Anne Hjortsholm and Marie Haargaard the voice-over narrator also serves as anchorage as he clarifies the visual mode: he guides the receiver towards a specific interpretation. Moreover, visual-verbal linking is made evident and in specific, Elaboration/Specification is evident through the content of the spoken words, as it specifies the visual mode and thus, as mentioned previously, puts the commercial into a more abstract level. The music, which serves as ground, also creates cohesion as it is played throughout the entire commercial and thereby marks both the beginning and end. Especially the piano chords are an obvious connective device as they provide a certain rhythm to the entire commercial. Visually, Richards also serves as a connective linking device as she is displayed continually: other scenes are employed, but the commercial always return to Richards and her training. Thereby, Richards becomes an important visual linking device as she connects the scenes into a greater whole. The structure of the commercial can verbally be divided into four parts and to some degree also visually. Firstly, Richards name is verbally introduced, while the scenes display an almost deserted town, the back of a woman, and a stadium. Hereby, the content of the commercial is introduced. Secondly, the voice-over narrator appears as the visual mode shows Richards and her training. The atmosphere is focused, but also melancholic and sad, which is stressed by the vocal of the voice-over, the content of the poem, and the monotonous, deep and dark music. Thirdly, a change is marked in the music by the inclusion of drums and the atmosphere immediately changes: the visual elements do not differ distinctly, but the receiver s perception of them does due to the more hopeful, brighter and positive music. The voice-over narrator is still melancholic but with a certain degree of hope. Fourthly, the sound of cheering appears, the music increases in powerfulness, and the voice-over narrator asks Or does it explode?. Subsequently, the ticking stop watch appears and the aural mode thus stress the power, which Richards has regained (Richards is visually shown running). The visual concludes with JUST DO IT and afterwards the Swoosh, which visually identifies Nike as a sender. By this explicit identification, Nike are not only recognised as sender of the commercial, but also as sender of the implied values Conclusion of Multimodal Analysis Before we continue with the analysis of marketing communication strategies, we will highlight a few of the important findings from our multimodal analysis. Interestingly, none of the four commercials different modes focus on Nike s products. Instead, all four commercials are focused around professional athletes. In this regard, it is important to note that in neither I Can, Fate nor Courage are the athletes verbally introduced. Finally, our multimodal analysis revealed one particular interesting aspect, namely the expression of values. Hence, the modes and multimodal choices in the four commercials express values. This became evident already in our analysis of I Can, where the written statements 34

42 Nike Promotion through values Anne Hjortsholm and Marie Haargaard especially stressed the significance of believing in oneself. In addition, the correlation between the verbal and visual mode in A Dream Deferred especially communicates Richards determination to recover. And in combination with the interplay between visual scenes and the song in Courage, the willpower to succeed, is particularly expressed. Finally, the parallel stories in Fate especially underline a third value, namely the passion for sport. Before we continue with our analysis of the marketing communication strategies, it is important to note, that the three values are visible in all four commercials. Hence, the different modes and their correlation signal the following three specific values: the passion for sport, the belief in oneself, and the willpower to succeed. 35

43 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 6. Analysis of Marketing Communication Strategies Our multimodal analysis in the former chapter revealed evidence of values and it thus became obvious that Nike promote their brand through values in the commercials. Moreover, it was also evident that Nike promote their brand through specific values, namely the passion for sport, belief in oneself, and the willpower to succeed. In this chapter, we will therefore use our third theoretical framework, marketing communication, to elaborate on the persuasive and branding strategies in the four commercials. This will further enable us to investigate how the three specific values are promoted through persuasive and branding strategies Persuasion As mentioned in Chapter 1. Introduction, the increasing competition among brands, the threats of new products as well as cheaper substitute products, demand companies to build their promotion on more than just physical products. As a result, product attributes are no longer the only focus in advertising. When dealing with advertising and the genre of promotion, the main objective is to sell, therefore, it must be expected that several persuasive strategies are used. The four Nike commercials are no exception, in fact, the commercials are packed with persuasive communication. In this section, we will therefore use our findings in the multimodal analysis to highlight concrete examples of the most dominating persuasive elements. In the introduction to each commercial, we noted the audience and found that I Can and Fate were directed at the American public, whereas A Dream Deferred and Courage were shown in connection with the Olympics and therefore had a broader audience. For instance, Courage was shown in Asia, the United States, Latin and South America. Common for all four commercials is the two sub-audiences, specifically the sports enthusiasts and the commoners. As we are interpreting sports commercials, it is therefore important to note, that these two subaudiences will understand and interpret the values in the commercials in dissimilar ways: for instance, sports enthusiasts will be able to add an alternative meaning to the commercials because they possess additional subject knowledge. Consequently, in order to reach both the sports enthusiasts and the commoners, Nike have employed both explicit and implicit persuasion (See appendix 6. Interplay between multimodal analysis and marketing communication strategies). This furthermore calls attention to the ELM as it can be argued that both the central and the peripheral route are used. For sports enthusiasts, the central route is in focus as this type of receiver is highly involved with the subject matter. This is for instance evident in Fate, where the characters are not introduced and thus only sports enthusiasts are able to identify who the characters are and reflect upon their role in the commercial. On the contrary, the commoners will more likely be persuaded via the peripheral route as this type of receiver has low involvement with the subject matter. In all four commercials parallel 36

44 Nike Promotion through values Anne Hjortsholm and Marie Haargaard processing is employed, hence they allow the receiver to use both the central and peripheral route. Moreover, in regards to the combination of explicit versus implicit persuasion, the commercials promote the values through implicit persuasion, as they focus on establishing a relationship with the receiver as well as enhancing the sense of reality. Nonetheless, explicit persuasion is also visible, for instance, in the end of each commercial where Nike are established as the sender. it is better to let the receivers draw their own conclusions about a product when the receivers have a lot of knowledge about that type of product However, for people with little knowledge about the product type, it is more persuasive to include explicit conclusions in a message. (Gass and Seiter 2007: 189) Accordingly, it is of immense importance to know the audience, and as these commercials reflect not only a brand, but also a way of living and the attitudes herein, it is important that the signified values are made obvious for the entire audience. In general, all four commercials do not focus on Nike s products, neither in the visual nor the verbal mode and in none of the commercials are Nike introduced aurally. In concrete, this enhances the implicit persuasion along with underlining that Nike as a company and product are not the focus in these commercials, instead the attitudes and values represented by the athletes are. For example, Hamm s passion for football, which caused her to succeed, is verbally expressed by her testimonial. Hereby, the athletes passion for sport, their belief in themselves, and their willpower to succeed become equal to Nike by the multimodal choices. Adding to this claim is the repetition of words and structures in the verbal mode in I Can and Courage. Once more, attention is called to the ELM as the persuasive element again is completed in a way which targets both audience sub-types. For instance, the written, CAN, statements are not directly associated to sport, whereby only one route is in focus, namely the central route, since both audience types are encouraged to reflect on the message. As stated in the multimodal analysis, the persuasive effect depends on the receiver s ability to relate to the repeated as well as the actual act of repetition. Firstly, the receiver is able to relate to the written statements because they are personally relevant: hence, the statement, I CAN DO THAT, can refer to any given ability the receiver may have. Secondly, the act of repetition in the verbal mode provides the receiver with more opportunities to interpret the message, whereby the message becomes stronger and more persuasive (Gass and Seiter 2007: 192). Moreover, the verbal statement, I got soul, but I m not a soldier, may be interpreted in a variety of ways and by repeating it in connection with diverse visual scenes, the receiver is provided with several opportunities for interpretation. Thus, by repetition in the verbal mode, Nike encourage the receiver to reflect upon the signified attitudes and values in the commercials. Another important persuasive tool used to promote values is celebrity endorsements: for instance, the commercials include Hamm, Michael Jordan, Lance Armstrong, and Steve Prefontaine, who was Nike s first celebrity 37

45 Nike Promotion through values Anne Hjortsholm and Marie Haargaard endorser. For sports enthusiasts, the values and attitudes, which the celebrities symbolise are of importance because sports enthusiasts are able to relate to them. However, for the commoners, the use of these celebrities has an alternative function. Yet again the ELM, in specific the peripheral route, is in focus as the celebrities are used to create credibility and a receiver who is not highly involved generally tend to be greater influenced by credible experts (Gass and Seiter 2007: 83). The celebrities thus promote the values and by means of the celebrities credibility, Nike as sender become trustworthy and appears as an expert within the field. Lastly, we noticed Nike s slogan is visible in Courage and A Dream Deferred, and in both, the slogan was revealed in the end. Not only is the written statement, JUST DO IT, a great example of explicit persuasion as it addresses the receiver directly, but it also complements the declaration that Nike contain and treasure hard work and passion towards sport: moreover, through Nike the receiver will obtain the same values. Revealing this explicit persuasion in the end instead of the beginning is strategically smart as a relationship has already implicitly been build between sender and receiver throughout the commercial. And as a result, the receiver is more accessible and thus more willing to comprehend the message. A great example on this strategy is the exclusion of demands in Fate, which thereby not addresses the receiver visually or verbally before the end. And as we noted in Sub-chapter Persuasion, few like to be persuaded against their will and had the slogan appeared before a relationship had been established, the receiver would more likely have dismissed the message. As a result, Nike take advantage of creating a relationship with the receiver, both via the employed multimodal choices and the persuasive strategies. The main persuasive strategy employed in the commercials is implicit persuasion, and as a consequence, Nike are able to promote their values without stating them specifically. In other words, by letting the receivers draw their own conclusions, the promotion of values becomes stronger as the receiver has reflected upon it Branding In the former section, we combined our findings from the multimodal analysis with our theoretical knowledge on persuasion and commented on the persuasive strategies in the commercials. In this section, we will employ our theoretical knowledge on branding and combine it with our multimodal findings as well as our findings on persuasive strategies. This will enable us to interpret the branding strategies and thus how the values are promoted through branding strategies. As mentioned in section 1.2. Delimitation, we will not comment on Nike s branding strategies in general but only those, which are evident in the four commercials The General Branding Strategies Through our multimodal analysis and our analysis of the persuasive strategies, a few general branding strategies became evident and we will begin by highlighting these. Firstly, none of the 38

46 Nike Promotion through values Anne Hjortsholm and Marie Haargaard modes in the four commercials focuses on Nike s products. Nonetheless, the products are not entirely absent as they appear in the visual mode, when the characters are sometimes depicted in them. However, the visibility is minor. Likewise, in all four commercials Nike are not explicitly visible as sender until the end. In this connection, it can be argued, that the commercials do not use a branding strategy, which explicitly displays tangible attributes and functional benefits of Nike s products. Instead, the different modes and their multimodal interplay implicitly persuade and promote Nike through values. In concrete, the willpower to succeed is visually expressed in A Dream Deferred through Richards story about focus, determination, hard work, and will to regain power. Additionally, the voice-over narrator s interrogatives in the verbal mode also connote that Richards, and thus Nike, possess the willpower to succeed. Moreover, the visual mode also correlates with the verbal mode in I Can, where these together highlight the value of believing in oneself. Furthermore, the visual mode in Courage depicts athletes in both victories and losses, whereby the athletes courage and their position as fighters are visually underlined: this is especially stressed by the athletes facial expressions. And in connection, the verbal mode again plays an important role as the verbal statement, I got soul, but I m not a soldier, further underlines the hard-working, fighting mentality within the athletes. Finally, the visual mode in Fate portrays the two character s hard work, passion, and determination to make it to the top, whereby the two characters and thus Nike are visually presented as possessing the willpower to succeed as well as a genuine passion for sport. In this regard, it must be noted, that the visual theme of all four commercials is sport and hereby, Nike become signified to sport, which is after all, what Nike are all about. As revealed in these multimodal examples, the commercials do not include a typical rational branding approach that appeals to the receiver s rationality. Rather, they appeal to the receiver s emotional state. This is further stressed by several multimodal choices: for instance, Nike are not visually established as sender before the end of all four commercials. As mentioned in section 6.1. Persuasion, this choice underlines the implicit persuasion as it gives the characters time to establish a relationship with the receiver before the receiver is explicitly addressed. In addition, the lack of product focus consequently allows the modes in the commercials to implicitly communicate self-expressive and emotional benefits of the brand Nike. And as a result, the branding strategies in the commercials thus take advantage of the emotional approach, which can enable consumers to make positive brand associations based on both psychological and socially accepted meanings ( ). Product performance characteristics are dormant while consumers are encouraged to develop positive feelings and associations with the brand. (Jill 2009: 370) For instance, the written statement in Courage, EVERYTHING YOU NEED IS ALREADY INSIDE, appeals to the receiver s emotionality. By appealing to the receiver s emotionality, the 39

47 Nike Promotion through values Anne Hjortsholm and Marie Haargaard branding strategy takes advantage of the central route. Hence, in Courage, the verbal mode correlates with the visual mode and together with the music, they encourage the receiver to create positive associations about Nike and reflect on the implied messages in the commercial. The relation between the central route and the emotional approach is further stressed by the repetitions of verbal and written statements in I Can and Courage. Hence, the receiver is provided with several opportunities for interpretation and the receiver thus becomes more involved in the commercials. Moreover, in connection with the focus on self-expressive and emotional benefits, it is obvious that the multimodal choices provide an insight into Nike s brand personality. As we elaborated on in Chapter 3. Background Theory, a brand personality can be defined as the set of human characteristics associated with a given brand (Aaker 2002: 68) Thus, in the following, we will comment on the human characteristics in the commercials, which support the three specific values and thereby also how the values are promoted Nike s Brand Personality As we elaborated on in Chapter 3. Background Theory, a brand personality is typically assisted by product-related characteristics and/or non-product-related characteristics. Our analysis of the general branding strategies revealed that these commercials do not focus on product-related attributes, hence Nike s brand personality 13 is mainly helped by non-product-related characteristics. In specific, Nike s brand personality in all four commercials is especially helped by the visual inclusion of celebrities. Because the depicted celebrities are all professional athletes, they immediately symbolise the following characteristic: a great passion for sport. As these athletes values, attitudes, and characteristics appear equal to Nike, Nike s brand personality thus unquestionable possesses the same characteristic, namely a great passion for sport. Furthermore, as noted in section 6.1. Persuasion, the celebrity endorsements also enhance the credibility of the commercials and the receivers are thus more likely to accept the human characteristics of Nike s brand personality. Fundamental for this great passion for sport are several other characteristics. For instance, Richards character visually appears ambitious, focused and determined to reach her goal, namely to regain power. In fact, Richards is so focused that she does not pay direct attention to the receiver and thus only makes visual offers. Once again, Nike s brand personality undertakes the expressed values, hence the characteristics of being focused, ambitious, and determined to reach whatever goal is set. As a result, when the voice-over narrator in A Dream Deferred asks Or does it explode?, the answer is simply: Yes. A Nike personality is so determined that it will 13 As mentioned in our delimitation, we have delimited our focus to the branding strategies, which are evident in the commercials. Therefore, the following presents the brand identity, which is expressed through the commercials, and thereby not necessarily Nike s over-all brand personality. 40

48 Nike Promotion through values Anne Hjortsholm and Marie Haargaard explode and succeed. To continue, the receiver is visually confronted with the rough attitudes of the hardworking athletes in Courage, who fight and utilises their courage to succeed. This is further stressed verbally and musically by the up-beat rhythm and lyrics connoting the soul of the athletes. Additionally, Nike s brand personality is also characterised by the belief in a person s hidden power and in this combination, I Can shows the mentality of believing in oneself. Hence, the written statements in I Can : for instance, I CAN DO THAT and I CAN, highlight the characters belief in themselves. And additionally, Hamm visually and verbally personifies the value of believing in oneself with her testimonial: I could be anything, I could do anything I wanted to. Furthermore, the depth and coherence of Nike s brand personality is visually supported by the Swoosh and the slogan, JUST DO IT. First of all, it is worth noting that the Swoosh and the slogan are so well-known and strong symbols that they can stand alone. This is especially evident in Fate, Courage, and A Dream Deferred 14, where the Swoosh and JUST DO IT visually and verbally establish Nike as sender. Moreover, the Swoosh and JUST DO IT particularly support Nike s brand personality by creating strong associations. In specific, the visual shape of the Swoosh suggests movement and speed, which creates associations to sport. Moreover, the wing-like shape further derives connotations to the goddess of victory from Greek Mythology, named Nike (See Chapter 2. Presentation of Nike). Similarly, the imperative, JUST DO IT, incites the receiver to take action. Therefore, JUST DO IT and the Swoosh not only create strong associations, but they also cohere with the characteristics of Nike s brand personality. Hence, the Swoosh visually supports the passion for sport, whereas JUST DO IT coheres with the willpower to succeed and the belief in oneself as it encourages the receiver to take action Conclusion on Marketing Communication Strategies Through our analysis of the marketing communication strategies, it became obvious that Nike utilise several persuasive and branding strategies in their commercials. Interestingly, all four commercials primarily depend on implicit persuasion, which thereby becomes the main persuasive strategy. Moreover, through indirect links between the modes, the receivers are encouraged to reflect upon the implied messages: in this case, the expressed values. Put differently, the commercials implicitly present the three specific values. Moreover, as Nike are explicitly established as the sender of the commercials, Nike also become the explicit sender of the values. Furthermore, it is obvious that the commercials take advantage of the emotional branding approach, where implicit and the central route to persuasion are also employed. This is again emphasised by the multimodal choices employed in the four commercials. Additionally, 14 The verbal mode in Fate and Courage include the name, Nike, though, it is in the reference to the web-address, NIKE.COM/COURAGE and NIKEFOOTBALL.COM. However, the names of the websites do not obtain much visual space and serve as additional information 41

49 Nike Promotion through values Anne Hjortsholm and Marie Haargaard the modes in the commercials communicate self-expressive and emotional benefits, which further leads to an implicit presentation of Nike s brand personality, where the promotion of the three specific values are supported by human characteristics. 42

50 Nike Promotion through values Anne Hjortsholm and Marie Haargaard 7. Conclusion As the competitive environment between companies is constantly increasing, the need for effective promotion of a brand becomes more significant. Therefore, we found it relevant to investigate the following hypothesis: In Nike s commercials, Nike promote their brand through specific values by employing a complex interplay of multimodal choices in order to build up their persuasive and branding strategies. To support the hypothesis, we further asked the following two sub-questions: Which multimodal choices are employed in the commercials? How are the values promoted trough persuasive and branding strategies? In order to answer the first sub-question, and hereby gain an insight into our hypothesis, we conducted a multimodal analysis of four Nike commercials: I Can, Fate, Courage, and A Dream Deferred. The multimodal analysis was derived from social semiotics and combined with approaches from film theory. Through the multimodal analysis of each commercial several interesting discoveries emerged. For instance, it became evident that none of the modes in the four commercials focus on Nike s products. Furthermore, all four commercials take advantage of a variety of linking devices, namely, verbal-, visual-, and verbal-visual linking, which connect the content as well as the modes and thus emphasise the commercials implied messages. Moreover, all four commercials visual mode contain professional athletes, however, it is only in A Dream Deferred that the depicted athlete is introduced. In regards to the athletes, another important aspect was observed, namely their signification of attitudes. Together with the other modes, the visual mode thus expresses several attitudes, life styles and hereby, values. In this connection, yet another particularly interesting aspect was observed, namely that the commercials all express the same attitudes. Hence, all four commercials underline the following three specific values: the passion for sport, the belief in oneself, and the willpower to succeed. With our multimodal analysis in mind, we continued to interpret the marketing communication strategies in the commercials in order to answer our thesis second sub-question. In specific, we used approaches on persuasive and branding strategies to analyse how the values, mentioned above, are promoted through persuasive and branding strategies. Firstly, our analysis of persuasive strategies revealed that Nike have employed both explicit and implicit persuasion in order to promote the specific values. Nonetheless, the main strategy in the four commercials is implicit persuasion as Nike use the depicted athletes to indirectly promote their values. Furthermore, the implementation of aspects with personal relevance for the receiver enables Nike to make the promotion of values even stronger, since the receiver thereby becomes highly involved in the implied messages. Secondly, our analysis of branding strategies revealed that Nike take advantage of the emotional approach rather than the rational, hence the implicit expression of values helps to build up this strategy. Moreover, the modes 43

51 Nike Promotion through values Anne Hjortsholm and Marie Haargaard focus on values also leads to a communication of self-expressive and emotional benefits. And additionally, through the emotional approach, the communication of self-expressive and emotional benefits, Nike express a brand personality that supports the three specific values. Conclusively, we can confirm the hypothesis as it is evident that the multimodal choices in the commercials promote Nike through three specific values: namely, the passion for sport, the belief in oneself, and the willpower to succeed. Moreover, our analysis of marketing communication strategies further revealed that the promotion of values is supported by persuasive and branding strategies. And in connection, the persuasive and branding strategies are build up by values. Therefore, we can finally conclude that Nike promote their brand through three specific values: namely, the passion for sport, the belief in oneself, and the willpower to succeed. 44

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55 Glossary In the glossary we have explained terms and definitions according to our perception and employment of them. Moreover, we have made use of direct quotes from a two authors, as their explanations were well written and parallel to our perception of the terms and definitions. ABABAB formation A scene pattern, which is created by fragmentation of the work as a whole. Anchorage A term by Roland Barthes, which indicates that a written or verbal mode elaborates or specifies meaning to the visual mode Angle The vertical perspective, which a shot is recorded in. Central route A route to persuasion, which involves cognitive elaboration: the receiver reflects upon the message and engages in high elaboration. Close shot A shot, where the object is depicted in short distance. The human figure will typically be depicted from the shoulders and up, and the close shot thus allows a great amount of details. However, it must be noted that the distinction between close and medium shot is blurred. Demand When a character looks directly into the camera and thus addresses the receiver directly. Elaboration/Explanation A visual-verbal link, which main purpose is clarification. Furthermore, the written or verbal mode restates the visual mode or visa versa: if the written or verbal mode is an explanation of the visual mode, then the visual mode must also be an explanation of the verbal or written mode. Elaboration/Specification A visual-verbal link, which main purpose is clarification. Moreover, the written or verbal mode guides the receiver through the implied meanings of the visual mode in order for the receiver to avoid some and obtain other meanings chosen by the sender (correlates with anchorage). Eye-level angle A shot, where the character appears in eye-level with the receiver and equality is established between the receiver and the character. Extension: Addition/Alternative A verbal link, which main purpose is to add new information and link it to existing information. Furthermore, the verbal mode introduces new information: in this case, alternative information. Extension: Logical/Similarity A visual link, which main purpose is to add new information and link it to existing information. Thus, the second of two shots guides the receiver to compare this shot with the former: in this case, by employing similar objects. Extension: Temporal/Next event A visual link, which main purpose is to add new information and link it to existing information The second of two shots tells us that something has occurred, is occurring or will occur. Put differently, this link serves to establish that the shots take place in a narrative environment: in this case, the second shot occurred after the first. Field If a sound or group of sounds is positioned as Field, it is thereby treated as existing, not in the listener s social, but in his or her physical world. (Van Leeuwen 2006: 188) Figure If a sound or group of sounds is positioned as Figure, it is thereby treated as the most important sound, the sound which the listener must identify with, and/or react to and/or act upon. (Van Leeuwen 2006: 187)

56 Ground If a sound or group of sounds is positioned as Ground, it is thereby treated as still part of the listener s social world, but only in a minor and less involved way ( ) as a context we take for granted and only notice when it is not there any longer. (Van Leeuwen 2006: 188) Informal distance (Social distance) The relation between the sound and the listener is a real or imaginary informal relation what is presented or represented by the sound is regarded as one would regard someone with whom one has a businesslike but nevertheless informal encounter. In speech it is realized by a full voice at somewhat higher pitch and volume. (Van Leeuwen 2006: 191) Long shot A shot, where the object is depicted in long distance. The long shot shows the whole human figure as well as permits the receiver to see the background. However, it must be noted that the distinction between long and medium shot is blurred. Low-angle A shot, where the camera is placed low on the vertical axis, thus angled upwards. Lyrics The words and sentences of a song. Medium shot A shot, where the object is shown in middle distance. A human figure will typically be depicted from the waist and up, and the receiver is permitted to see some of the background. However, it must be noted that the distinction between medium and both close and long shot is blurred. Mode A mode is a system of signs and the four core modes are image, language, sound, and music. Central to multimodality, is that modes as well as sub-modes overlap, merge and shift. Moving camera A camera that moves a long a predetermined path. Music Music is the melody within a song. When a voice-over narrator, sound effects or music appear as coming from a source outside the story- space. Offer When a character does not look directly into the camera and thus not addresses the receiver directly. Parallel processing When both the central and the peripheral route are used simultaneously. Peripheral route A route to persuasion, which involves peripheral processing: the receiver engages in low elaboration and focuses on cues, that are not directly related to the message. Personal distance (Social distance) The relation between the sound and the listener is a real or imaginary personal relation what is presented or represented by the sound is regarded as one would regard a friend with whom one can discuss highly personal matters. In speech it is realized by a soft, relaxed voice at low pitch and volume. (Van Leeuwen 2006: 191) Scene A segment in a narrative film that takes place in one time and space or that uses crosscutting to show two or more simultaneous actions. (Bordwell & Thompson 2000: 433). Usually in film text, a scene consists of more than one shot. Nonetheless, television commercials contain compressed information, and thus, a single shot can make up a scene alone. This is especially evident in the four Nike commercials: I Can, Fate, Courage, and A Dream Deferred, where one shot alone primarily constitutes a scene.

57 Script typeface When a typeface appears as if it is handwritten. Typically used for logos, slogans or a company name. Shot A shot consists of one uncut camera movement. Song A song is the combination of lyrics and melody. Still shot A shot, where there is no camera movement. Testimonial A statement, which supports the particular claim or truth in a commercial. Text Any context in which meanings are exchanged. Vector A vector acts as a visual symbol, which draws attention to a certain object in a shot/image. Moreover, a vector visually realises how objects and characters are related or represented. Youtube is a website, where users can upload, view and share videos.

58 Appendix 1. Tables on Linking Information linking: Overview of verbal linking (Van Leeuwen 2005: 225). Type of connection Elaboration Extension: Addition Extension: Temporal Extension: Spatial Extension: Logical Subtypes Typical explicit conjunctions Typical environment Explanation Example Specification Summary Correction Addition Adversative Alternative Next event Simultaneous event Previous event Conclusive event Proximity Co-presence Similarity Contrast that is, in other words example, to illustrate in particular, more specifically in short, briefly in fact, actually and, moreover but, however or, alternatively then, next meanwhile, just then previously, hitherto finally, in the end behind, in front, etc. in the same place, there likewise, similarly by contrast, conversely Argumentation Persuasion Description Argumentation Persuasion Narrative Procedure Description Argumentation Persuasion Reason Result Purpose Condition (positive) Condition (negative) therefore, for that reason as a result, in consequence for that purpose, with this in view in that case, in that event, if otherwise, if not

59 Overview of visual linking (Van Leeuwen 2005: 229). Type of connection Elaboration Subtypes Realisation Typical environment Overview Cut or other transaction from CS to LS of same subject Description Detail Cut or other transaction from LS to CS of same subject Extension: Temporal Next event Previous event Simultaneous event Cut or other transaction to Cut or other transaction from LS to CS of same subject Cut or other transaction from LS to CS of same subject Narration; procedure Extension: Spatial Proximity Co-presence Relative location indicated by matching angle Series of two or more details Description Extension: Logical Contrast Similarity Contrasting subject (no narrative connection) Similar subject (no narrative connection) Persuasion CS: close shot LS: long shot Overview of visual-verbal linking (Van Leeuwen 2005: 230). Image-text relations Elaboration Specification The image makes the text more specific (illustration) The text makes the image more specific (anchorage) Extension Explanation Similarity Contrast Complement The text paraphrases the image (or visa versa) The content of the text is similar to that of the image The content of the text contrasts with that of the image The content of the image adds further information to that of the text, and visa versa (relay)

60 Scene/ Shot Scene 1 Scene 2 Scene 3 Visual Visual Information Close-up, little girl with red hair, non smiling smiling, written fades in. Black Hands, catching a ball. Close Shot. Same little girl, smiling. Background: black boy play (connects to the two former scenes), he walks behind her. Close Shot. Aural Information Nondiegetic music begins. Nondiegetic music. Nondiegetic music. Verbal Information I CAN I CAN - PLAY Multimodal Analysis Representation: Can statements are written in front of the character. Orientation: Demand. Enhanced sense of reality. The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/explanation. Orientation: Enhanced sense of reality. Representation: Can statements are written in front of the character. Orientation: Offer. Enhanced sense of reality. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/explanation. Appendix 2. The table provides an overview of the commercial I Can. The first column indicates scene and shot number, whereas the second column displays a screenshot from the given scene/shot. Thirdly, columns 3-5 state the visual, aural, and verbal information, while column 6 highlights the multimodal features. Lastly, it is important to note, that several scenes only consist of one shot (See Glossary for further elaboration on shots versus scenes in commercials).

61 Scene 4 Shot 1 Woman riding bicycle in a forest - Long distance. PLAY still visible at same place as former scene. Nondiegetic music. PLAY Representation: Can statements are written next to the character. Orientation: Enhanced sense of reality. Organisation: PLAY links this scene with the former. Anchorage - elaboration/specification and elaboration/explanation. Scene 4 Shot 2 Scene 4 Shot 3 Turns into medium Shot, same woman. PLAY reappears at the same place. Woman standing with a hand on her bicycle, still in forest. Nike logo visible for the first time. Nondiegetic music. Nondiegetic music. PLAY ANYWHER E Representation: Can statements are written in front of the character. Orientation: Enhanced sense of reality. The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/explanation. Representation: Can statements are written in front of the character. Orientation: Demand. Enhanced sense of reality. The written statements link between the characters and the receiver the thoughts of the character. Organisation: through visual linking the words appear as a sentence: I CAN PLAY ANYWHERE. Anchorage - elaboration/specification and elaboration/explanation.

62 Scene 5 African- American little boy, close-up, laughing, camera movement. Written statement fades in. Nondiegetic music. I CAN - HAVE HEROES Representation: Can statements are written in front of the character. Orientation: Demand. Enhanced sense of reality. The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode. Scene 6 Shot 1 Scene 6 Shot 2 Grown-up African American - Michael Jordan. Closeup. I can fades out and heroes appear in the same place Picture Nondiegetic music. Nondiegetic music. HEROES HEROES Anchorage - elaboration/specification and elaboration/explanation. Representation: Can statements are written in front of the character. Orientation: Demand. The written statements link between the characters and the receiver the thoughts of the character. Organisation: HEROES links this scene with the former. Anchorage - elaboration/specification and elaboration/explanation. Representation: Can statements are written in front of the character. Orientation: Offer Organisation: HEROES links this scene with the former. Anchorage - elaboration/specification and elaboration/explanation.

63 Scene 6 Shot 3 Michael Jordan aging Holding a picture of his hero. Medium Shot. Nondiegetic music. HEROES CAN HAVE HEROES Representation: Can statements are written in front of the character. Orientation: Demand. The written statements link between the characters and the receiver the thoughts of the character. Scene 7 African American, man playing basketball. Black-white colour. Medium Shot. Nondiegetic music. HEROES Organisation: HEROES links this scene with the former. Anchorage elaboration/specification and elaboration/explanation. Representation: old footage. Orientation: Enhanced sense of reality. Organisation: the statements serve to link the verbal mode to the visual mode. Scene 8 Again: African American, man playing basketball, however, now in colour, and an alternate angle. Nondiegetic music. Orientation: Enhanced sense of reality. Organisation: Same visual type Link

64 Scene 9 Child in footballoutfit hangs on to another child. Black-with colour. Nondiegetic music. I CAN HANG ON FOR DEAR LIFE Representation: Can statements are written in front of the character. old footage. Orientation: Enhanced sense of reality. The written statements link between the characters and the receiver the thoughts of the character. Scene 10 Three people running. Medium shot. Nondiegetic music. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/explanation. Orientation: Offer. Enhanced sense of reality. Scene 11 Little girl, holding hands with adult. Medium shot. Nondiegetic music. I CAN DO THAT Representation: Can statements are written next to the character. Orientation: Offer. The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/explanation.

65 Scene 12 Young girl playing basketball, black-white colour and medium shot. Nondiegetic music. Orientation: Offer. Enhanced sense of reality. Scene 13 Soccer player scores header - low angle, fades into Nondiegetic music. Representation: scene is faded into the still shot of Hamm. Scene 14 close-up of Mia Hamm (pro soccer player, US). Speech: Diegetic Nondiegetic music. I could be anything, I could do anything Representation: Hamm is connected to the previous scene, those who are not aware of who she is will consequently relate her to soccer. The testimonial is in past tense. Portrays an intermediary, who succeeded in achieving her goals. Orientation: a still shot presents Hamm, gaze acts as demand, underlines the importance of her verbal testimonial.

66 Scene 15 Female soccerplayers Celebrating ( 96 US woman s soccer team won the Olympics). Speech: Diegetic Nondiegetic music.... I wanted to Organisation: anchorage - elaboration/ specification and elaboration/explanation. Representation: old footage. Orientation: Enhanced sense of reality. Scene 16 Old black and white colour footage of men running. I CAN RUN WITH MY DOG Representation: old footage. Can statements are written next to the character. Orientation: The written statements link between the characters and the receiver the thoughts of the character. Scene 17 Old black and white colour footage of men running. Nondiegetic music. I CAN RUN WITH MY DOG Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/ explanation. Representation: old footage. Can statements are written next to the character. Orientation: The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/ explanation.

67 Scene 18 Dog - low angle. Nondiegetic music. I CAN GET A FASTER DOG Representation: Can statements are written in front of the character. Orientation: Enhanced sense of reality. Organisation: visual-verbal linking via the dog. Anchorage - elaboration/specification and elaboration/explanation. Scene 19 Shot 1 Two men, wrestling - long shot (Very far away). Nondiegetic music. Scene 19 Shot 2 Same two men, wrestling, long shot ( but closer). Nondiegetic music. Organisation: visual linking Scene 19 Shot 3 Wrestling man A, close-shot, dark (looks like he is struggeling). Nondiegetic music. I CAN CONQUER Orientation: Offer

68 Scene 19 Shot 4 Scene 20 Medium shot of (what seems to be) the other wrestler B (he is standing so he won conquer). Little boy, gymnasticshall, about to climb a rope, high angle. Nondiegetic music. Nondiegetic music. I CAN CONQUER I CAN CONQUER MY FEAR Representation: Can statements are written in front of the character. Orientation: The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/ explanation. Representation: Can statements are written next to the character. Orientation: Offer. The written statements link between the characters and the receiver the thoughts of the character. Scene 21 Shot 1 Weight-lifter, medium-long shot. Nondiegetic music. CAN Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/ explanation. Representation: Can statements are written in front of the character. Orientation: Demand Organisation: the statements serve to link the verbal mode to the visual mode.

69 Scene 21 Shot 2 Scene 22 Shot 1 Dark circle, zooming, close-up on the weight-lifter, man in left side, distant. (Nike logo visible on shirt second time the logo is clearly visible in this video). A race (marathon),bla ck-white colour, long shot long distance. Nondiegetic music. Nondiegetic music. Orientation: Offer Organisation: the colour, and the man links this scene to the former Representation: old footage Scene 22 Shot 2 Medium shot of 6 runners (men), I CAN is written above each head (as if it was thoughts). Nondiegetic music. I CAN Representation: old footage. Can statements are written next to the character. Orientation: Enhanced sense of reality. The written statements link between the characters and the receiver the thoughts of the character. Organisation: the colour links this scene to the former. The statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/ specification and elaboration/ explanation.

70 Scene 23 Gymnast, long shot, rings, dim light. Nondiegetic music. Scene 24 Gymnast rings again, long shot, frontal angle. Nondiegetic music. Orientation: Demand Organisation: the rings links this scene to the former Scene 25 Less colour. Picture of football player. Hands reaching the picture, as if it was a ritual before going into a game. (One Nike hand Logo visible). Nondiegetic music. YOU CAN Representation: Can statements are written in front of the character. The use of YOU addresses the receiver and thus requests the receiver to accept the message. Orientation: The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode.

71 Scene 26 Footballmatch. Nondiegetic music. Cause Representation: Voice singing appers Lyrics. Song Bitter Sweet Symphony by the Verve. Lyrics from Non-digetic song Scene 27 Footballmatch, coach shouting at player, close up. Nondiegetic music. Lyrics from Non-digetic song it s a Scene 28 Black boy from the beginning, very close-up. Nondiegetic music. bitter- Representation: bittersweet means pleasure mixed with sadness. Orientation: Demand Lyrics from Non-digetic song Scene 29 Back of football-player (football match), audience, cheering (he just scored). Nondiegetic music. Lyrics from Non-digetic song sweet Orientation: Enhanced sense of reality.

72 Scene 30 Black-white colour, soccer game (men), also cheering. Nondiegetic music. Representation: old footage. Orientation: Enhanced sense of reality. Organisation: the cheering links this scene to the former Scene 31 Shot 1 Shadow of human running on stairs, dark, black-white colour. Nondiegetic music. Lyrics from Non-digetic song symphony Scene 31 Shot 2 Close-up of old man, appears to be him running on stairs, a little colour Nondiegetic music. Lyrics from Non-digetic song this li- Orientation: Offer Scene 31 Shot 3 Old man running on stairs, you only see his legs and feet. Written statements below feet. Little colour. Nondiegetic music. Lyrics from Non-digetic song -fe I CAN, I CAN, I CAN Representation: Can statements are written besides the character. Orientation: The written statements link between the characters and the receiver the thoughts of the character. Organisation: the statements serve to link the verbal mode to the visual mode. Anchorage - elaboration/specification and elaboration/ explanation.

73 Scene 32 Black screen displaying Nike s name. Nondiegetic music. nike Representation: Nike explicitly introduced as sender. nike written in a script typeface, very informal and personal.

74 Scene/ Shot Scene 1 Scene 2 Scene 3 Visual Visual Information Computer showing ultrasound picture. Hospital and a baby-boy (blue colourassociations). Character (A) Baby-boy in diaper, standing in a home, running out of bathroom, an adult running after him. Aural Information Music: nondiegetic. Music: nondiegetic. Sound elements: Baby cry. Music: nondiegetic Sound elements: Baby laugh. Verbal Info. Multimodal Analysis Representation: the very beginning of a human life. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Representation: the birth of a baby boy. Sound enhances reality. Organisation: visual linking - extension: temporal/next event. Representation: action. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. This table provides an insight into the commercial Fate. As with the former commercial, we will state the visual, aural, and verbal information as well as highlight multimodal features. In addition, it is worth noting, that several scenes only consist of one shot. Appendix 3.

75 Scene 4 Character (B) A bit older boy running, jumping into beanbag, outside. Music: nondiegetic. Sound elements: Sound, when he hits beanbag. Representation: action, collision. Sound enhances reality, highlight collision. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 5 Character (A) A bit older boy running, also outside. Music: nondiegetic, drums are added. Sound elements: When he s close to the camera, one can hear footsteps. Representation: action. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 6 Character (B) Boy jumping from chair to a coffee table, table breaks. Music: nondiegetic. Sound elements: Sound of crash/breaking glass. Representation: action, collision. Sound enhances reality, highlight reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 7 Character (A) Small kids playing American football. Music: nondiegetic. Sound element: cheering nondiegetic. Representation: action. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event.

76 Scene 8 Character (B) Boy running on a lawn, jumps over sprinklers Music: nondiegetic. Sound elements: Sound of sprinkler. Representation: action. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 9 Character (A) Boy driving on bicycle, on the way to a stadium. Music: nondiegetic, opera voice enters. Representation: action. Song L estaci dell oro (The Ecstasy of Gold) composed by Ennio Morricone for the movie The good, the Bad and the Ugly. Organisation: visual linking - extension: temporal/next event. Scene 10 Character (B) Boys playing a basketball match, collision. Music: nondiegetic. Sound elements: Basket-shoes on floor-sound. Representation: action, collision. Actual school uniform. Sound enhances reality. Organisation: visual linking - extension: temporal/next event. Scene 11 Character (A) Boy running, looks like school, he s in a rush, running with a book/notes. Music: nondiegetic. Sound element: He s running. Representation: action. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event.

77 Scene 12 Character (B) Boy running on the stairs at a stadium, practice. Music: nondiegetic. Sound element: Running at stairs. Representation: Action. Sound enhances reality. Organisation: visual linking - extension: temporal/next event. Scene 13 Character (A) Boy in class, sitting on a chair with his pen, teacher writing on the blackboard. Music: nondiegetic. Organisation: visual linking - extension: temporal/next event. Scene 14 Character (B) American football-game, collision. Music: nondiegetic. Soundelements: Crash, cheering. Representation: action, collision. Actual school uniform. Sound enhances reality, highlight collision. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 15 Character (A) Footballplayers on their way through stadium to a game, (Texas Christian University). Sound: Music: nondiegetic. Cheeringsound at stadium. Representation: action. Actual Texas Christian University uniform. Sound enhances reality. Orientation: Enhanced sense of reality. Eye-level angle. Organisation: visual linking - extension: temporal/next event.

78 Scene 16 Scene 17 Character (B) Team on their way through stadium to a game, (University of Southern California Trojans ). Character (A) Footballplayers training, collision. Music: nondiegetic. Music: nondiegetic. Sound elements: Sound of the collision. Representation: action. Actual University of Southern California Trojans uniform. Orientation: Enhanced sense of reality. Eye-level angle. Organisation: visual linking - extension: temporal/next event. Representation: action, collision. Sound enhances reality, highlight collision. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 18 Character (B) Man running on stairs at a stadium, snowing weather. Music: nondiegetic. Soundelements: Wind. Representation: Action. Sound enhances reality. Organisation: visual linking - extension: temporal/next event. Scene 19 Character (A) PRO, stadium, driving in a car (to a game). Music: nondiegetic. Representation: action. Organisation: visual linking - extension: temporal/next event.

79 Scene 20 Character (B) Busses driving (to a game). Music: nondiegetic. Sound elements: Driving busses. Representation: Sound enhances reality. Organisation: visual linking - extension: temporal/next event. Scene 21 Character (A) Character, LaDainian Tomlinson, in the car. Music: nondiegetic. Representation: action. Organisation: visual linking the same car, link to scene 19. Eye-level angle. Organisation: visual linking - extension: temporal/next event. Scene 22 Character (B) Character, Troy Polamalu Sitting in the bus, same stadium. Music: nondiegetic. Organisation: visual linking the bus, and the same stadium, link to scene 20. Organisation: visual linking - extension: temporal/next event. Scene 23 Shot 1 Character (A) Tomlinson at the footballgame, medium shot, offer picture, in the foreground (San Diego Chargers). Music: nondiegetic. Sound elements: Cheering. Representation: action. Actual Chargers uniform, number. Sound enhances reality. Orientation: eye-level angle. Organisation: visual linking - extension: temporal/next event.

80 Scene 23 Shot 2 Character (B) Polamalu s team running into the football field at stadium (Pittsburgh Steelers). Music: nondiegetic. Sound elements: Cheering. Representation: action. Actual Steelers uniform, number. Sound enhances reality. Orientation: Enhanced sense of reality. Eye-level angle. Organisation: visual linking - extension: temporal/next event. Scene 23 Shot 3 Character (A) The match, Chargers has the ball. Music: nondiegetic. Sound elements: Cheering. Representation: action. The audience, the way it is filmed reality. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 23 Shot 4 Character (B) Polamalu, waiting for the man with the ball. Music: nondiegetic. Sound elements: Cheering. Representation: action. The audience, the way it is filmed reality. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 23 Shot 5 Character (A) The two standing in front of each other, focus on Tomlinson. Music: nondiegetic. Sound elements: Cheering. Representation: action. The audience, the way it is filmed reality. Sound enhances reality. Orientation: Enhanced sense of reality. Eye-level angle. Organisation: visual linking - extension: temporal/next event.

81 Scene 23 Shot 6 Character (B) Focus Polamalu. Music: nondiegetic. Sound elements: Cheering. Representation: action. Sound enhances reality. Orientation: Enhanced sense of reality. Eye-level angle. Organisation: visual linking - extension: temporal/next event. Scene 23 Shot 7 Game, you see the rest of the Chargers Their stadium. Long shot. Music: nondiegetic. Sound elements: Cheering. Representation: action. The audience, the way it is filmed reality. Sound enhances reality. Orientation: Enhanced sense of reality. Organisation: visual linking - extension: temporal/next event. Scene 23 Shot 8 They are about to collide: medium shot. Music: nondiegetic. Sound elements: Cheering, sound of collision. Representation: action. Sound enhances reality, highlight collision. Organisation: visual linking - extension: temporal/next event. Scene 23 Shot 9 They collide, medium shot, little low angle, and Nike logo visible for the first time. Music: nondiegetic slows down. Representation: action, collision. Organisation: visual linking - extension: temporal/next event.

82 Scene 24 Character (B) Boy falls down in a bed. Music: nondiegetic. Representation: action. Organisation: not chronological flashback. Penetration via the falling, movement. Scene 25 (Black screen between this and the next scene) Character (A) Boy falls down in a bed (same type). Music: nondiegetic. Representation: action. Organisation: visual linking - extension: logical/ similarity, penetration via the falling, movement. Scene 26 Referee, stops the game. Tomlinson pads Polamalu on the shoulder. Leave Nothing turns into Nike logo (vector), they move from close to more distant. Music: nondiegetic Sound elements: Cheering, the referee s whistle, The pad on the head. Written: Leave Nothing Representation: action. Swoosh appears in front of Tomlinson, functions as vector from his arm. LEAVE NOTHING imperative address receiver. Swoosh identifies Nike the sender Sound enhance reality. Organisation: visual linking - extension: temporal/next event. Nikefoot ball.com

83 Appendix 4. This commercial consists of countless fast-paced, compressed scenes (Once again, see Glossary for elaboration on shots versus scenes in commercials) and therefore, our table does not contain all the scenes. Instead, our table presents one scene of each displayed athlete and examples of other scenes with importance for our analysis. Therefore, our second column identifies the athlete and her/his profession. Just as in the two former tables, we will also state the verbal and aural information as well as highlight interesting and relevant multimodal features. In this regard, we must note, that we will not comment on each athlete s courageous story since the stories are not directly presented in the scenes. Screenshot Visual Information Long Shot. Displays basketball player LeBron James. A statement is written across him, visually added in two pieces. Black and white versus colour contrast. Aural Information Nondiegetic music begins: only one instrument is evident, namely a guitar. Verbal Information Written statement: EVERYTHING YOU NEED IS ALREADY INSIDE Multimodal Analysis Representation Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Important to note: Scene (constituted by one shot) first displays the athlete and subsequently, the written statement appears: it is added in two pieces receiver has time to reflect on it. There is a contrast between the colours in the written statement and the background in black-white- the written statement demands attention. Orientation: The statement directly addresses the receiver by use of the pronoun, You Organisation: Division by especially aural elements This is the first part, where the music only consists of a guitar and lyrics are not yet introduced. Visual linking, Extension:logical/similarity (same object theme athletes).

84 Flower blossoms (into red). music begins: only one instrument is evident, namely a guitar. Written statement: EVERYTHING YOU NEED IS ALREADY INSIDE Representation: The blossoming of the flower connotes a beginning. Orientation: Written statement directly addresses the receiver by use of the pronoun, You Organisation: Written statement connects this shot to the former. Structure, first part, music only consists of a guitar and lyrics are not yet employed. Close Shot. Heavy weightlifter Vasily Alekseyev. music begins: only one instrument is evident, namely a guitar. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes), Structure, first part, music only consists of a guitar and lyrics are not yet employed. Long shot. Tennis player John McEnroe. music begins: only one instrument is evident, namely a guitar. Lyrics begin I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part begins: lyrics begin, music still only consists of a guitar. Close shot. Soccer player Christiano Ronaldo. music begins: only one instrument is evident, namely a guitar. Lyrics I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: Ronaldo, takes a deep breath he is nervous about what he is about to do appeals to the receiver, as even though he is professional he still need to concentrate to succeed. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music still only consists of a guitar.

85 Detailed shot displaying human cells. music begins: only one instrument is evident, namely a guitar. Lyrics I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Symbolises the inside of human + connotation to science. Coheres with the earlier written statement EVERYTHING YOU NEED IS ALREADY INSIDE. Courage. Power. Organisation: Structure, second part: lyrics, music still only consists of a guitar. Medium shot. Basketball player Pau Gasol music begins: only one instrument is evident, namely a guitar. Lyrics I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: Same as Ronaldo - praying before going into battle. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music still only consists of a guitar. Close shot of astronaut. music begins: only one instrument is evident, namely a guitar. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Represents science, space. Organisation: Structure, second part: lyrics, music still only consists of a guitar. Lyrics

86 Painting of men running, probably wallpainting or painting on a vase. music begins: only one instrument is evident, namely a guitar. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Connotes references to Greek culture - Olympics. Organisation: Structure, second part: lyrics, music still only consists of a guitar. Lyrics Medium-Long shot. Long jumper Ralph Boston music begins: only one instrument is evident, namely a guitar. Lyrics I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music still only consists of a guitar. Long shot. Hurdler Ladji Doucouré music begins: only one instrument is evident, namely a guitar. Lyrics I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music still only consists of a guitar. Long shot. Soccer player Wayne Rooney. music: inclusion of other instruments( bass and drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments.

87 Close shot. Tennis player Maria Sharapova. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Close to medium shot. Steeplechase runner Henry Marsh. music(consists of bass, guitar, drums) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments. Medium shot. Paralympic swimmer David Lega. music(consists of bass, guitar, drums) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments. Long shot. Little child walks in a garden. music(consists of bass, guitar, drums) Representation: Little child walking because it is his/her nature to walk. Athlete s nature is sport. Courage. Orientation: establish relationship with most receivers everyone, has once been a child. Organisation: Structure, second part: break in lyrics + music consists of several instruments.

88 A painting, which seems to depict an Asian girl. music(consists of bass, guitar, drums) Representation: The painting creates associations to culture, in specific, Asian culture. Reference to Olympics in Beijing, Organisation: Structure, second part: break in lyrics + music consists of several instruments. Medium to long shot. Gymnast Mary Lou Retton. Jumper Zhu Jianhua. Hurdler Liu Xiang music(consists of bass, guitar, drums) music(consists of bass, guitar, drums) music(consists of bass, guitar, drums) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: the flag on her suit, appeals to establish a connotation to America. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments.

89 Marathoner Carlos Lopes. Gymnast Daiane dos Santos. Middle and long distance runner Steve Prefontaine. Long distance runner Paula Radcliffe. music(consists of bass, guitar, drums) music(consists of bass, guitar, drums) music(consists of bass, guitar, drums) music(consists of bass, guitar, drums) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: break in lyrics + music consists of several instruments.

90 African boys jumping into a muddy river. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Creates associations to Africa, African culture. Diversity. Moreover, movement (they jump) Organisation: Structure, second part: lyrics appear again, music consists of several instruments. Long shot. Astronaut. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Drives associations to space(man on the moon), hereby culture(among others, American). Moreover, the astronauts symbolise courage. Orientation: the moon landing in 1969 All American receivers can relate. Organisation: Structure, second part: lyrics, music consists of several instruments. Marathoner Joan Benoit- Samuelson. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Sprinter Wallace Spearmon Jr. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments.

91 American triathlete Julie Moss. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Bull fighting. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Drives associations to culture. Diversity. Courage. Willpower. Organisation: Structure, second part: lyrics, music consists of several instruments. Skater Omar Salazar. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Gymnast Miho Shinoda. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments.

92 Cyclist Lance Armstrong. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: Armstrongs facial expression connotes struggle and determination. The shot where he is sick, connotes loss, and thus the courage to overcome the disease. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Freestyle motorcrosser Kenny Bartram. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. BMX rider Garrett Reynolds. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Running cheetah. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: The cheetah symbolises rapidity as it is the fastest animal in the world. Organisation: Structure, second part: lyrics, music consists of several instruments.

93 Sprinter Hasely Crawford. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: facial expression connotes victory. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Allround athlete Carl Lewis. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Bisons running on the savannah. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: The bisons run because it is their nature(symbolise power and strength). Athlete sport nature- power. Organisation: Structure, second part: lyrics, music consists of several instruments. Basketball player Kobe Bryant. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments.

94 Long distance runner Bernard Lagat. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: facial expression connotes struggle. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Long distance runner Mary Decker Slaney. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: facial expression connotes struggle and loss. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Hurdler Kerry O Brien. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Tennisplayer Pete Sampras. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch.) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments.

95 Painting - two boys carry a (maybe wounded) angel. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Connotes reference to culture. Diversity. Represents solidarity and fellowship. Coheres with the next scenes. Organisation: Structure, second part: lyrics, music consists of several instruments. Marathon runner Manfred Naumann. music(consists of bass, guitar, drums) Lyrics I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Voice: Time Representation: Visual depiction of an athlete. Displays how the athlete are helped by others - symbolises the athlete s and thereby Nike s courage and willpower symbolises fellowship and solidarity Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Sprinter Derek Redmond. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual depiction of an athlete. Displays how the athlete are helped by others - symbolises the athlete s and thereby Nike s courage and willpower symbolises fellowship and solidarity Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. American tennis-player Arthur Ashe. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments.

96 Tennis player Roger Federer. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Steeplechase runner Elizabeth Jackson. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch.) Voice: Truth. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Comic-strip Culture, Heroes. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: Visual contrast of heroes versus anti-heroes. Creates associations to courage, willpower, fight. Organisation: Structure, second part: lyrics, music consists of several instruments. X-ray of hand. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Representation: The x-ray symbolises injury, hence hard work, fighting mentality. Organisation: Structure, second part: lyrics, music consists of several instruments.

97 Sprinter Sherone Simpson. music(consists of bass, guitar, drums) Lyrics. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is: Sol dier high pitch) Voice: and hearts. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Baseball player Jon Lester. music(consists of bass, guitar, drums) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: facial expression connotes victory. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Sprinter Michael Johnson. music(consists of bass, guitar, drums) Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. Orientation: facial expression connotes victory. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Medium shot of basketball player Michael Jordan. music(consists of bass, guitar, drums) Lyrics. Yeah, you know you gotta help me out (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete. Displays how the athlete are helped by others - symbolises the athlete s and thereby Nike s courage and willpower symbolises fellowship and solidarity Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments.

98 Close shot. Swimmer/Triat hlon athlete Romualdo Kubiak. music begins: only one instrument is evident, namely a guitar. I got soul, but I m not a soldier (Note: The entire statement is NOT sung in the scene, but a part of it is) Representation: Visual depiction of an athlete. Displays how the athlete are helped by others - symbolises the athlete s and thereby Nike s courage and willpower symbolises fellowship and solidarity Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, second part: lyrics, music consists of several instruments. Long shot. Paralympic runner Oscar Pistorius. Nike s slogan, JUST DO IT subsequently appears across the screne. music begins: only one instrument is evident, namely a guitar. Representation: Visual depiction of an athlete symbolises the athlete s and thereby Nike s courage and willpower. The commercial ends the way it starts: first, scene ( constituted of one shot) depicts an athlete and subsequently, a written statement ( this case, Nike s slogan) appears across the screen. Orientation: Just Do It addresses the receiver directly. Organisation: Visual linking, Extension:logical/similarity (same object theme athletes). Structure, third part, finale, begins: music only consists of the guitar + no lyrics. Black screen displaying Nike s logo, the swoosh, as well as the websiteadress, Nike.Com/Cou rage music begins: only one instrument is evident, namely a guitar. Representation: In the visual mode, the swoosh explicitly identifies Nike as sender. Moreover, the webpage invites the receiver to continue exploring more on Nike.com/Courage Organisation: Structure, third part, finale: music only consists of guitar + no lyrics.

99 Scene/ Shot Scene 1 Scene 2 Scene 3 Screenshot Visual Information Long shot. Moving camera depicts an almost deserted town. Medium shot. Shows the back of a woman, who walks in a dim hallway. Walk = determined. Long shot. Still shot of empty stadium. Aural Information Speech: Several nondiegetic sportscommentators speaks at once. Music: Nondiegetic (only piano chords) Sound elements: cheeing Speech: Still, non-diegetic sportscommentators speaking at once Music: Nondiegetic (only piano chords) Sound elements: cheering sportscommentators music Music: Verbal Information Now, in the second semi final with Sanya Richards.. Sanya Richards she has the fastest time in the first..round of the 400 meter. Multimodal Analysis Representation: sportscommentators figure = noise. Verbally present Sanya Richards. Cheering functions as ground: authenticity + creates associations to Richards position as a competing athlete. Organisation: First part of commercial (This scene and the following three serve as an introduction to the content of the commercial. Verbally- Sport and Richards name) Representation: Further verbal representation of Sanya Richards. Organisation: First part of commercial, introduction to content of commercial ( Verbally Sport and Richards name. Visually -woman Richards) Representation: Derives references to sport (stadium). Organisation: First part of commercial, introduction to content of commercial ( Visually - stadium sport. Verbally Sport) Appendix 5. This table will provide an insight into the commercial A Dream Deferred. Just as with the former commercials, we will state the visual, aural, and verbal information as well as highlight interesting and relevant multimodal features. Moreover, it is again worth noting, that several shots function as independent scenes in this commercial.

100 (only piano chords) in background Sound elements: Cheering Scene 4 Shot 1 Long shot. Sanya Richards is training at a stadium. The light in the background indicates either sunrise or sunset. sports commentators fades out in the beginning of the scene music Sound elements: Cheering fades out in beginning Representation: Visual identification Sanya Richards. Sports enthusiasts will recognise her. Aurally: sad, melancholic atmosphere: monotonous, deep music. Visual expression of Sanya Richards hard work. An example of visual inclusion of the Swoosh (appears on Sanya s clothes) Organisation: Second part of commercial (Sound elements fade out, only non diegetic music is present: monotonous, deep piano chords) Scene 4 Shot 2 Continuation of the former shot. Close- Up. Eye-level angle. Richards still training. Wearing a necklace with a cartridge. The connection to last scene is especially made by the music voice-over narrator begins What happens to a dream deferred? Representation: expresses Richards focus and concentration, underlined by her controlled body movements and facial expressions. Cartridge = struggle and patriotism: professional athlete, serves country. Verbal mode, the voice-over narrator, deep, soothing, calm male voice: actor Danny Glover, recites the poem A Dream Deferred by Langston Hughes. The poem elaborates on the question What happens to a dream deferred? - reference to Richards postponed dream. Voice-over serves as figure. Orientation: An example of eye-level

101 same use of colours. angle, which equals Sanya Richards with receiver. Voice-over + music creates personal distance(personal distance is evident in the entire commercial) Organisation: Second part of commercial(only piano chords is present) The verbal mode elaborates on the visual mode by the voice-over narrator s question ( visual-verbal linking) Scene 5 Long shot. Depicts a cornfield and a blue sky. music Representation: The field connotes the emptiness, which Richards faces during her difficult period of rehabilitation. Organisation: Second part of commercial(only piano chords are present) Scene 6 Long shot. Depicts a church. music Does it Representation: The church connotes faith faith, which Richards must keep in order to regain her strength. Organisation: Second part of commercial (only piano chords and voice-over narrator are present)l. Visual-verbal linking by voiceover narrator (+ verbal linking to last scenes) Scene 7 Shot 1 Medium shot. Sanya Richards trains. The background identifies the location, a fitness center. music dry up like a raisin Organisation: Second part of commercial (only piano chords and voice-over narrator are present). Visual-verbal linking by voiceover narrator (+ verbal linking to last scenes).

102 Scene 7 Shot 2 A continuation of last shot: Sanya Richards still trains in the fitness center. In contrast to last shot, this shot is a medium shot. Eye level angle. music in the sun Orientation: This shot is an example of the offers made by Richards. Richards eyes constantly express focus and concentration. Richards is determined to regain strength, she utilises her willpower to recover - she is too focused to pay direct attention to the receiver. Orientation: An example of eye-level angle, which equals Sanya Richards with the receiver. Organisation: Second part of commercial (only piano chords and voice-over narrator are present). Visual-verbal linking by voiceover narrator (+ verbal linking to last scenes) Scene 8 A close shot of a little African- American girl, who looks directly at the camera. The little girl is standing between two other characters. music Representation: The little girl s innocent eyes appear to be full of dreams and expectations about life, she signifies dreams and expectations about life. She can also serve as an indication of Richards former life. Orientation: The little girl directly addresses the receiver - acknowledges the existence of the receiver and places a demand. Organisation: Second part of commercial. (only piano chords are present) Scene 9 A close to medium shot of an African- American elderly woman. She music, nondiegetic voiceover Or fester like a sore Representation: The elderly woman has already lived most of her life and hopefully achieved her dreams - she creates a reference to dreams. She can serve as an indication of Richards future life. Orientation: The elderly woman directly addresses the receiver - she places a

103 looks directly into the camera demand and acknowledges the existence of the receiver. Organisation: Second part of commercial (only piano chords and voice-over narrator are present). Visual-verbal linking by voiceover narrator (+ verbal linking to last scenes). Scene 10 Shot 1 Medium shot. Back at stadium. A coach (Sanya Richard s coach one assume). His hand connotes a sign to run music, nondiegetic voiceover..and then run.. Organisation: Second part of commercial (only piano chords and voice-over narrator are present). Visual-verbal linking by voiceover narrator (+ verbal linking to last scenes). Scene 10 Shot 2 Long shot. Sanya Richards is running. music, Representation: This is the first time, when Sanya Richards is displayed running. Organisation: Second part of commercial (only piano chords are present). Scene 10 Shot 3 Continuation of last shot. A long shot. Sanya Richards running. Non- diegetic music, nondiegetic voiceover Does it stink like rotten meat or Representation: Sanya Richards has regained some strength(willpower to recover) Organisation: Second part of commercial (only piano chords and voice-over narrator are present). Visual-verbal linking by voiceover narrator (+ verbal linking to last scenes).

104 Scene 11 Medium shot. Three young African- American girls look directly into the camera music, nondiegetic voiceover..crust and sugar over like a syrupy sweet Representation: the group of young girls underlines Richards position as a role model - their youthfulness creates associations to dreams, hopes, and expectations about life. Orientation: All three girls address the receiver directy, hence demand. Organisation: Second part of commercial (only piano chords and voice-over narrator are present). Visual-verbal linking by voiceover narrator (+ verbal linking to last scenes). Scene 12 Shot 1 Long shot. Appears as a continuation of scene 10. Sanya Richards is running Non- diegetic music Representation: Richards has regained all strength. Visual expression of her determination, willpower. Her regained power is further stressed by the brighter music. Organisation: Third part of commercial (piano chords are combined with drums, more positive, brighter music). Scene 12 Shot 2 Presumably, the legs of Sanya Richards. The shot is in slow motion and she is running. music, non.diegetic voice-over..maybe it just (pause) sags like a heavy load Organisation: Third part of commercial (piano chords are combined with drums, more positive, brighter music + presence of voice-over narrator). Visual-verbal linking by voice-over narrator (+ verbal linking to last scenes). Scene 13 Shot 1 Close shot. Two young Afrocan- American girls(it is only one girl, who music Orientation: Visual demand. Eye-level angle. Organisation: Third part of commercial (piano chords are combined with drums, more positive, brighter music).

105 is fully depicted. They look directly at the camera. Scene 13 Shot 2 Long shot. Five, young Afrocan- American girls, who are running. It appears to be the same stadium, where Sanya Richard is running. The shot depicts five girls: they may be the same as the ones in scene 12. music Representation: Girls may be the same as those in the former scene. The same stadium-colours as earlier. Organisation: Third part of commercial (piano chords are combined with drums, more positive, brighter music). Scene 14 White dove, blue sky with white clouds. music Representation: The white dove symbolises Richards redress and hope and derives associations to the Olympics opening ceremony. Organisation: Third part of commercial (piano chords are combined with drums, more positive, brighter music) Scene 15 Green threes, udviskede, goes fast, music Organisation: Third part of commercial (piano chords are combined with drums, more positive, brighter music).

106 Scene 16 Long shot. Sanya Richards is running. music, nondiegetic voiceover Sound element: Cheering (begins when voice-over begins) Ticking stop watch( becomes apparent when voice-over stops) Or does it explode? Representation: Cheering marks comeback: Olympics 2008 and completes the realness of the commercial. Ticking stopwatch connotes Richards comeback and regained ability to compete. Stop watch + visual display of Richards running answer the voice-over narrator s final question Or does it explode? = Yes. Richards willpower and determination made it explode (equal to Nike because Nike are sender) Organisation: Fourth part of commercial, finale (Cheering appears, music increases in powerfulness and voice-over asks Or does it explode?. Ticking stop watch appears. sound-wise elements stress the power, which Richards has regained). Visual-verbal linking by the voice-over narrator s question (+ verbal linking to last scenes). Scene 17 Shot 1 Scene 17 Shot 2 Black screen displays Nike s slogan, JUST DO IT, in white. Black screen displays Nike s logo, the Swoosh. Sound elements: Cheering fades out.. Focus on a ticking stopwatch Music fades out.. Sound elements: A ticking stopwatch continues Written: JUST DO IT Representation: Explicit identification of Nike as sender. Orientation: Written statement addresses receiver directly Organisation: Fourth part of commercial, finale Representation: Further visual explicit identification of Nike as sender. Organisation: Fourth part of commercial, finale.