Anti-Tobacco Ads: a Multimodal Corpus Study with MCA (Multimodal Corpus Authoring System) by Cristina Comunian

UNIVERSITA’ DEGLI STUDI DI PADOVA FACOLTA’ DI LETTERE E FILOSOFIA Dipartimento di Lingue e Letterature Anglo-Germaniche e Slave

Tesi di laurea in Lingue e Letterature Straniere

Anti-Tobacco Ads: a Multimodal Corpus Study with MCA (Multimodal Corpus Authoring System)

RELATORE: Ch.mo Prof. CAROL TAYLOR TORSELLO CO-RELATORE: Ch.mo Prof. ANTHONY BALDRY

LAUREANDA: CRISTINA COMUNIAN Matr: 449098/LL Anno Accademico 2004-2005

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Table of Contents

Introduction ............................................................................7 Chapter 1: the Anti-Tobacco Ads Corpus................................11 1.1 Introduction............................................................................................................ 11 1.2 The corpus ............................................................................................................... 12 1.3 Genre and Context .............................................................................................. 14 1.3.1 Field of discourse............................................................................................................15 1.3.2 Tenor ...................................................................................................................................15 1.3.3 Mode....................................................................................................................................16

Chapter 2: working with MCA ................................................17 2.1 Introduction to MCA........................................................................................... 17 2.2 MCAâ&#x20AC;&#x2122;s functions .................................................................................................... 18 2.3 Editing the corpus for use in MCA ............................................................. 19 2.4 Phasal analysis ..................................................................................................... 21

Chapter 3: a multimodal analysis of ATAC .............................25 3.1 Introduction............................................................................................................ 25 3.2 Multimodal grammar ......................................................................................... 26 3.3 Multimodal analysis: findings ...................................................................... 31 3.3.1 Smokers.............................................................................................................................32 3.3.2 Ex-smokers .......................................................................................................................40 3.3.3 Non-smokers....................................................................................................................43 3.3.4 Tobacco companies........................................................................................................45 3.3.5 Potential patterns ...........................................................................................................47 3.3.6 Information structure ...................................................................................................49 3.3.7 Logical metafunction .....................................................................................................51 3.3.8 Corpus Intratextual features......................................................................................54 3.3.8.1 Stereotypes and unexpected associations ...................................................54 3.3.8.2 Cohesion....................................................................................................................58

Chapter4: language-only analysis..........................................71 4.1 Introduction............................................................................................................ 71 4.2 Text transcription................................................................................................ 71 4.2 Language-only analysis: aim ........................................................................ 74 4.3 Language-only analysis: findings .............................................................. 95 4.3.1 Clause complex ...............................................................................................................96 4.3.2 Clauses ...............................................................................................................................98 4.3.2.1 Little Text..................................................................................................................99 4.3.2.2 Embedding .............................................................................................................101 4.3.3 Mood..................................................................................................................................103 4.3.4 Conjunction.....................................................................................................................105 4.3.5 Ending phase..................................................................................................................106 4.3.5.1 Websites and telephone numbers .................................................................107 4.3.5.2 Slogans ....................................................................................................................109

Conclusions .........................................................................111 References ..........................................................................115 Software and Internet links.................................................119

Tables index Table number

Description

Page

Table 2.1:

ATAC phasal and subphasal segmentation…………………

Table 3.1:

Multimodal grammar on MCA……………………………………..

Table 3.2:

MCA search parameters: “Smoker [3779]”……………….

Table 3.3:

MCA search applications……………………………………………..

Table 3.4:

Transition and subphasal segmentation realization…..

Table 3.5

Smoker participants: depiction………………………………….

Table 3.6:

Metafunctional realization: comparison between smokers and non smokers………………………………………….

Table 3.7:

MCA search parameters: “3906. 07 Mode: confession” and “3857. 07 Gaze: directed to the viewer”…………………………………………………………………………

MCA search parameters: “3853. 04 Smoker: mat. proc. (buy cigarettes/lights up)” and “3896. 04 Smoker: material process other”……………………………….

Table 3.9:

MCA search parameter: “3781. 02 Ex-smoker”………..

Table 3.10:

Experiential realization, comparison between Smoker and Ex-smoker……………………………………………………………

Table 3.11:

Smoker and ex-smoker: gaze comparison……….……….

Table 3.12:

Ex-smokers: use of Superimposed text…………………….

Table 3.13:

MCA search parameter: “3780. 03 Non-smoker”……..

Table. 3.14:

Smokers and non-smokers: material process…………..

Table 3. 15:

Irony: metafunctional realization……………………………….

Table 3.16:

MCA search parameter: “3782. 05 Tobacco companies”………………………………………………………………….

Table 3.17:

Tobacco company……………………………………………………….

Table 3.18:

MCA search parameter: “3869. 07 Camera angle: from below”…………………………………………………………………

Table 3.19:

Progressive salience …………………………………………………..

Table 3.20:

Given and New realization………………………………………….

Table 3.8:

Table 3.21:

Postponing the New realization………………………………….

Table 3.22:

Continuity realization through sound events……………..

Table 3.23:

Embedded Superimposed texts …………………………………

Table 3.24:

Comparison between the multimodal realizations of smokers and non-smokers in the ATAC, and those of a smoker in a cigarette advertisement………………………

Table 3.25:

Counter-expected realization …………………………………….

Table 3.26:

Stereotype manipulation …………………………………………..

Table. 3.27:

Cohesion: multimodal resources………………………………..

Table 3.28:

Sample of recurrent multimodal realizations…………….

Table 3.29:

Audiogram comparison…………………………..………………….

Table 3.30:

MCA search parameter: “3845. 06 Sound Events” contains “beep”……………………………………………………………

Table 4.1:

Notation Convention used for language realizations in the ATAC…………………………………………………………………

Table 4.2:

Tagging system for the language-only analysis………..

Tab. 4.3:

Transcription and tagging of the ATAC……………………..

Table 4.4:

MCA’s Functional Tagging Grammar…………….………….

Table 4.5:

Language-only tagging, an example…….……………………

Table 4.6:

Language-only analysis: findings………….……………………

Figure 4.7:

Clause type occurrence………………………………………………

Table 4.8:

MCA search parameter: “Little Text [3296]”…………….

100

Figure 4.9:

Mood distribution……………………………………………………….

104

Table 4.11:

How websites and telephone numbers are combined within the clause sequence………………………………………..

108

Table 4.12:

MCA search parameters: “3822. 06 Slogan: oral” or “06 Slogan: oral and written” or “3823. 06 Slogan: written”……………………………………………………………………….

109

Introduction

This thesis explores the meaning-making resources, both linguistic and semiotic, of a corpus of television anti-tobacco advertisements. This is done combining the use of Hallidayâ&#x20AC;&#x2122;s (1994) Systemic Functional Grammar framework with the Multimodal Corpus Linguistics approach adopted by Baldry and Thibault (2001). Mainly two tagging systems have been used in order to analyse the texts systematically and consistently: one tagging system proposed by Taylor Torsello1 for tagging Hallidayâ&#x20AC;&#x2122;s (1994) languageonly metafunctional realizations and one multimodal transcription system proposed by Thibault (2000) in combination with the visual grammar described by Kress and Van Leuween (1996). A tool which has proven to be a precious resource in analysing systemically dynamic texts such as television advertisements is the Multimodal Corpus Authoring System (hereafter MCA), a web-based multimodal concordancer conceived by Anthony Baldry and Paul Thibault in collaboration with Michele Beltrami (Baldry and Beltrami, 2005). The use of MCA for tagging multimodal texts systemically, allows us to maintain texts in their multidimensional perspective without limiting them to the bidimensional perspective offered by conventional instruments. Thus allowing an approach that can potentially consider dynamic texts as a whole in the selection of the meaning-making resources. The research presentation is organized into four main chapters that reflect the different phases undertaken in the research. The first chapter introduces the Anti-Tobacco Ads Corpus (hereafter ATAC), a collection of television anti-tobacco advertisements, giving a cultural and contextual background. Context identification provides some references, which can help us to understand the subgenre we are analysing, which is social 1

(Taylor Torsello, Carol, Padova) Tagging Systemically http://claweb.cla.unipd.it/citatal/documenti/padova/Tags%20for%20systemic%20analyses.d oc

advertising2, and help us to interpret some of the differences found in itse multimodal realizations when compared to business advertisements . Much has been written already on multimodal corpora and MCA (Baldry and Thibault, 2001), its evolution (Baldry, 2000b), use (Baldry, 2004; Baldry and Torsello, 2005), potential applications (Coccetta, 2003), and analysis results (Baldry and Thibault, 2005). In the second chapter, I briefly introduce MCA, giving the more general academic context and projects from which it derives, explaining its functions and describing the different steps taken in order to make a text functional in MCA. Here I also introduce the basic unit of analysis of our research – the phase – first posited by Gregory (1995) and applied to dynamic texts by Thibault (2000: 325-326). Using the phasal analysis as starting point, in the third chapter the ATAC is analysed under the multimodal perspective. The findings of the multimodal research are then analysed using MCA. Multimodal analysis combined with the use of MCA allows us to find co-patterning and to calculate the occurrence of certain phenomena. This can potentially lead to the identification of Hasan’s (1989: 55) Contextual Configuration. This assertion is tested in Chapter three where the use of MCA has allowed me to identify certain limitations in the selection of potential meaning-making resources according to the kind of participant or to the kind of interaction taking place. Chapter four explores the results of the language-only analysis, achieved using the tagging system proposed by Taylor Torsello3. This system has allowed me to tag the different metafunctional realizations at different levels of delicacy, enabling me to compare my results with other corpus analyses such as Turrisendo’s (2004). The results of the language-only analysis have also been uploaded to MCA, allowing the identification of interesting metafunctional realization patterns as well as the observation of noteworthy occurrences. The latter distinguish the subgenre of social 2 Throughout this thesis Social advertising will be considered as one of the instruments of Social Marketing as defined by Andreasen (1995) 3 (Taylor Torsello, Carol, Padova) Tagging Systemically http://claweb.cla.unipd.it/citatal/documenti/padova/Tags%20for%20systemic%20analyses.d oc

advertising under the language-only perspective and complement the multimodal analysis too. Aware of the fact that “multimodal text analysis does not accept either in theory or in practice the notion that the meaning of the text can be divided into a number of separate semiotic ‘channels’ or ‘codes’” (Thibault, 2000: 321), the multimodal and the language-only analyses have been kept separate for clarity purposes. I am conscious of the fact that the meaningmaking selection process in all its multimodal shades occurs at the same time and place. In the last chapter I have tried to bring the text back to its origins, to the simultaneous

co-selection

multimodal

resources,

drawing

some

conclusions on the metafunctional realizations observed, and hypothesising specific behaviours of the subgenre of social advertising.

Acknowledgements: A huge “thank you” goes to my family, for being restlessly supportive, and for respecting my choices and my timing. I would have never made it without their patience, their trust and their love. Another big thank you goes to the Media Campaign Resource Center for letting me use their precious material. Many thanks go to Fabio Turrisendo and Francesca Coccetta for sharing their experience with me. I am thankful to the Exchange Program between the University of California and the University of Padua, for having given me a unique opportunity of growth that went beyond the academic field. A final thank goes to the people, all over the world, who have helped me become the person I am, with the hope of being able to return all I have received, which is simply priceless.

Chapter 1: the Anti-Tobacco Ads Corpus

1.1 Introduction This thesis consists of the analysis of a corpus of 47 television anti-Tobacco advertisements using the frameworks of Systemic Functional Grammar (Halliday, 1994) and Multimodal Corpus Linguistics (Baldry, 2000; Baldry and Thibault, 2001). The idea of studying anti-Tobacco advertisements came during a course in Health Communication Campaigns with Debra Gonella, taken at University of California at Davis while I was there as an exchange student. During this course I was very impressed by the “style” of American anti-tobacco advertisements and, to be honest, I was not surprised by their success (Gilpin et al., 2004). Accustomed to business advertising language, I was not at all used to the language of social advertising; its “humanity”, its being down-to-earth really struck me. During the course I had the opportunity to attend some lessons given by anti-tobacco activists, and anti-tobacco campaign organizers, and this truly fascinated me. It would have been interesting to understand what makes American anti-tobacco campaigns so successful, or at least to understand some of the ingredients to this success. Much has been said about antismoking campaigns (Peracchio et al., 1998), and antismoking advertising (Goldman et al., 1998; Biener L., 2002). However, to my knowledge, a corpus of anti-tobacco advertisements has never gone through a systemic multimodal analysis, in order to determine some common denominators, or a generic structure that really identifies this as a subgenre of advertising language.

1.2 The corpus My corpus consists of a selection of 47 television advertisements. These advertisements belong to a collection of anti-tobacco advertisements in the Media Campaign Resource Center CD Catalog (2004), (from now on MCRC CD

Catalog).

These

advertisements

were

financed

with

the

money

coming

from

Proposition 996 (increasing the tax per cigarette pack to be devoted to antitobacco related projects) and the Master Settlement Agreement7 (from now on MSA) between California, 45 other states, the District of Columbia and five US territories and seven tobacco companies, which on November 23 1998 agreed to restrictions on tobacco companies marketing practices, in particular agreeing to make a relevant number of tobacco companies’ secret documents public and to pay about $206 billion over 25 years8. Originally the advertisements were in Real Media format. Using Windows Movie Maker advertisements have been converted into a single sequence in 5

For full details of the advertisements, including producer, campaign, target audience, wave and other, visit: http://apps.nccd.cdc.gov/MCRC/ select “Full Search” 6 http://www.ucsf.edu/campus/schmed/ihps/Prop99.html 7 http://caag.state.ca.us/tobacco/pdf/1msa.pdf 8 http://caag.state.ca.us/newsalerts/2002/02-035.htm

Windows Media Player format (Windows Media Player is MCA’s default video-streaming player) so that the file could be uploaded and used in MCA.

1.3 Genre and Context Advertising is a sociocultural and socioeconomic product of our time and society.

Basically

anything

can

advertised:

goods

and

services,

behaviours, life styles, models and identities, often in a very blurred and subtle combination that can be difficult to recognize. Often only an accurate analysis capable of separating the different meaning-making resources contributing to the overall message can actually identify who is “selling” what to whom and how this is actually achieved. In this respect, Nalon’s studies (1998) on perfume advertisements have shown that the world of meaning-making resources employed in “selling” perfumes, goes far beyond anything ”logically” predictable for a mixture of substances used to change our body odours. Advertising finds its resources and meaning in the culture and context where it is produced, looking at our ATAC we need to remember that these advertisements were produced and broadcast in the USA. The USA is a country with a strong tradition and history of advertising, tobacco use and with a more contemporary but no less powerful history of anti-tobacco activism. The advertisements in our corpus represent an attempt to counter-market certain traditions, behaviours, role models, perceptions and beliefs and at the same time create or reinforce other sociocultural stereotypes and role models. So, as suggested by Baldry and Thibault (2005: 166), we need to consider the fact that we are deplacing a certain “entextualized

artefact”

giving

new

meaning-making

placement

elsewhere. The Context of culture, “the total set of meanings available to a community” (Hasan, 1989: 99) in which these advertisements find their raison d’être is strictly linked to the panorama of American anti-tobacco activism of the last decades. These advertisements arose after the publication of secret documents testifying to the unethical behaviour of certain tobacco companies, especially towards children and after certain

tobacco lobbyists and tobacco representatives were found to have lied before a court, in a country that, differently from Italy, places an extremely high moral value on â&#x20AC;&#x153;the truthâ&#x20AC;?. Thanks to these major episodes, to the continuous work of anti-tobacco activists, and to the visibility and popularity granted by the Master Settlement Agreement, the anti-tobacco movement and the anti-tobacco culture has profitably taken root in California and Massachusetts. This culture is also growing stronger in many other States, such that the antitobacco issue is now on just about every agenda with a high level of public awareness.

Having

clarified

the

cultural

humus

which

these

advertisements have grown, I will briefly give some coordinates vis-a-vis the Context of situation in which these advertisements have developed. In order to do so I will use Hallidayâ&#x20AC;&#x2122;s (1989) tri-dimensional framework consisting of the Field of discourse (what is happening), the Tenor of Discourse (who is taking part), and the Mode of Discourse, (what part the language is playing).

1.3.1 Field of discourse The advertisements in our corpus represent an attempt to prevent children and teenagers from smoking. To achieve this ambitious goal anti-tobacco advertisements try to inform the audience about the unethical behaviour of tobacco companies, about the consequences of smoking on social and affective life as well as on health and beauty. They try to raise the awareness of grown ups about the need for adult participation in helping children and teenagers to make the right choice about tobacco. They also try to persuade, or better dissuade, children and teenagers who are already exposed to tobacco advertising and/or smoking behaviours.

1.3.2 Tenor Participating in this exchange we have private and public institutions that try to address and inform children, young people and adults. Bringing real and credible testimonials, real stories with real people, people who seem credible and reliable to children and teenagers, thus creating new tobacco-

free role models. In this sense many advertisements try to deglamourize existing role models or participants, showing the adverse effects of smoking and promoting a new, appealing tobacco-free model.

1.3.3 Mode The role that language, in its broadest meaning, is playing is essential for the credibility of the message and testimonials and for reaching the target audienceâ&#x20AC;&#x2122;s attention. The language, both spoken and written, is free from jargon; it is direct and expressed in a simple and non-authoritative tone. Advertisements rely on verbal and non-verbal resources employing a wide range of multimodal realizations, in order to establish a comfortable, familiar and friendly â&#x20AC;&#x153;conversationâ&#x20AC;? between speaker and audience. Given these premises, our corpus, representing a sub-corpus of social advertising, has been uploaded to MCA as part of the genre of advertising. This has lately been the focus of some research projects directed by scholars in the University of Pavia, (Baldry, 2000; Baldry and Thibault, 2005) who have concentrated their efforts on the multimodal and systemic functional analysis of corpora of commercial advertisements, developing and using a web-based concordancer called Multimodal Corpus Authoring System. Placing social advertisements next to commercial advertisements can be extremely helpful in the definition of both corpora and genre identities, in the definition of both common and individual features, as well as in the identification of similar or different cultural or contextual grounds.

Chapter 2: working with MCA

2.1 Introduction to MCA The Multimodal Corpus Authoring System, MCA, is an internet-based multimodal concordancer system that allows the semiotic analysis of multimodal corpora to be performed. MCA is part and result of a larger and on-going inter-university activity, concerned with the development and use of corpora for research and didactic purposes – c.f. the following projects: CITATAL9 (1998-200) “Corpora on line, ipermedia, traduzione, analisi testuale e apprendimento linguistico”, LINGUATEL10 (2000-2002) project “Progetto

telematico

lingua

mediazione

interlinguistica”,

and

DIDACTAS11 (2002-2004) “Didattica dell’analisi testuale, dei corpora, della traduzione e della sottotitolazione”. Thanks to these projects, MCA has become an important instrument for handling, building, studying and developing multimodal corpora, and it is now regarded as a useful tool for developing materials for students of English as a second language. Since its first design in the year 2000 by Anthony Baldry (University of Pavia) in collaboration with Michele Beltrami (Baldry and Beltrami, 2005), MCA has refined its abilities and tools in order to process the analysis of multimodal

corpora,

becoming

effective

research

and

teaching

instrument. The way in which modality, the combination of audio, visual and linguistic resources, is approached in MCA is corpus-oriented

(Baldry and Thibault,

2001: 87). This means that the starting point of the analysis is text, processed not only by looking at the individual text but also in a reciprocal comparison between texts.

For more information on CITATAL http://claweb.cla.unipd.it/citatal/ For more information on LINGUATEL http://claweb.cla.unipd.it/linguatel/ 11 For more information on DIDACTAS http://www.units.it/~didactas/ 10

2.2 MCA’s functions As mentioned before MCA is an online multimodal concordancer based on a relational database. It can be found at http://mca.unipv.it, corpora can be accessed

after

registration

and

password

request,

whereas

general

information can be found on the link “About MCA”. What distinguishes MCA from other online concordancers (Taylor Torsello and Baldry, 2005) is first of all the ability to process dynamic texts that coemploy linguistic, audio and video resources. Moreover the retrievability of multimodal texts can occur not only in the context of a text string or table but also in “streaming”. This means that while retrieving a parameter or a text we can at the same time see its multimodal realisation. As explained by Taylor Torsello and Baldry (2005: 331-334), MCA’s most salient resources and functions are: 1. A Relational Database that allows the storage and processing of large quantity of data and ensures a systematic network of relationships, hierarchically organized, among parameters and corpora items retrievable through an online query by any authorized user. 2. The

possibility

creating

ad-hoc,

hierarchically

organised

parameters through its Grammar Definition; these grammars can be used with any corpora and not only the corpora for which it has been created, allowing for cross-corpora analysis. 3. Authoring, corpora can be added as internal projects or as new projects; added corpora enlarge the database corpus to which queries are submitted, so that pre-existing parameters can be applied and tested on new corpora too. 4. Grammar Selection, the parameters available created in Grammar definition, represent a tagging system based on systemic functional analysis and multimodal analysis (Baldry and Thibault, 2001: 92-98) 5. Using the Media Indexing tool multimodal text can be sectioned into very small frame sequences; the phases and subphases resulting from this division are then associated to one or more parameters constituting the relationship.

6. This relationship is built by the researcher through the Sequence Analysis function, which allows one to create a relation between each unit resulting from the media indexing and one or more of the parameters in the grammar selection, hereby establishing a network of relationships. 7. These relationships, and this is the core of MCA, are retrievable through an internal search engine Search that allows the search for patterns or realizations of the different parameters throughout the whole corpus or part of it, selecting a combination of up to three parameters. This is briefly how MCA works at the present time, although further developments are in progress. What MCA is able to do is to retrieve and process multimodal texts in a corpus according to the selection of different sets of parameters or grammars. By selecting one or more parameters, MCA can search and co-select texts that feature that parameter, helping researchers in cross-text and cross-corpus analysis and comparison (Baldry, 2000b: 84).

2.3 Editing the corpus for use in MCA The following is the sequence of steps undertaken in order for a corpus to become functional in MCA. 1. Collection of a series of multimodal texts, in our case the selection of a significant amount of anti-tobacco advertisements from the MCRC CD Catalog. 2. Collection of the advertisements’ textual transcriptions: in our case the advertisements’ transcriptions were available on the website of the Center for Disease Control and Prevention12. 3. Scanning of the multimodal corpus in order to define phases and subphases with a video-editing program, in our case with Adobe Premiere 6.5.

http://apps.nccd.cdc.gov/MCRC/ (To find the transcription type the name of the advert on the search engine of the database, click on the advert, click on the video image or “VIDEO”.)

4. Selection and development of a grammar, a series of parameters that we intend to use for our analysis. 5. Tagging of the text according to the functions (grammar parameters) we intend to analyse. 6. Uploading of the multimodal corpus and of its textual transcription, development of the online grammar parameters, and matching of the text units with the grammar parameter to which it refers. 7. Trying a combination of parameters at the corpora and intra-corpora level in order to identify significant patterns at the corpus or at the genre level. For the ATAC the first problem to deal with after selecting the advertisements was file conversion from Real Media Player, the original file format of the advertisements, into Windows Media Player format (MCA’s default player for streaming is Windows Medial Player). Advertisements needed both to be converted and to be put into a single string-file so that they could be easily uploaded and processed in MCA. After some tests with different programs, the solution came from Windows Movie Maker13. This gave a clean conversion with little loss of definition in terms of sound and video synchronisation. It also allowed the possibility to create a single string-file and at the same time add the advertisements’ reference number. The resulting single file containing all the advertisements and the identifying numbers was then processed with Adobe Premiere 6.5, which allows a thorough analysis of the frame sequences for identifying phases and subphases. Once the advertisements’ structure in terms of phases and subphases had been analysed, and once the start and end point of each phase and subphase had been fixed (using Adobe Premiere 6.5), the following step was to transfer all the data found into MCA. A new project in MCA was created for my research, the corpus was uploaded, and in Media Indexing the advertisements’ divisions into phases and subphases could be selected. After this initial offline phase, the project followed the procedure explained

http://www.microsoft.com/windowsxp/downloads/updates/moviemaker2.mspx

above for the multimodal corpus: Grammar definition (choice of parameters for the analysis), Grammar selection (selection of the parameters to be attributed to text units), and, finally, Sequence analysis (unit tagging). MCA

incorporates

different

sub-corpora

and

sub-grammars,

made

available as a result of various research projects. At the present time, within advertising, two genres have been completed in MCA: one relating to cars and another to drinks (Taylor Torsello and Baldry, 2005). Given the size of the corpus, a researcher can combine different parameters and identify any significant common feature, in terms of systemic functional grammar and multimodality, which distinguishes one subgenre from the other or that relates these two subgenres. This is, in principle, MCA’s raison d’ệtre: find and define common patterns in multimodal and systemic functional analysis terms (Taylor Torsello and Baldry, 2005), made possible through the systematic comparison between multimodal texts and the semiotic systems behind them (Baldry, 2000b: 86). Potentially MCA can give rise to many applications. An interesting example came from Coccetta (2003), who used MCA analysis on typical language functions of a corpus of sequences of movies to produce teaching material for students of English as a second language. Another application involves

intra-

and

inter-corpora

analysis

and

comparison,

and

exemplified by Turrisendo (2004) who compares patterns in car and drink advertisements . In these terms, ATAC could be the beginning of a larger corpus about televised social advertisements that could be used as the basis for a comparison between social advertisements and the business advertisements already in MCA.

2.4 Phasal analysis 2.4.1 Introduction The first step in our analysis, in order to start working both offline (tagging) and online on MCA, is Phasal analysis. This consists of the division of the text into units that “share ideational, interpersonal, and textual consistency

and congruity”. (Gregory, 1995: 71). This definition intended for static texts, has been elaborated and applied to dynamic texts such as films and television advertisements by Baldry (2004: 84) who considers phases and subphases as “functional units” within a multimodal transcription for the systemic functional analysis of multimodal texts. For the phasal analysis this research considers two main units of analysis: on one hand the phase and subphase considered as Functional unit Baldry (2004: 84) . On the other hand phasal and subphasal Transition intended as a shift that can occur in texts “on both the content and the expression planes” (Thibault, 2000: 326), deriving from phasal segmentation.

2.4.2 Phasal analysis: findings Generally speaking the advertisements in ATAC presented a degree of “compactness” in their structure in multimodal and metafunctional terms. so that in many cases phasal and subphasal analysis required very subjective decisions

based

personal

interpretations

the

metafunctional

realisations. What emerges from the phasal analysis of the ATAC is, on the one hand a strong presence of monophasal advertisements and, on the other hand, a strong subphasal segmentation within those phases. The majority of the advertisements do not feature sudden or marked transitions. Rather they show a continuity in the transition from one subphase to the other. The

average

advertisement’s

length

seconds;

the

advertisements, 40 are monophasal, 4 bi-phasal, and the remainder (3) contains more than 2 phases. The full circle () stands for a phase while the half circle () stands for a subphase. The sequence    

means

that the advertisement has the first phase divided into two subphases, followed by a second phase not divided into subphases (this could be the case

of an advertisement featuring a slogan

in the last phase). The

sequence       means that both the first phase and the second phase

are

divided

into

two

subphases

(possibly

occurring

advertisement without slogan).

Text

Name

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47

Aanron Attractiveness Barber Basketball Bowl Breath test Car (Uncle's) Cattle Christy Turlington Cities Cold Conscience Courtney Crawford memorial Dinner Lung Doesn't kill Exhaust pipe Glowing Rat Hooked Too Quick I don't want to die Janet Sackman Jeff's Mum Jerome Lick Make it Harder Marker man Mohamed Monica Morph Mosh pit Older than dead Recovery Time Relaxed as can be Runner Sense of Taste Shawn Stamina Stealing Still can't quit Teeth Thanking Customer Unthinkable Voicebox:helpline What if a boy What if a girl X-ray goggles Yellow smile

                                              

     

 



  

             

            

  

 



 

 









       







     







  

 



Table 2.1: ATAC phasal and subphasal segmentation

Table 0

The phasal segmentation of Table 2.1 will be the starting point of the multimodal and the language-only analysis, as well as of their combination in MCA. This segmentation combined with both the multimodal and the language-only grammar will possibly allow to find a stable pattern or copatterning such as that found for car-drive advertisements slogans (Taylor Torsello and Baldry, 2005: 326).

Chapter 3: a multimodal analysis of ATAC

3.1 Introduction Throughout this thesis we have maintained the assumption that it is possible to look at text from two different standpoints: the language-only perspective and the multimodal perspective which sees language as integrated with other semiotic resources. This chapter will look at the texts in the ATAC (Anti-Tobacco Advertisements Corpus) from a multimodal perspective, whereas the language-only one will be analysed in the following chapter. The assumption that text can be seen from two different perspectives need not be seen as an alternative. Rather the two perspectives are complementary in ascertaining the meaning-making processes at work in texts. In this respect MCA is an instrument whose processes and results help combine three complementary approaches to Systemic Functional Grammar. On the language-only side MCA allows us the tagging of text and the retrieval of texts and text tagging according to Halliday’s metafunctions (1994). On the multimodal side MCA allows us to analyse and retrieve static text and dynamic texts. This is done through the inclusion in the tagging of audio, video and semiotic resources of text units, in keeping with Baldry’s multimodality analysis framework (Baldry, 2004). These two systems can be combined in MCA and then through processing in MCA an attempt can be made to give life to a third perspective, Hasan’s (1989: 64) generic structure, i.e. attempting to delineate the “fixed assets” or typical copatterns of a genre or subgenre. Our multimodal analysis hinges on a specific grammar design (MCA’s Grammar definition), which should to be able to represent and describe the metafunctional realizations we intend to analyse. The process of grammar

design has proven to be an on-going process that defines and refines itself only through the application and employment of its parameters. This implies a grammar that refines its delicacy - increases the number of parameters and their specificity - only once it starts to be used and applied for analysing texts units. For example a starting grammar parameter such as Verbal Process can evolve to more delicate and ad hoc realizations such as “3794. Ex-smoker: verbal process sharing personal experience”. Under this perspective grammar design becomes a meaning-making process, providing a first range of meaning-making realisations, which become evaluated as “salient” in the context of the intended research purpose.

3.2 Multimodal grammar 3284. Comunian4 3777. 00 Multimodal analysis 3778. 01 Experiential metafunction 3883. 01 Superimposed text 3802. 01 Voiceover 3804. 01 Voiceover: woman 3805. 01 Voiceover: young man 3806. 01 Voiceover: young woman 3803. 01 Voiceover: man 3893. 01 Voiceover: verbal process 3894. 01 Voiceover: ver. proc. (health related) 3895. 01 Voiceover: ver. proc. (other topics) 3781. 02 Ex-smoker 3796. 02 Ex-smoker: behavioural process 3901. 02 Ex-smoker: circumstances 3799. 02 Ex-smoker: gender 3801. 02 Ex-smoker: female 3800. 02 Ex-smoker: male 3785. 02 Ex-smoker: material process 3784. 02 Ex-smoker: mental process 3786. 02 Ex-smoker: relational process 3813. 02 Ex-smoker: rel. proc. (health consequences) 3814. 02 Ex-smoker: rel. proc. (beauty consequences) 3783. 02 Ex-smoker: verbal process 3795. 02 Ex-smoker: ver. proc. sharing non-personal info 3794. 02 Ex-smoker: ver. proc. sharing personal info (sharing personal experience)

3780. 03 Non-smoker 3902. 03 Non-smoker: circumstances 3807. 03 Non-smoker: gender 3809. 03 Non-smoker: female 3808. 03 Non-smoker: male 3788. 03 Non-smoker: material process 3892. 03 Non-smoker: mental process 3793. 03 Non-smoker: relational process 3792. 03 Non-smoker: verbal process 3797. Non-smoker: ver. proc. non-personal info (sharing non-personal information) 3798. Non-smoker: ver. proc. personal experience (sharing personal experience) 3900. 03 Non-smokers 3779. 04 Smoker 3897. 04 Smoker: behavioural process 3903. 04 Smoker: circumstances 3810. 04 Smoker: gender 3910. 04 Smoker: children 3812. 04 Smoker: female 3811. 04 Smoker: male 3907. 04 Smoker: non-human 3789. 04 Smoker: material process 3853. 04 Smoker: mat. proc. (buy cigarettes/lights up) 3896. 04 Smoker: material process other 3791. 04 Smoker: mental process 3908. 04 Smoker: relational process 3909. 04 Smoker: relational process health consequences 3790. 04 Smoker: verbal process 3851. 04 Smoker: ver. proc. sharing non-personal info 3852. 04 Smoker:ver. proc. sharing personal experience 3782. 05 Tobacco companies 3815. 06 Textual metafunction 3825. 06 Cinematic techniques 3842. 06 Frame 3841. 06 Montage 3843. 06 No camera movement 3862. 06 Time manipulation 3865. 06 Time manipulation: other 3863. Time manipulation: flashback 3864. Time manipulation: flashforward 3877. 06 Cohesion 3878. 006 Cohesion exophoric reference 3879. 006 Cohesive ties 3816. 06 Logo 3818. 06 Logo: oral 3821. 06 Logo: oral and written 3819. 06 Logo: written 3817. 06 Slogan

3822. 06 Slogan: oral 3824. 06 Slogan: oral and written 3823. 06 Slogan: written 3845. 06 Sound Events 3850. 06 Sound event: other 3846. Sound event: music 3847. Music: diegetic 3848. Music: extradiegetic 3827. 07 Interpersonal metafunction 3855. 07 Camera angle 3869. 07 Camera angle: from below 3870. 07 Camera angle: from top (+power to the viewer) 3899. 07 Camera angle: moving 3868. Camera angle: central (equality) 3834. 07 Coding orientation 3838. 07 Coding orientation: hyperreal 3839. 07 Coding orientation: sensory 3836. Coding orientation: naturalistic 3833. 07 Colour saturation 3837. 07 Colour saturation: black and white 3844. 07 Colour saturation: colour + black and white 3835. 07 Colour saturation: full colour 3856. 07 Gaze 3866. 07 Empty 3867. 07 Empty 3857. 07 Gaze: directed to the viewer 3858. 07 Gaze: not directed to the viewer 3885. 07 Interpersonal shot proximity 3887. 07 Shot proximity: CS (Close shot) 3890. 07 Shot proximity: LS (Long shot) 3888. 07 Shot proximity: MCS (Medium close shot) 3889. 07 Shot proximity: MLS (Medium long shot) 3898. 07 Shot proximity: moving 3886. 07 Shot proximity: VCS (Very close shot) 3891. 07 Shot proximity: VLS (Very long shot) 3829. 07 Mode 3906. 07 Mode: confession 3832. 07 Mode: interview 3831. 07 Mode: one-sided dialogue

Table 3.1: Multimodal grammar on MCA

The main problem with the creation of a grammar for tagging our corpus for multimodality has been the question of focusing the research towards a specific â&#x20AC;&#x153;productâ&#x20AC;?, so to connect the different metafunctional realisations

around the product being “sold”. In the ATAC the focus of the research is directed to a “non-behaviour” or a “new behaviour” which is abstract and visible only in the negative, in other words the behaviour advocated is that of non-smoking and not that of simply breathing. The consequence of this is that it is not possible to use, in Experiential Existential-Behavioural terms, tags such as “do not smoke” or “breathe normally”. Since these processes represent the “natural” status of things, and tagging “breathing” or “existing” would have led to data which would have been very difficult to interpret and evaluate, as they are normally taken for granted in such analyses. As reported by the Report of the Surgeon General (1994), cigarette advertisements independence,

visually

promote

healthfulness,

the

association

adventure-seeking,

smoking and

with

physical

attractiveness. Given that these needs are present and are in someway stimulated by cigarette advertisements, a personal hypothesis was formed on the multimodal metafunctional realization of the ATAC. It was expected that approximately the same values typically associated with smoking, such as coolness, social acceptability, glamour, independence, would have been attributed, in an undeclared manner, to the non-smoker. This would have satisfied the elicited need of young people, with a new appealing smokingfree role model. As a corpus of television tobacco advertisements was not available, it was not possible to make direct comparison between the meaning-making resources deployed for advocating the two opposite behaviours of smokers and non-smokers. Public laws limits the scope of tobacco marketing therefore tobacco companies do not operate within the context of declared advertising, but through other media (cinema, movies scenes, sporting events, testimonials etc). This further limits the opportunity of making a direct comparison. Because of this ambiguity the decision was made to carry out the comparison between a common denominator and chose the participants - the role models – depicted in the ATAC. The grammar produced for the ATAC, under the heading Comunian4 in MCA interprets Halliday’s metafunctions in multimodal terms using the

multimodal transcription framework, for dynamic texts, proposed by Thibault (2001). Its construction has benefited from precious hints coming from other grammar structures present online in MCA. For research purposes this grammar considers the multimodal realizations; when this is combined with the language-only grammar proposed in Chapter 4, it becomes possible to “fully” cover the multimodality of these dynamic texts, conscious of the fact that meaning-making co-employs all resources simultaneously. As can be seen from Table 3.1 the starting point of this grammar is Experiential analysis and hence the identification of 4 main Participants, smokers, non-smokers, ex-smokers and tobacco companies. Apart from tobacco companies, which are only featured in three advertisements, the other participants cover different demographic variables such as: different age groups, genders, races and social status. Combinations of these variables with different Processes were tested and a range of processes was selected, covering the main processes featured in the ATAC. At the Interpersonal level the different combinations brought out by the experiential analysis were observed and combined with some of the different multimodal interpersonal realization proposed by Kress and Van Leeuwen (1996) for the interpretation of static texts. These included Camera angle, Coding orientation, Colour saturation, Camera distance, Gaze and Mode of discourse (Interview, Dialogue, One-sided dialogue, Confession). Different Textual structures and Processes, the presence of Time manipulation, Sound events, different Text types such as logos and slogans and finally the different realizations of Cohesion (cohesive ties) and Intertextuality (reference to stereotypes) were considered. Again this grammar is designed to highlight the differences in the multimodal and metafunctional realizations of the four main participants mentioned above. Enabling us to compare how they are different and identify which combinations of meaning-making resources are being used. With this purpose in mind, each Participant report (Chapters 3.3.1-3.3.4) is introduced by a table produced with MCA “capturing” the participant presence across the corpus. Furthermore, this grammar aims at testing a

personal hypothesis, which suggests that the multimodal realizations typically associated to smoking are shifted from the smoker to the nonsmoker. Thus giving both to the smoker and non-smoker a different, new and more realistic identity.

3.3 Multimodal analysis: findings A

multimodal

analysis

can

carried

out

different

levels

“magnification”, requiring different analytical approaches (Baldry, 2005: 166). To put it in Baldry’s words (2005: 166), the corpus will go through a “macro transcription, concerned with the interplay between the texts’ phases”, though a more specific micro-analytical approach will be used for certain phenomena. The analysis will consider the multimodal realization of the interpersonal, experiential, and textual metafunctions aware of the fact that the systemic co-selection of these functions occurs through the codeployment of language-only resources analysed in the following chapter. Throughout the reporting of the research an attempt has been made to keep all metafunctional realizations separate, though incursions of one analysis in the other are inevitable, and in some cases desirable. In this respect we need to recall Baldry’s (2005: 204) observation on the simultaneity of the configuration of the different features of the multimodal text unit and their indissolubility “in the visual-spatial field of simultaneous relations unfolding in time”. The findings of our research are presented following the Multimodal Grammar (Table 3.1), which sees as starting point the Participant classification. Thus each chapter covers the findings per participant by defining the metafunctional realizations salient to the specific participant profile.

3.3.1 Smokers Parameter Brief Description

Parameter Brief Description

I dont want to die: phase 1 Hooked Too Quick: phase 2 Text 20 I dont want to Text 19 Hooked too 04 Smoker 04 Smoker die: YES: quick: YES: Older than dead: phase 1 I dont want to die: phase 2 Text 31 Older than dead: Text 20 I dont want to 04 Smoker 04 Smoker YES: die: YES: Barber: phase 1 Jeffs Mum: phase 1 04 Smoker Text 03 Barber: YES: 04 Smoker Text 22 Jeffs Mum: YES: Basketball: phase 1 Jeffs Mum: phase 2 04 Smoker Text 04 Basketball: YES 04 Smoker Text 22 Jeffs Mum: YES: Bowl Cleaner: phase 1 Jerome: phase 1 Text 05 Bowl Cleaner: 04 Smoker Text 23 Jerome: YES: 04 Smoker YES: Lick: phase 1 Breath Test: phase 1 04 Smoker Text 24 Lick: YES: TEXT 06 Breath Test: Marker man: phase 1 04 Smoker YES: Text 26 Marker Man: 04 Smoker Cold: phase 1 YES: 04 Smoker Text 11 Cold: YES: Morph: phase 1 Conscience: phase 1 04 Smoker Text 29 Morph: YES: TEXT 12 Conscience: Mosh pit: phase 1 04 Smoker YES: 04 Smoker Text 30 Mosh pit: YES: Courtney: phase 1 Older than dead: phase 1 04 Smoker Text 13 Courtney: YES: Text 31 older than 04 Smoker Dinner Lung: phase 1 death: YES 04 Smoker Text 15 Dinner Lung: YES:Recovery Time: phase 1 Glowing Rat: phase 1 Text 32 Recovery Times: 04 Smoker 04 Smoker Text 18 Glowing rat: YES: YES: Hooked Too Quick: phase 1 Relaxed as can be: phase 1 Text 19 Hooked too quick: Text 33 Relaxed as can 04 Smoker 04 Smoker YES: be: YES:

Parameter Brief Description

Sense of Taste: phase 1 Text 35 Sense of 04 Smoker taste: YES: Shawn: phase 1 04 Smoker Text 36 Shawn: YES: Stamina: phase 1 04 Smoker Text 37 Stamina: YES: Stealing: phase 1 04 Smoker Text 38 Stealing: YES: Still cant quit: phase 1 Text 39 Still cant quit: 04 Smoker YES: Teeth: phase 1 04 Smoker Text 40 Teeth: YES: Unthinkable: phase 1 Text 42 Unthinkable: 04 Smoker YES: Voicebox:helpline: phase 1 Text 43 04 Smoker Voicebox:helpline:YES What if a boy: phase 1 Text 44 What if a boy: 04 Smoker YES: What if a girl: phase 1 Text 45 What if a girl: 04 Smoker YES: X-ray goggles: phase 1 Text 46 X-ray goggles: 04 Smoker YES: Yellow smile: phase 1 Text 47 Yellow smile: 04 Smoker YES:

Table 3.2: MCA/Search/Search parameter/Smoker [3779]

The Experiential analysis brought out some very interesting aspects in terms of participant combinations (a), participant attributes (b) and process combination (c). Some of the most interesting findings in this research regard the smoker profile which emerged by combining different parameters in our grammar in MCA such as in Table 3.3.

02 Ex-smoker [3781] Contains 04 Smoker [3779] 03 Non-smoker [3780] Contains 02 Ex-smoker [3781]

In terms of participant combinations of the ATAC, the only two combinations occurring are non-smoker/smoker 14 cases, and nonsmoker/ex-smoker, 3 cases.

02 Ex-smoker: male [3800] Contains

02 Ex-smoker: female [3801]

Ex-smokers occur only in one occasion together, whereas in the other 6 occurrences they are depicted either alone or with non-smokers.

02 Ex-smoker: female [3801] Contains

02 Ex-smoker: relational process [3786] OR

Contains

02 Ex-smoker: verbal process [3783]

Female ex-smokers can only engage in Relational or Verbal processes. Table 3.3: MCA search applications

Contrary to the theories (Pechmann and Ratneshwar, 1994) supporting the idea that smoking initiates as a result of the desire for social acceptance within a certain group or because of perceived peer pressure, and hence is a social “activity”, in our ATAC smokers are very often depicted alone, lonely and not able to be personally assertive. When depicted in a social venue such as parties or common areas, smokers are shown apart and are not socially included. When depicted with another person, normally with one of their peers, or when trying to approach other people (non-smokers) smokers are never successful, or are despised by their peers (Table 3.5). The only case when potential “smokers” are found together is in the case of young children buying cigarettes and pretending that it is a game (Text 25: Make it harder). Apart from this case, at the phase and subphase level smokers are never depicted in the same circumstance with other smokers,

but are rather taken individually, marking the transition from one smoker to the other and visually cutting any connection. An interesting example in this respect is the multimodal transcription given in the Table 3.4. As can be seen, different people, all of whom are smokers,

are

interviewed. However they are not interviewed in the same context, and nothing

can

suggest

any

possible

relationship

between

them.

This

individuality and non-connection is emphasised by the ethnicity switch at every subphase, highlighted by the fact that there are no Fade-in Fade-out transitions but rather clear Visual cuts. This is seen in the transition between “phase 1 subphase a” and “phase 1 subphase “b”, sometimes underlined by a blinding light overexposure such as in the transition between “phase 1 subphase e” and “phase 1 subphase f”, and that there are different selections in terms of Camera angle, Horizontal perspective (HP) and Vertical perspective (VP), and Camera distance (D).

Text 19: Hooked too quick

Visual Frame

Interpersonal realizations

Phase 1, subphase a

D: very close shot HP: oblique (right) VP: median

Phase 1, subphase b

D: close shot HP: oblique (right) VP: low

Phase 1, subphase c

Phase 1, subphase d

(light overexposure) D: very close shot HP: oblique (right) VP: median

D: medium long shot HP: oblique (left) VP: median

Phase 1, subphase e

D: close shot HP: oblique (right) VP: low (light overexposure)

Phase 1, subphase f

D: very close shot HP: oblique (right) VP: low

Phase 1, subphase g

D: close shot HP: oblique (right) VP: median

Phase 1, subphase h

D: very close shot HP: oblique (right) VP: low

Phase 2, subphase a

D: medium close shot HP: oblique (left) VP: low

Table 3.4: Transition and subphasal segmentation realization

In this core loneliness smokers (Table 3.3 “a” showed us that smokers are never depicted together) tend to be depicted in the combination of basically three activity fields (Table 3.5): smoking related activities such as buying cigarettes, lighting up (Material process in which they are the Actors), or smoking, sitting or standing, (Behavioural processes in which they are the Behaver), Verbal processes (in which they are the Sayers) regretting the fact that they are smoking or helplessly addicted. Smokers are also “used” in Relational processes as Carriers, and in some cases as guinea pigs (shown literally or metaphorically) to which smoking related health, social and beauty consequences are attributed.

Texts

Smokers depiction

Text 07: Car uncleâ&#x20AC;&#x2122;s: smoking related activities

Text 06: Breath test: social consequences of smoking.

Text 44: What if a boy: health consequences of smoking.

Text 45: What if a girl: beauty consequences of smoking.

Table 3.5: Smoker participants depiction

Texts

Non smoker

Smoker

Text 32: Recovery time

Text 04: Basketball

Table 3.6: Metafunctional realization: comparison between smokers and non smokers

Within the same advertisement, depicted smokers, specially when compared with depicted non-smokers, appear passive or uninvolved, (Table

3.6) and this general principle, influences other realizations at the interpersonal and structural level. In Interpersonal terms, smokers, and especially young smokers, are depicted using a Median camera angle, such that they are situated in a position where they can direct their gaze towards the viewer. This position could be used in order to establish a link of solidarity with the viewer, or intratextually to build up a relationship with another participant. Actually, and surprisingly, this is hardly ever done. It appears that a very common feature of young smokers depicted in the ATAC is their inability to face the viewer. A clear example is found in Table 3.4 where young smokers look at the interviewer who is not see. In this case viewers cannot experience or participate in the eventual exchange of gazes. Solidarity is therefore not sought and even when it is, it is not given. Because of the fact that smokers are often the Object on which an Agent i.e. smoking - is carrying out a destructive process, smokers are never portrayed as too appealing. Even when they are depicted as good-looking they soon either turn into something unhealthy and undesirable, or become isolated. Textual structure actually determines the organization of many variables. For example in advertisements selecting Confession (3906. 07 Mode: confession), where normally the smoker will normally and spontaneously (i.e. without the help of an interviewer) regrets being a smoker and being addicted, Direct gaze toward the viewer (3857. 07 Gaze: directed to the viewer) is normally allowed, together with what could be called a â&#x20AC;&#x153;solidarity gazeâ&#x20AC;? (Table 3.7).

Parameter

Brief Description

Parameter

Brief Description

Crawford memorial: phase 1 Morph: phase 1 07 Mode: Text 14 Crawford 07 Mode: Text 29 Morph: confession memorial: YES confession YES: 07 Gaze: directed Text 14 Crawford 07 Gaze: directed Text 29 Morph: to the viewer memorial: YES to the viewer YES: Janet Sackman: phase 1 Morph: phase 3 07 Mode: Text 21 Janet 07 Mode: Text 29 Morph: confession Sackman: YES: confession YES: 07 Gaze: directed Text 21 Janet 07 Gaze: directed Text 29 Morph: to the viewer Sackman: YES: to the viewer YES: Jeffs Mum: phase 1 Stealing: phase 1 07 Mode: Text 22 Jeffs Mum: 07 Mode: Text 38 Stealing: confession YES: confession YES: 07 Gaze: directed Text 22 Jeffs Mum: 07 Gaze: directed Text 38 Stealing: to the viewer YES: to the viewer YES: Jeffs Mum: phase 2 Still cant quit: phase 1 07 Mode: Text 22 Jeffs Mum: 07 Mode: Text 39 Still cant confession YES: confession quit: YES: 07 Gaze: directed Text 22 Jeffs Mum: 07 Gaze: directed Text 39 Still cant to the viewer YES: to the viewer quit: YES: Jeffs Mum: phase 3 Voicebox:helpline: phase 1 07 Mode: 07 Mode: Text 43 Voicebox: Text 22 Jeffs Mum: confession confession helpline: YES: 07 Gaze: directed 07 Gaze: directed Text 43 Voicebox: Text 22 Jeffs Mum: to the viewer to the viewer helpline: YES:

Table 3.7: MCA search parameters: “3906. 07 Mode: confession” and “3857. 07 Gaze: directed to the viewer”

In the case of Interview (3832. 07 Mode: interview) smokers direct their gaze towards the interviewer, who is never actually seen. Due to this limited view of the scene, the gaze of the interviewee seems lost or in search of a reference point. Smokers engaged in Dialogue (3830. 07 Mode: dialogue), normally with non-smokers, are never very successful. Either they initiate the dialogue but do not have any convincing Verbiage (Text 06: Breath Test), which is then managed by a non-smoker. Or alternatively the smokers are the Target of a dialogue to which they cannot respond to or are not able to participate (Text 46: X-ray goggles). As mentioned before, smoking participants normally lack any active participation, i.e. there is little physical action, with conspicuous smoking (Table 3.7) and a stable Camera distance. So to insert this kind of participant in the advertisement, there is the need of creating movement at the editing phase (3841. 06 Montage), inserting shot depicting smokers among other shots. Instead of making the smoker move, movement is

given with the editing, which also normally manage the smoker distance from the camera. This process is used to “free” the smoker, normally depicted

interviews

where

the

structure

has

little

change

metafunctional realizations (i.e. same Participants, same Processes, same Camera angle, same Colour saturation), and put it in a more dynamic sequences carrying anti-tobacco values. Thus turning the negative features of smoking into antismoking values. So the negative evaluation attributed to smoking is normally added at the editing phase and not during the video recording. This is further confirmed by the heavy presence of Voiceovers (3802. 01 Voiceover), true Sayers of the advertisements. It is found that these are completely absent in depiction of non-smokers or ex-smokers. Voiceovers can continue across visual cuts, when for example the smoker, or better the smoker’s body, is the Carrier of a Relational process (such as the cases in which we can see through the smoker’s body and observe the damages caused by smoking). In these example the Verbal process is left to the Voiceover. Parameter

Brief Description

Text 31 Older than dead: all phases 04 Smoker: mat. Text 31 Older than dead: proc. (buy YES: cigarettes/lights up) Barber: phase 1 04 Smoker: material TexT 03 Barber: YES: process other having his hair cut Bowl Cleaner: phase 1 Text 05 Bowl Cleaner: YES: 04 Smoker: material smoker sinks his head in the process other toilet bowl Car (uncles): phase 1 TEXT 07 Car (uncles): YES: 04 Smoker: material process other Cold: phase 1 04 Smoker: mat. proc. Text 11 Cold: YES: (buy cigarettes/lights smoker tries to light up up) a cigarette Lick: phase 1 04 Smoker: Text 24 Lick: YES: girl licks material process everything she finds on her other way Make it Harder: phase 1 04 Smoker: mat. proc. Text 25 Make it (buy cigarettes/lights up) harder: YES: Make it Harder: phase 2 04 Smoker: mat. proc. Text 25 Make it (buy cigarettes/lights up) harder: YES:

Parameter

Brief Description

Marker man: phase 1 04 Smoker: Text 26 Marker Man: YES: depicted in material daily activities, like getting a bath, process other having breakfast, cleaning the house Relaxed as can be: phase 1 04 Smoker: mat. proc. Text 33 Relaxed as can be: (buy cigarettes/lights up) YES: Sense of Taste: phase 1 04 Smoker: material Text 35 Sense of taste: process other YES: drinks expired milk Stamina: phase 1 04 Smoker: Text 37 Stamina: YES: playing material basketball, though he can hardly process other move and breathe Teeth: phase 1 Text 40 Teeth: YES: 04 Smoker: material smoker is having her teeth process other replaced Unthinkable: phase 1 Text 42 Unthinkable: YES: 04 Smoker: mat. proc. (buy cigarettes/lights up) What if a boy: phase 1 04 Smoker: mat. proc. Text 44 What if a boy: (buy cigarettes/lights up) YES: What if a girl: phase 1 04 Smoker: mat. proc. Text 45 What if a girl: YES: (buy cigarettes/lights up)

Table 3.8: MCA search parameters: “3853. 04 Smoker: mat. proc. (buy cigarettes/lights up)” and “3896. 04 Smoker: material process other”.

3.3.2 Ex-smokers Parameter

Brief Description

Christy Turlington: phase 1 02 Ex-smoker Text 09 Christy Turlington: YES: Cities: phase 1 02 Ex-smoker TEXT 10 Cities: YES: Crawford memorial: phase 1 02 Ex-smoker Text 14 Crawford memorial:YES: Doesnt kill: phase 1 02 Ex-smoker Text 16 Doesn't Kill: YES: Janet Sackman: phase 1 02 Ex-smoker Text 21 Janet Sackman: YES: Make it Harder: phase 1 02 Ex-smoker Text 25 Make it harder: YES: Monica: phase 1 02 Ex-smoker Text 28 Monica: YES: Thanking Customer: phase 1 02 Ex-smoker Text 41 Thanking customer: YES:

Table 3.9: MCA search parameter: “3781. 02 Ex-smoker”

Non-smokers and ex-smokers clearly benefit from the negative and passive metafunctional realizations identifying smokers. Interestingly ex-smoker participants are normally depicted with family members. Ex–smokers have normally lost something material (vocal cords, teeth etc), abstract (peace of mind) or somebody (family member); no depicted ex-smoker has survived the smoking experience without consequences. Declared Ex-smokers normally participate in Verbal or Mental processes considering past and present suffering, physical and affective, brought about by smoking. In doing this, they are Carriers of Attributes caused by smoking, whereas smokers are simply the Carriers, sometimes unconscious, of smoking Attributes, the Verbiage but not the Sayers Table 3.10. Interpersonally, in our ATAC, all ex-smokers come in black and white colour realization; low colour saturation prevents the over-dramatization of the physical injury caused by smoking. This allows the possibility of displacement, both temporally and locally, so that the family experience becomes a more objective experience to which everybody can relate.

Smoker, Text 43: What if a boy

Ex-smoker, Text 09: Christy Turlington

The Dialogue between the two teenagers is only a background noise, since it is the Voiceover the real Sayer. The Material process of lighting up is left to the Smoker.

One-sided dialogue, Ex-smoker (Sayer) directs the gaze to the viewer the Beneficiary, and talks of her personal experience (Verbiage). The Ex-smoker is also a Senser, and the memory of her father is the Phenomenon

Smoking is the Actor, the smoker is the unconscious Goal, and the body damage is the Process. The camera is too far away to see the gaze of the smoker.

The Ex-smoker describes her personal and family experience, looking back at her past, Mental process, she is the Senser, her story is the Phenomena and she clearly addresses the viewer the Beneficiary.

Slogan and website are superimposed on the smokerâ&#x20AC;&#x2122;s body, highlighting again the passive role of the smoker. Smoker directs his gaze to the floor or to his body, so the superimposed text is the only feature truly addressing the viewer, using interpersonally highly contrasting colours and fonts style .

The viewer is left with an emotional direct gaze (the participant is about to start crying), and a phone number . This is certainly a different interpersonal realization in terms of font size and style.

Table 3.10: Experiential realization, comparison between Smoker and Exsmoker

Unlike smokers, ex-smokers always direct their Gaze to the viewers 3857. (07 Gaze: directed to the viewer) (Table 3.11), trying to establish a solidarity eye contact. This is normally achieved by the Close shot (07 Shot proximity: CS (Close shot)) and the Central camera angle (3868. Camera angle: central) provided by the camera.. Text 13: Courtney, smoker, interview.

Text 09: Christy Turlington, ex-smoker, one-sided dialogue.

Table 3.11: Smoker and ex-smoker: gaze comparison

Textually ex-smokers typically participate in a One-sided dialogue, (3831. 07 Mode: one-sided dialogue) sharing their personal experiences (3794. 02 Ex-smoker: ver. proc. sharing personal info (sharing personal experience)). Flashbacks (3863. Time manipulation: flashback), incursions in their past experiences,

are

commitment

very the

common

cause.

justify

Because

they

their bring

presence real

and

their

personal

experiences, their identity is also validated by the inclusion of specific names, age and other superimposed references (Table 3.12). Text 14: Crawford memorial.

Text 16: Doesn’t always kill.

Table 3.12: Ex-smokers: use of superimposed text

3.3.3 Non-smokers Parameter

Brief Description

Aanron: phase 1 03 Non-smoker Text 01 Aanron: YES: Attractiveness: phase 1 03 Non-smoker Text 02 Attractiveness YES: Basketball: phase 1 Text 04 Basketball: YES 03 Non-smoker

Parameter

Brief Description

Morph: phase 3 03 Non-smoker Text 29 Morph: YES: Mosh pit: phase 1 03 Non-smoker Text 30 Mosh pit: YES: Recovery Time: phase 1 Text 32 Recovery Times: 03 Non-smoker YES: Bowl Cleaner: phase 1 Runner: phase 1 03 Non-smoker Text 05 Bowl Cleaner: YES: young 03 man Non-smoker Text 34 Runner: YES: Breath Test: phase 1 Sense of Taste: phase 1 03 Non-smoker TEXT 06 Breath Test: YES: 03 Non-smoker Text 35 Sense of taste: YES: Dinner Lung: phase 1 Stamina: phase 1 03 Non-smoker Text 15 Dinner Lung: YES: 03 Non-smoker Text 37 Stamina: YES: Doesnt kill: phase 1 Thanking Customer: phase 1 Text 16 Doesn't Kill: YES: 03 NonText 41 Thanking customer: 03 Non-smoker smoker YES: Glowing Rat: phase 1 What if a boy: phase 1 03 Non-smoker Text 18 Glowing rat: YES: 03 Non-smoker Text 44 What if a boy: YES: Jeffs Mum: phase 2 What if a girl: phase 1 03 Non-smoker Text 22 Jeffs Mum: YES: 03 Non-smoker Text 45 What if a girl: YES: Jeffs Mum: phase 3 X-ray goggles: phase 1 03 Non-smoker Text 22 Jeffs Mum: 03 Non-smoker Text 46 X-ray goggles: YES: Mohamed: phase 1 Yellow smile: phase 1 03 Non-smoker Text 27 Mohamed: YES: 03 Non-smoker Text 47 Yellow smile: YES: Monica: phase 1 03 Non-smoker Text 28 Monica: YES:

Table 3.13: MCA search parameters: “3780. 03 Non-smoker”

Non-smokers are the Actors, the Sayers, the Sensers, they are normally good looking, partly representing the typical stereotype normally associated to

smoking.

This

includes

the

perceived

qualities

coolness,

glamour/beauty, independence/selfdetermination, and social acceptability. Unlike smokers and ex-smokers, during the Verbal and Mental processes they share non-personal information, such as revealing the content of secret tobacco documents, or by talking about the smoking experiences of somebody else. They also act as Voiceover accompanying images depicting

smokers. When they engage in Material processes (3788. 03 Non-smoker: material process) or in other processes not related to smoking they are typically depicted in a successful position specially at the expense of smokers (Table. 3.14).

Text 37: Stamina

Text 34: Runner

A smoker running

A non-smoker running

Table. 3.14: Smokers and non-smokers: material process

It is interesting to note that the choice among the selection of processes is culturally and socioculturally driven, and carries evaluative meaning in itself. In a culture, that evaluates as desirable and positive processes such as playing sport or socializing, non-smokers are depicted as

successful

Actors or Sensers engaged in these processes. Whereas smokers are left with socioculturally undesirable and negatively evaluated processes such as not being able to move or being unable to socialise. Direct gaze, reaching the viewer and sometimes a daring attitude distinguish non-smokers Interpersonally from the other Participants. The dynamic effect is achieved through the use of fast Camera angle and Camera

distance

movements,

marked

typical

Sensory

coding

orientation and full Representation (Kress and Van Leeuwen, 1996). In terms of Visual salience, it is often the case that the non-smoker depicted in full detail while the smoker is shown in a blurred manner (Text: 37 Stamina). Through the use of irony and sarcasm non-smokers (Voiceovers included) are able to ridicule smokers. This is achieved through the association

images

and

ideas

the

editing

phase

(Text

02:

Attractiveness) and through the use of unpredictable associations (Text 40: Teeth). Sound events also contribute to these effects, such as the sound of bells ringing to alert the smoker of a “new” invention called the telephone, (Text 02: Attractiveness). Interpersonally the representation of irony and sarcasm is marked either by a Sensory coding orientation by using colours which are so rich that become ridiculous (Text 40: Teeth), or by using a black and white saturation, reaching the effect of being comical (Text 02: Attractiveness). It is interesting to note that in these cases the ironic or sarcastic evaluation is first left to the viewer during the depiction of the smoker and then proposed by the Voiceover or Superimposed text. Text 40: Teeth. Voiceover: “You wouldn't want their teeth, why would you want their lungs”.

Text 02: Attractiveness Non-smoker: “And five, nix the smoking. That yellow teeth, cigarette stench thing, it's not working.” Table 3. 15: Irony: metafunctional realization

3.3.4 Tobacco companies

Parameter

Brief Description

Cattle: phase 1 05 Tobacco companies

TEXT 08 Cattle: YES: tobacco companies depicted like cowboys herding children

Conscience: phase 1 TEXT 12 Conscience: YES: depicted as a restless assembly line Thanking Customer: phase 1 Text 41 Thanking customer: YES: tobacco company 05 Tobacco companies representatives visiting ex costumer, they bring flowers and are now looking for new customers, 05 Tobacco companies

Table 3.16: MCA search parameter: “3782. 05 Tobacco companies”

Tobacco companies are depicted only three times in our corpus and in three very different ways (Table 3.16). In the first case, a tobacco company is associated with the typical stereotype of the cowboy riding a horse but herding

children

instead

cattle.

The

second

depicts

tobacco

manufacturers as an assembly line producing cigarettes to sell to children, and lastly as “innocent” business representatives who go to visit and thank an old dying customer, whereas they are actually looking for new ones. It is worth noting that in two of the advertisements depicting tobacco companies a Low camera angle (3869. 07 Camera angle: from below) is used. This style hardly ever used in the rest of the corpus, allows tobacco companies to look down on both old and potential smokers, highlighting their power (Table 3.18). It is also interesting to see that in advertisements depicting tobacco companies the last word is saved for the Voiceover which clearly

contextualises

and

interprets

what

going

on,

giving

unmistakable final perspective (Text 08: Cattle)

(Text 08: Cattle) Table 3.17: Tobacco company Parameter

Brief Description

Cattle: phase 1 07 Camera TEXT 08 Cattle: YES: children are chased by cowboys, the angle: from camera angle is from below making the horses and the below cowboys look even bigger. Thanking Customer: phase 1 07 Camera Text 41 Thanking customer: YES: tobacco company angle: from representative below

Table 3.18: MCA search parameter: “3869. 07 Camera angle: from below”

3.3.5 Potential patterns Given the limited number of advertisements present in our corpus it is difficult to find constant patterns as this could be misleading in terms of representativeness. Testing our Grammar (Table. 3.1) on our corpus, trying different combinations in the “search box” in MCA, has brought to light a very clear phenomenon. Considering our grammar (Table 3.1) as a range of potential meaning-making resources available, MCA “search” results show that compared to smokers and even more to ex-smokers, non-smokers have access to a much broader grammar potential among the selection of metafunctional realizations, producing a wide variety of combinations. This means for example that non-smokers and smokers can be depicted using different Colour saturation whereas ex-smokers are depicted only in black and white, or that in terms of processes ex-smokers can select only Verbal or Relational processes whereas non-smokers and smokers can rely on a broader selection though not in the same interpersonal terms. To exemplify some of the restrictions linked to certain participants in terms of the metafunctional realizations selection used: ex-smokers, normally grown ups or retired people, are “limited” to Relational or Verbal processes with very strict Interpersonal selections in terms of Camera angle perspective (usually frontal) and Colour saturation (typically black and white). This is also seen within the Textual structure which includes techniques such as the insertion of old personal pictures to produce a Flashback, or a general slow-motion effect created at the editing stage. This is further enhanced by a degree of continuity in metafunctional realization terms and the use of fade-in fade-out effects among shots. As we have already seen at the beginning of this chapter, (when we considered as starting point for our multimodal analysis the selection of four main participants) the participant’s position towards smoking (smoker, exsmoker, non-smoker or tobacco company) is a good predictor of specific metafunctional realization co-selection. Every parameter or combination thereof can be a potential predictor of a specific co-selection, producing a more or less representative pattern. An example comes from Mode (3829. 07 Mode) which has proven to co-select quite a strict selection range of

multimodal realizations, especially in the realization seen in Confession (3906. 07 Mode: confession) and Interview (3832. 07 Mode: interview). This allows the prediction of the co-selection of very specific realizations, therefore creating a potential pattern. Confession In the ATAC Confession (an interview-like situation, but with no need for the interviewer or for his/her questions) can select only one Participant, an ex-smoker or smoker, wishing he/she could quit. The Camera angle is frontal and the perspective is central, and the Gaze directed to the viewer. For both ex-smoker and smokers, but only above a certain age, the Colour saturation is black and white or very low, whereas for younger smokers, who are not able to quit, colour saturation is in full colour. The Voiceover is never selected and Flashback is often selected (since the confession normally concerns a past experience). Interview Interview selects again one single participant, a smoker, who is firmly or not so firmly wishing that he/she could quit. Normally a Central camera angle with an oblique perspective is selected, with the gaze directed to the interviewer, who is never depicted, and not to the viewer. The Camera distance ranges between a Medium close shot and a Close shot. In terms of Colour saturation, Interview is not shown in pure black and white but rather a full colour realization using black and white shots at the transition point. In addition to the metafunctional realizations and their co-selection arranged by participant, analysed so far, there are some realizations working across this distinction. These include the Information structure and the Logical metafunction.

3.3.6 Information structure Thibault’s observations (2000: 330) on the Given and New organization in visual dynamic texts, using Progressive salience, (as opposed to the leftright organization for still visual images suggested by Kress and Van Leeuwen (1996)), perfectly fits the way in which salience is given to New information items in the ATAC. In phases that, in general, feature fast movements in terms of Camera distance at either the video recording or at the editing stage, (with smokers or non-smokers) the subphase dedicated to the non-smoking message culminates in a Close shot or a Very close shot. An example of this technique can be seen in Text 02: Attractiveness. Throughout this advertisement the participant is depicted at distances between a Close shot and a Medium long shot. However before introducing the participant’s advice on smoking she is depicted with a Very long shot, hence making her next two shots even more salient (Text 02: Attractiveness).

(Text 02: Attractiveness)

(Text 44: What if a boy)

Table 3.19: Progressive salience

In phases where Camera distance is stable and quite close, Salience is given using hyper-realistic effects such as the “zoom in” inside of the body of the smoker or ex-smoker (Text 44: What if a boy). In shots where Camera distance is fixed and hyper-realistic creations are not possible,

colour defines salience. This is seen in the following example (Text 39: Still can’t quit) where first we have as New the human participant and then his figure blurs out and the radiograph of his chest becomes the New information.

(Text 39: Still can’t quit)

Table 3.20: Given and New realization

The Given and New structure is also used to create suspense (Text 11: Cold) and “false” expectations (Text 40: Teeth), by postponing the New information item to the very last phase.

Text 11: Cold. The cold environment depicted is described by the Voiceover, on the background we hear an unidentifiable noise, only in the very last shot do we understand that the noise is coming from the lighter, which is not working due to the extreme climate.

Text 40: Teeth. Against common sense, this girl goes to the dentist to have her healthy and white teeth removed and replaced by an old and dirty denture, only in the last shot do we understand the sarcasm behind the advertisement. Table 3.21: Postponing the New realization

3.3.7 Logical metafunction The relation of interdependency between shots in the ATAC follows Thibault’s (2000) classification in terms of “temporal and logical (causal, etc.)

sequence,

continuity

and

discontinuity,

subordination

and

superordination” (Thibault, 2000: 331). The semiotic resources deployed to create these relations in our corpus are: Fade-in Fade-out effects, Visual cuts, or cases in which a voice or a sound continues over a change in shot. Fade-in and Fade-out effects strongly connect participants, especially relatives, often allowing for an ambiguous overlapping of participant identities. This is seen in advertisements such as Text 13: Courtney. The purple haired girl, who is a smoker, talks about her aunt, who died of a smoking-related disease. This happens while the shots fades from her face to an old woman face, verbally predicting and visually projecting her potential death. Visual cuts on the other hand contribute to the boundary definition between shots and participants. In some cases between different interpersonal or textual realization such as in the advertisement Text 02: Attractiveness. In this example Visual cuts allow for the separation between the world of “reality” and “imagination”. This simultaneously creates a time separation between the “present” of the girl and the past of the black and white shot. In Table 3.4 Visual cuts separates one smoker from the other, suggesting the individual choice of smoking, without creating a social connection between the smokers depicted. Sound events (3845. 06 Sound Events) give continuity to the shots’ sequencing. In the first example (Text 13: Courtney) the voice of the purple haired girl and the background noise from the street can be heard even though visually she is no longer depicted and the shot has moved to a black and white transition shot. In the second example (Text 02: Attractiveness) a melody of bells ringing starts before the transition shot in black and white (depicting dancing telephones) and finishes after the visual transition shot. In the last example (Text 25: Make it harder) the heavy breathing of the man lying in bed with a respiratory device can be heard during the

superimposed text- The heavy breathing is synchronised with the fade-in fade-out effect of the text’s parts.

(Text 13: Courtney)

(Text 02: Attractiveness)

Make it Harder to… Start] (Text 25: Make it harder)

[Shouldn’t…we

Table 3.22: Continuity realization through sound events

A very interesting logical metafunctional realization is given by a specific kind of Superimposed text. This does not concern Slogans, Logos or similar realizations, but rather “facts” inserted into very specific points in the phase. Under the language-only perspective these “facts” are Assertive declarative

clauses,

though

have

also

our

unique

example

Exclamative clause (see Chapter 4.3.3). This text’s insertions are used to give quantitative figures or estimates related to smoking. Unlike Logos or Slogans, which tend to be salient in their metafunctional realization and can be both written and spoken, this kind of Superimposed text is never read, and its representation is usually “in tune” with the visual realization of the whole advertisement. This kind of Superimposed text comes either as Fadein on the background already available (Text 03: Barber) or as a clear Visual cut in various combinations of black and white (Text 38: Stealing). The meaning behind this multimodal realization probably lays in the embedded value of these texts. These “facts” are probably to be “processed” as unquestionable figures and assertions, they are there to complete the information but at a lower rank level. No Participant is

formally responsible for it, though through their superimposition, specially in the black and white realization, they certainly have a strong interpersonal meaning.

They

are

non-diegetic

and

participants

not

seem

acknowledge their presence to the point that they overlap with on-going assertions (Text 38: Stealing) or with the music background (Text 03: Barber). Text 03: Barber

Voiceover: You wouldn't want their haircut. Why would you want their lungs? Text 38: Stealing

A:…Sometimes we would even steal money... ..from our parents and go stand at the store "

Superimposed fact: (Fadein)“18-year-old smokers have 50 year-old lungs”

Superimposed fact: (Fadein) “75% of kids who smoke have parents that smoke” and look for people [who looked like they smoked] [to buy us cigarettes.]

Slogan (oral and written): Question it Questionit.com

Now I have spots on my lungs…,

Table 3.23: Embedded Superimposed texts

3.3.8 Corpus Intratextual features Some features are found not only at the advertisement level but also intratextually at the corpus level. Among these features we find the use of Stereotypes, the employment of Sound, the use of Cohesive ties and Cohesion. Because these features work both within the phase and above it, they help to create cohesion among the advertisements while also serving to define the subgenre that this corpus represents.

3.3.8.1 Stereotypes and unexpected associations Advertising uses and produces stereotypes, one of the goals of antismoking advertising is that of subverting the values normally associated to smoking such as coolness, independence and glamour, by proposing and creating a new and appealing tobacco-free role model. This is achieved mainly through two systems: one depicting smokers and smoking as unpleasant, unhealthy and fundamentally stupid and another depicting non-smokers as selfdetermined, successful and good-looking. To do this, some stereotypes present in our ATAC have been partly manipulated in their multimodal realizations.

Winston Cigarettes advertisement: http://tobaccofreekids.org/adgallery/display.php3?ID=275

Table 3.24: Comparison between the multimodal realizations of smokers and non-smokers in the ATAC, and those of a smoker in a cigarette advertisement

The tobacco advertisement (Winston cigarettes) in the middle allows us to make a comparison between the smokers on the left and the smoker in the tobacco advertisement. Of particular interest is the smoker realization and the realization of her gaze, which further confirms Baldry and Thibault’s assertion (2005:167) that “any given modality (e.g. gaze) can be described in metafunctional terms”. In Interpersonal terms the tobacco advertisement glamorously presents a beautiful woman, casually dressed, though not too casually, with her sunglasses holding her hair, sitting at a table in a social/socializing circumstance. Interpersonally her gaze is directed towards the viewer (possibly engaging with the interlocutor), a gaze that also determines the Experiential process in which she is involved; she is not only smoking (Behavioural process), but also flirting (Mental process), or at least attempting to, with the viewer, honouring us with her attention (girl’s Visual salience

and

blurred

background).

This

Experiential

realizations

highlighted by the confidential tone of the Textual realization accompanying the picture “Yeah, I have a tattoo. And no, you can’t see it” (Table 3.24) possibly representing the girl’s Mental projection. The flirting gaze and position puts the smoker in a power position, in which she is deciding what Interpersonal and Experiential realizations she is going to allow to the viewer. In this give-and-take process, she skips the “normal” first approach between people (with introductory questions and answers), giving away an

intimate “confession” and then restricting this intimacy with the ending clause “And no, you can’t see it”, highlighting that she is the true Actor or Senser, whereas the viewer can only “aspire” to the role of Beneficiary. Interpersonally we have a Sensory colour realization with an intense red colour framing the participant and conflating with the red colour of the Winston logo. Interestingly enough, mone of the metafunctional realizations selected by the

tobacco

are

co-selected

the

anti-tobacco

advertisements and this applies both to smokers and non-smokers. In the antismoking advertisement the smoker stereotype has been turned upside down, so that smokers are not only incapable of flirting with their gaze, but can hardly face eye contact with the viewer. Smokers are depicted as too “normal” to be representative of any stereotype. They might still have one shade of the smoker stereotype such as the “rebelliousness” given by the purple haired girl, but on the whole, an extremely pale purple haired girl with a cream colour coat dotted with black dots and a hesitant voice can hardly be considered desirable. In contrast, non-smokers can look straight into the camera, and talk straight to the viewer (Verbal process) without having to flirt. They can speak up, they do not need the kind of “thought balloon” required by the girl in the tobacco advertisement. In Interpersonal terms non-smokers do not need to be too fashionable or glamorous, preferring instead a cool and easy-going style. This is reflected in the selection of Colour saturation, which is quite close to the tobacco advertisement one, though in my opinion still far away from the overall tobacco result. This realization is probably deliberate, since there is an attempt to completely subvert the stereotypical and sociocultural concept of beauty and pleasure. In consideration of the young age of the target audience, anti-tobacco advertisements do support general stereotypes and sociocultural constructs. This is especially true in terms of gender and ethnicity, so that female teenagers are supposedly more concerned with the beauty consequences of smoking, and male teenagers with the fact that smoking reduces their physical strength. Afro-American non-smokers are depicted as successful

basketball players and Caucasians are depicted while riding a skateboard or snowboard. The more or less conscious presence of western sociocultural constructs allows anti-tobacco advertisements to surprise and puzzle the audience with counterfactual or counter-expected processes and circumstances. This is the case of Text 03: Barber where a young man, supposedly a smoker, with wild hair is intentionally having a “comb-over” haircut (note that the smoker is not the Actor but rather the Beneficiary), so that at the end the voiceover evaluates the process as non-sense.

(Text 03: Barber) Table 3.25: Counter-expected realization

Another instance of stereotype manipulation in its metafunctional realization, is given in the following example (Text 08: Cattle), where the Marlboro stereotype is manipulated producing an anti-tobacco message. All the “good” values associated to the Marlboro Man and to the Marlboro Country in terms of genuine freedom, and male physical power are subverted into heartless men imprisoning innocent children. By changing the Goal of the cowboys’ pursuit from cattle to children while maintaining all other metafunctional realizations in terms of Circumstance (far west), Participant identity (cowboys), Voiceover (male mature voice), Music (western movie music), the advertisement has been able to manipulate and subvert a stereotype, associating it to a final antismoking slogan using the typical Marlboro-style font.

(Text 08: Cattle) Table 3.26: Stereotype manipulation

3.3.8.2 Cohesion One of my first assertions about the ATAC regarded the idea of continuity and compactness, along with the absence of sudden changes within the phasal

transition,

experienced

during

first

observation

these

advertisements. This unity is achieved through the deployment of semiotic resources “linking one part of a text to the other” (Halliday, 1989:48), creating cohesion. This idea of continuity and compactness is achieved multimodally mainly through the repetition and interlocking of certain features throughout the phase. In this respect, the most relevant of these features are: Colour realization, Kinesic action and shapes, and the repetition of some combinations thereof. An interesting example can be found in Table 3.27. Text 02: Attractiveness Phase 1

Visual Frame Description 1

A: Okay.

The girl’s jumper and the wall are of the same shade of blue and the girl’s skin colour is very similar to that of the armchair, and this is found throughout the advertisement. Gaze directed to the viewer. The girls arms are crossed forming even a larger V or a

Here's things

five

larger cross when combined with the V neck of her jumper. Colours are maintained, the arms are about to be open forming three oblique and parallel lines between the arms, the V neck and the face of the girl.

3 The girl about to talk pulls her hair apart, breaking the parallelism created, and moving her arms simultaneously.

[all guys should know.] phase 1 4

One, 5

don't change into something different 6

when around

The girls is perfectly in the centre of the shot, vertically with half of her body covering the ceiling and half the wall, and horizontally with the handle and the chain of the megaphone dividing the shot in two equal spaces. The megaphone covers the girlâ&#x20AC;&#x2122;s face completely, reproducing the same roundness of the V neck. We are clearly in the presence of a verbal process. The girl is depicted with her arms and legs crossed as for â&#x20AC;&#x153;rejectionâ&#x20AC;?, forming a very compact shape. Audio: braying donkey (anticipating the shot depicting the donkey) Audio: braying donkey (anticipating the shot depicting the donkey), and girl actually going around the room.

we're

7 The word friends coincides with the depiction of the braying dog. Black and white cartoon. Use of metaphor for: “not clever”. your friends. phase 1 8

Two, 9

ring doorbell

The girl’s jumper and the wall are of the same shade of blue and the girl skin colour is very similar to that of the armchair Gaze directed to the viewer. Symbolism: the girl uses her two fingers to indicate two. Sound of the doorbell ringing and depiction of a symbolic drawing with a doorbell being rang.

the 1 0 Sound of the horn, beeped at a high speed. Gaze directed to the viewer.

don't beep the horn. phase 1 1 1

The girl’s face looks towards the viewer but we ca hardly see her gaze. The shape of the armchair is reproduced by the body line of the girl with her legs crossed. The armchair and the girls are in the same perspective line.

Three,

1 The girl armchair.

hold onions!

the

the 3

phase

stands

1 Wheezing dog. Black and white, very close shot of a dog. Metaphorical for “bad breath”.

1 4

Gaze directed to the viewer. There is a vectorial line suggesting an oblique perspective.

Music, imaginative depiction of a woman from the 60s surrounded by a circle of telephone moving around her, black and white. Symbolic for “invention”.

Four, there's an invention called the telephone 5

use it. phase

Looks up at the viewer

Girl is depicted at a very long shot distance with colour blurred in a combination of blue and pink, when she is about to give her most important advice.

And five, 8

nix smoking.

Legs half crossed,

the 9

That teeth,

1 and arms crossed, with her face suggesting â&#x20AC;&#x153;disgustâ&#x20AC;?.

yellow 0

cigarette stench thing, it's not working.

Depiction of a black and white comic movie scene where the smoker is full of ash and smoke, with not a very smart look in his face and a lot of smoke. And comic music accompanying it.

Legs are crossed back closing, her last advice and the list of advice she has given, in a posture very similar, though farther away, to the one opening the list.

Very close shot, gazing at the viewer in a suspicious way. Oldfashioned music starts.

phase 1 2

<Are> You guys getting this?

2 3

Old-fashioned music gets louder then goes down. Black and white slogan using an old fashioned font, covered up by moving black and white smoke.

Table. 3.27: Cohesion: multimodal resources.

The example given in Table 3.27 is representative of many features of the advertisements in the ATAC, creating cohesion multimodally. In this advertisement we have an example of what Hasan (1989: 84) calls “cohesive chains” creating chain interaction between two chains: one in full colour (Chain A) and the other in black and white colour realization (Chain B). Chain A is realized Interpersonally by the same colour saturation (mainly two colours), a Moving camera distance (3898. 07 Shot proximity: moving), from very long shots to very close shots, and a repeated Direct gaze. Chain cohesion is achieved Experientially by co-referring to one single Participant (the girl with the blue sweater) engaged in one single process (Verbal) in one single local Circumstance (the room with the blue wall), and logically by having the shots connected by Visual cuts. Chain B finds its unity both in its metafunctional realization and in its exophoric reference. All participants in the shots of Chain B seem to belong to the realm of television or animated pictures (co-classification), hence to a genre that is retrievable intertextually and is completely different from that of antismoking advertising. Chain B also supplies some metaphors, carrying evaluative meaning to support the girl’s assertions. For example, a braying donkey is used to signify “not smart” and a wheezing dog represents “bad breath”. Chain B elements are also linked by a temporal manipulation, with its participants taken from the past (belonging to old movies or old cartoons), black and white Colour saturation and sound events related to the past (melody of ringing bells and music from an old comic movie). The relationship between these two chains seems to be one of Mental

projection: the girl’s thoughts in Chain A (visual frames 1 to 6, 8, 10 to 12, 14, 16 to 19, 21 and 22) are metaphorically and mentally projected in Chain B (Visual frames 7, 9, 13, 15, 20) apart from the last subphase in which there is a Verbal projection (Visual frame 23). The Subphases constituting Chain B support that which is said in the subphase preceding them (therefore belonging to chain A). The connection between the Visual cuts, effectively interlocking points between Chain A and Chain B, is realized at the audio level. Sound events connect the two chains by starting before the interlocking point of the two chains and continuing after the transition point (the connecting sound event starts at the end of the full colour shot, continues during the black and white transition shot, and ends after the beginning of the following full colour shot). Chain B collects all transition points, signalling the passage to the next subphase, - to the next advice. This

transition

realized

Logically

through

clear

Visual

cut,

Interpersonally through a switch in Colour saturation, Coding orientation and Camera distance, and Experientially through a temporal switch of the participant engaged in different processes and in different circumstances. As can be seen in Table 3.27, cohesion is also achieved and maintained through the systematic selection and co-employment of similar semiotic realization. Experientially this includes, for Chain A the same process (Verbal) and the same Participant (the girl with the blue sweater) and Interpersonally by the Colour selection. In our example the colour of the girl’s jumper is very similar to that of the wall of the room, and the skin colour of the girl is very similar to the colour of the armchair. The Armchair and the girl are often depicted following the same Oblique perspective line, and the girl’s body line when sitting on the floor reproduces the armchair profile. Kinesic action, especially Gestural movement, creates cohesion associating certain body movements to specific meanings within the sequencing of the shot. In this respect, in Text 02: Attractiveness it is interesting to note that the One-sided dialogue begins and evolves with the arms movement from closed (Visual frame 1) to open (Visual frame 2) and then to the movement of pushing the hair apart (Visual frame 3). This “gestural emblem with the culturally fixed meaning of starting or getting on

with the task to hand” is also found by Baldry and Thibault (2005: 103) in the more common and masculine realization of “pushing the sleeves up”, signalling in our corpus the beginning of the girl’s advice list. Gestural movements carry as well evaluative meanings such as in Visual frame 18, where the girl crosses back her arms (with a sense of rejection) and is depicted with a face showing disgust. The alternating movement of crossing and opening upper or lower limbs also realize cohesion in the shot sequencing. Body movement forms as well a circular pattern within the advertisement. This “circular line” begins by depicting the girl in a standing position while she slowly open her arms, hence associating the opening of the arms with the intention of opening a dialogue. The line closes finding its starting point, with the girl all huddled up in the armchair at the end of the advertisement, joining back her arms and legs together in a cross and effectively closing the dialogue. The realizations emerged from Text 02: Attractiveness are found quite regularly throughout the corpus, suggesting that the initial idea of “compactness” is achieved with very little change in terms of participants, and processes. Throughout the corpus there is very little or no change in the local and temporal circumstances with constant interpersonal realization in terms of Colours, Camera angle, Camera distance, Gaze, and Textually achieved through very compact Editing structures. Even in the case of Cohesive chains as shown in Table 3.27, these are very compact throughout the advertisement, being assembled in a very regular pattern. As far as common multimodal resources deployed in the ATAC, in Table. 3.28 we can see some metafunctional realizations found regularly in the corpus:

Depiction of a cigarette burning. Interpersonally: very close shot and loud burning sound associated to it. Textually: this shot is used in the editing, as transition point from one phase/subphase to the other. Depiction of a smoker lighting up. Interpersonally: when lighting up smoker never gazes at the viewer, he/she is either on the side, depicting his/her profile, or there is a very close shot depicting mouth, cigarette and lighter. Depiction of smoke. Smoke is much whiter, thicker and comes out slower than expected, causing smoke to get in the eye line of the viewer and the participant, obstructing visibility. Depiction of a smoker followed by the depiction of a person laying in bed in respiratory distress. Logical metafunction of cause and consequence, or also time manipulation depicting past and present or present and feature accordingly.

Depiction of the lever of the cigarette vending machine being pulled, followed or anticipated by a smoker or smoking related activity. Often used with two related metaphorical meanings: one to indicate the beginning of smoking and another to symbolize the easiness of getting cigarettes; it is as easy as getting candies.

Depiction of body parts. Hyper-realistic depiction of body parts, with Sensory colour orientation, in strong contrast for example with the low saturation (normally black and white) colour of depicted real injuries caused by smoking. Table 3.28: Sample of recurrent multimodal realizations.

The co-deployment of these semiotic resources realize a number of very similar metafunctional combinations. For example, when the burning cigarette is depicted at a very close shot, the sound of fire burning is amplified, sounding more like a forest fire. With respect to the sound, it is interesting to note that the sound accompanying the lever of the cigarette vending machine being pulled is amplified to be very loud and profound. This sound accompanies many transition points at the phase and subphase level across the corpus even when there is no vending machine depicted. The same sound is also associated to the x-ray machine, used to examine the status of smokersâ&#x20AC;&#x2122; chest, accompanying each shot depicting a radiograph (Text 39: Still canâ&#x20AC;&#x2122;t quit) and always carrying a negative evaluation related to smoking. The movement of the hand pulling the lever is also found when the lever of the x-ray machine is being pulled out. So there are also some parallels in the movement between the lever being pulled by the young person when he or she starts smoking and the lever being pulled by a doctor when examining the effect of smoking on the chest of a young smoker. This association is also found in the audio realization; in Table 3.29 we find two very similar audiograms (generated using Acrobat Premiere) depicting the sound realization of the two movements of pulling the lever (the one of the cigarette vending machine and the one of the x-ray machine). These audio events, which have very similar patterns, are found

in Text 39: Still canâ&#x20AC;&#x2122;t quit at every shot depicting a radiograph, and we find that same audio pattern as when the lever of the cigarette machine is being pulled in different advertisements in the corpus. Text 39: Still canâ&#x20AC;&#x2122;t quit. Audiogram while the lever of the x-ray machine is being pulled

Text 42: Unthinkable Audiogram of the lever of the cigarette machine being pulled.

Table 3.29: Audiogram comparison

Another interesting audio event used in different advertisements is the beeping of the EKG monitor (electrocardiogram machine), recognized intertextually by slow and regular beeps. This sound can be associated both to the depiction of a person connected to a respiratory device in a hospital room, and to the sound of the vending machine after that the packet of cigarettes has been dispensed. In Text 42: Unthinkable the beep starts with the depiction of a person in respiratory distress, continues louder and more

insistent during the depiction of a child buying a packet of cigarettes, becoming a continuous beep (intertextually recognized as death) when the child gets the packet of cigarettes and walks away turning her back to the cigarette vending machine. Parameter

Brief Description

Jeffs Mum: phase 2 06 Sound event: other

Text 22 Jeffs Mum: YES: each radiograph shot is characterized by a loud sound, sound of the x-ray machine and final beep recalling the EKG machine

Make it Harder: phase 1

06 Sound event: other

Text 25 Make it harder: YES: sound of the lever of the cigarette vending machine, of the packet being opened followed by the beeping of some medical devices and the heavy breathing coming from the people using the respiratory device. Sounds are in a very fast sequence almost overlapping

Make it Harder: phase 2 06 Sound event: other

Text 25 Make it harder: YES: during the superimposed text there is the sound of heavy breathing anticipating the shot with the person in respiratory distress. The final subphase is signalled by the sound of the lever being pulled followed by a continuous EKG beep (death)

Recovery Time: phase 1 06 Sound event: other

Text 32 Recovery Times: YES: every radiograph is followed by a sound reproducing the sound of a computer keyboard typing the diagnosis of the injury, and the smoker's radiograph is also followed by a beeping sound similar to the EKG's beep.

Table 3.30: MCA search parameter: “3845. 06 Sound Events” contains “beep”

Chapter4: language-only analysis

4.1 Introduction The second part of our multimodal corpus study consists of the analysis of the antismoking advertisements taken from the language-only perspective. Taking as starting point the phasal analysis described in Chapter 2.4, I carried out a Text transcription of the ATAC in order to find out the language-only realizations to analyse. According to Halliday (1989: 10) [Text] is a process in the sense of a continuous process of semantic choice, a movement through the network of meaning potential, with each set of choices constituting the environment for a further set. Halliday’s statement already seems to relate to multimodality and its metafunctional realizations, highlighting the difficulties of separating one semiotic resource, which is the realization of a semantic choice, from the other. Hence incursions from one perspective into the other will occur, as it happened in the multimodal perspective analysed in Chapter 3. This will be done with the aim of finding out significant patterns or occurrences in the selection of language-only realizations among our advertisements.

4.2 Text transcription Halliday’s (1989: 10) definition of text is very broad; what needs to be done in order to start our analysis from the language-only perspective, is to clearly define what to include as “text”, conscious of the fact that any minimal instance of text brings meaning to the text itself. Text transcription implies not only the transcription of the literal spoken or printed text but also the transliteration of additional elements, such as

logos, sounds, ellipsis etc, which are part of the meaning-making process and that we need to decide whether or not to include in our analysis. To define the features of the texts in the ATAC, Turrisendo’s (2004: 53) text realisation system for drinks advertisements was used as a starting point. Within written language this classification includes: 

superimposed scripts with standard and non standard fonts;



logos i.e. the product’s name (typically the campaign name) and sometimes slogan, associated to an unequivocal style and design, often copyrighted;



objects that are treated as if they were text, (quite a rare phenomenon in the ATAC).

Within oral language the distinction, not always perfectly clear-cut, is between diegetic

“any sound presented as originated from a source within

the film's world” and non-diegetic16 “sound represented as coming from a source outside story space”; this distinction leads to: 

diegetic voices, the speech of portrayed participants;



non-diegetic voiceovers, the speech of non-portrayed participants.

A special note needs to be made about sound events of the ATAC. In this part of the analysis dealing with the language-only perspective, sound events have been left out. Finding a method for analysing sound events from the language-only perspective has proven to be a very hard task, needing a single thesis for itself. On the sheer language-only side, there is only one advertisement featuring an opera song with music and text, which is quite hard to understand and seems half in English and half in Italian, used more to highlight the idea of irony of the advertisement than to convey a message attributed to the language-only features. The rest of the sound events, soundtracks and audio effects in the corpus consist of either instrumental music, the reproduction of sounds, and noises or a mix of them with no language-only correspondence. The only sounds reported and described in the analysis are those which actually are the only non–visual resource of the phase, whose language15 16

http://www.filmsound.org/terminology/diegetic.htm http://www.filmsound.org/terminology/diegetic.htm#nondiegetic

only description would otherwise remain blank. So if for example we find in a phase a description such as “(lyrical music)” it means that the only nonvisual element in the phase is that music. Sound events (3845. 06 Sound Events) have been considered in the multimodal analysis (Chapter 3.8.2) especially

their

role

within

phase/subphase

Transition

and

phase/subphase Cohesion. Table 4.1 shows the different language realizations taken into consideration by our analysis and the notation adopted to describe and transcribe them, partly using Turrisendo’s (2004: 53-54) classification system. Form of language Written

Example

Superimposed script

Underlined text Smoking what’s like.

Logo

Plain text within brace {truth Lab tested.} Italics within double brace brackets, intended meaning + the kind of object involved: {{Smoking - Pack of cigarettes}} Double underlined text, targeting.

Object as text

Superimposed script overlaps with what the speakers says. Oral

Notation Convention

Diegetic speech

Non-diegetic voiceover

A: Oh, my. B: What? A: This newspaper...it says, "Cigarette smoke contains radioactive materials." B: C'mon Louise. You been eating rabbit pellets again? The tobacco industry needs your children. It's an economic imperative. One business cycle winds down, another picks up the slack. It's nothing personal. It's

Indented text introduced by capital letters in bold to signal a new speaker. Plain text.

Audio effects

Diegetic

(described only when it’s the only “textual” item in the phasesubphase)

Other phenomena

just business. Minus a conscience. (vending machine) while a participant is visually pulling the lever.

Non-diegetic

((lyrical music)) while the participant is actually walking out the door

Embedding

[]

Ellipsis

[[]]

Diegetic audio-sound effects are described in italics within round brackets Non-Diegetic audio and sound effects are described in italics within double round brackets Plain text in square brackets. Plain text within double square brackets [[]].

Table 4.1: Notation Convention used for language realizations in the ATAC

4.2 Language-only analysis: aim Once the text was defined and transcribed, the language-only analysis was carried out. For my research I decided to analyse the corpus according to the following levels of Halliday’s (1994) systemic functional grammar: 1. At the intersentence level I have tagged Conjunctions creating Cohesion among sentences. 2. Going down one level I have identified Clause complexes, tagging not only the two different realisations: Hypotaxis and Parataxis, but analysing as well their structure in terms of Primary and Secondary both at the sequence level (parataxis) and at the dependency level (hypotaxis). This means that through this tagging system we can for example tag $PA1 (primary clause linked with parataxis) or $Hya (primary clause linked with hypotaxis). 3. At the clause level I have considered the clause in its realisation of Finite, Non-finite and Minor clauses, tagging as well the use of Ellipsis and Nominalisation. 4. Within the clause I have applied Halliday’s (1994) Interpersonal analysis tagging for Mood.

Table 4.2 shows the tagging system used for the analysis of our corpus; these tags were developed on Taylor Torselloâ&#x20AC;&#x2122;s model

Level Clause Complex

Sequence Level Dependency Level

Clause

Mood

Intersentence cohesion Below the clause

Tag

Meaning

$PA1, $PA2, $PA3, $PA4 $HYa, $HYb, $HYc $F $FE

Parataxis first second, third, and fourth in sequence. Hypotaxis, major, subordinates.

$M $NF $NFN $LT $A $E $P $W $I $C []

Finite Finite with Ellipsis [[Eliptical clause between double square brackets]] Minor Non-finite Non-finite nominal Little text Assertive declarative Exclamative Polar interrogative Wh-interrogative Imperative Conjunction Embedding

Table. 4.2: Tagging system for the language-only analysis.

Applying this tag system to the phasal analysis of the ATAC (Table 2.1) I was able to analyse the occurrence and co-selection of the different metafunctional realizations taken under the language-only perspective. Our findings are shown in Table 4.3 Sequence Name

Tagging - Script

Text 01: Aanron

Aanron: phase 1 subphase a

$PA11 $Hya1 $F1 $A1 $CON So the sales rep in Florida for the RJ Reynolds Tobacco Company said $HYb1 $F2 he knew $HYc1 $F3 that they were targeting kids $PA21 $F4 $A2 and it was unethical and even illegal. $PA12 $HYa2 $F5 $A3 $CON So this rep asked the executive $HYb2 $F6 who they were targeting, [you know, junior high school kids or younger], $PA22 $F7 $A4 and the guy says, $PA31 $F8 $A5 and I quote,

(Taylor Torsello, Carol, Padova) Tagging Systemically http://claweb.cla.unipd.it/citatal/documenti/padova/Tags%20for%20systemic%20analyses.d oc

Aanron: phase 1 subphase b

Aanron: phase 2 Text 02: Attractiveness Attractiveness: phase 1 subphase a

Attractiveness: phase 1 subphase b

Attractiveness: phase 1 subphase c Attractiveness: phase 1 subphase d

Attractiveness: phase 1 subphase e

A: Attractiveness: phase 1 subphase f Attractiveness: phase 1 subphase g Text 03: Barber Barber: phase 1 subphase a

$PA12 $F7 $A2 Four, there's an invention called the telephone, $PA22 $F8 $I5 use it. $F9 $I6 $CON And five, nix the smoking. $F10 $A3 That yellow teeth, cigarette stench thing, it's not working. $FE1 $P1 [[Are]] You guys getting this? $F11 $W1 Smoking whatâ&#x20AC;&#x2122;s to like?

$F1 $F2 $F3 $F4 $F5 $F6

Basketball: phase 1 subphase a

Basketball: phase 1 subphase c Text 05: Bowl Bowl: phase 1 subphase a

$M1 Okay. $F1 $A1 Here's five things [all guys should know.] $Hya1 $F2 $I1 One, don't change into something different $HYb1 $F3 when we're around your friends. $PA11 $F4 $I2 Two, ring the doorbell, $PA21 $F5 $I3 don't beep the horn. $F6 $I4 Three, hold the onions!

(Lyrical music and sound of hair clipper, noise of a barber shop)

Barber: phase 1 subphase b Text 04: Basketball

Basketball: phase 1 subphase b

$PA41 $F9 $A6 "$PA13 $F10 $A7 They got lips, $PA23 $F11 $A8 we want them". $M1 Well hey, $F12 $I1 read my lips. $NFN1 {TM} $PA14 $F13 $A9 YOU TARGET US, $PA24 $F14 $A10 WE TARGET YOU. $LT $FE1 $A11 DOCUMENTS [[ARE]]AVAILABLE AT TMVOICE.COM

A: B: A:

$A1 You wouldn't want their haircut. $W1 Why would you want their lungs? $A2 18-year-old smokers have 50 year-old lungs $I1 {Question It} $I2 Question it $I3 Questionit.com

$Hya1 $F1 $A1 I think about $HYb1 $NF1 becoming pro someday. $NF2 Picking Kobe's pocket, $NF3 the crowd going wild. $NF4 Taking the ball down court. $HYa2 $PA11 $NF5 $A2 Crossing over Eddie Jones, Vin Stottelmeyer, $PA21 $NF6 faking the dish off, $PA31 $NF7 rebound, $PA41 $F2 $A3 Papa Jane is off $HYb2 $F3 while Shaq and Penny watch. $M1 $CON But damn, $F4 $A4 coach won't even let me on the team. $LT $NF8 Tobacco, tumor causing, teeth staining, smelly, puking, stinking habit. $F1 $A1 You might as well stick your head in a toilet and take a gulp. $FE1 $W1 What [[are you saying]]? $F2 $A2 Same stuff's in that smoke as in a toilet bowl.

B: A: B: Bowl: phase 1 subphase b

B: Bowl: phase 1 subphase c Text 06: Breath test

A: Breath test: phase 1 subphase a

A: B: A: B:

Breath test: phase 1 subphase b

Breath test: phase 1 subphase c Text 07: Car (Uncle's)

Car (Uncle's): phase 1 Text 08: Cattle Cattle: phase 1 subphase a

(Laughs) $F3 $I1 Stick it right in there $M1 OK. $M2 Uh-huh, $F4 $A3 $CON No wonder cigarettes smoking kills more people every year than AIDS and murder, combined. (Laughs) ((background noise)) $PA11 $F5 $I2 Go ahead, $PA21 $F6 $I3 smoke away. $Hya1 $F1 $A1 They say $HYb1$F2 smokers have bad breath. $HYb2 $F3 $A2 $CON But since I quit smoking, $HYa2 $F4 I've noticed a considerable improvement in mine. $M1 Here, $F5 $I1 smell. $M2 Oh no.. $M3 Come on really, $F6 $I2 give it a try. $M4 Oh, $F7 $A3 that's awful. $HYa3 $F8 $A4 I mean, $HYb3 $F9 that's terrible. $F10 $A5 That's some serious halitosis [is what that is]. $PA11 $F11 $A6 You didn't quit smoking, $PA21 $F12 $A7 you just put in a mint! $M5 No, $FE1 $A8 I didn't[[put in a mint]]! $F13 $A9 I put in three. $HYa4 $F14 $A10 Most women say $HYb4 $F15 they don't like [to kiss smokers.] $F1 $A1 I have a, $M1 uh, $Hya1 $F2 $A2 I have a hard time $HYb1 $NF1 being around smokers. $PA11 $F3 $A3 My uncle, he used to take us to the pool in the summer and $LT $NFN1 Guys on smoking $PA21 $F4 $A4 he was like a chain smoker. $HYa2 $F5 $A5 My cousin and I, we'd be in the back seat $HYb2 $NF2 getting sick to our stomachs. $HYa3 $F6 $A6 [You know] we just wanted $HYb3 $NF3 to go to the pool. $PA12 $F7 $A7 Sometimes I smell that same smell on a girl [you know], $PA22 $F8 $A8 and my stomach gets right back in that car. $HYa4 $F9 $A9 Most guy donâ&#x20AC;&#x2122;t want $HYb4 $NF4 to be with girls [who smoke] $F1 $A1 This is [how the guys [who make cigarettes] want you to see them].

$PA11 $F2 $A2 $CON And this is [how they see you]: $PA21 $HYa1 $F3 $A3 they figure $HYb1 $F4 you're young $PA31 $F5 $A4 so you're dumb and easy [to influence]. $HYa2 $F6 $A5 They spend millions $HYb2 $NF1 trying to grab your attention and push you into smoking. $HYa3 $PA12 $F7 $A6 $CON Because once they get you $HYb3 $F8 where they want you $PA22 $F9 $A7 they've got you for good. . $NFN1 The tobacco industry. $HYb4 $F10 $A8 $CON If you knew [what they thought], $HYa4 $F11 you'd think twice

Cattle: phase 1 subphase b Text 09: Christy Turlington

A: Christy Turlington: phase 1 subphase a

Christy Turlington: phase 1 subphase b

A: Christy Turlington: phase 1 subphase c Text 10: Cities

Cities: phase 1 subphase a Cities: phase 1 subphase b Cities: phase 1 subphase c

$F1 $A1 In my life there are two people in my family [who quit smoking]. $FE1 $A2 Me and my dad [[quit smoking]]. $F2 $A3 For me it took seven years. $F3 $A4 Nothing worked. $HYc1 $F4 $A5 $CON When I finally did quit for good, $Hya1 $F5 I knew $HYb1 $F6 it was one of the biggest accomplishments of my life. $F7 $A4 My dad, it was different for him. $F8 $A5 $HYa2 He stopped December 19 96, $HYb2 $F9 just six months before he died from lung cancer. $NFN1 1â&#x20AC;&#x201C;800-CDC-1311 $FE1 $W1 Where [[do you mean]]? $NFN1 New York, Paris, Tokyo, L. A., definitely! $M1 Ummm. $NFN2 Rome, Bombay . $F1 $A1 We are all mixed up over here. $NFN3 Mexico City, Sao Palao, London, Cairo, Moscow, Beijing, Delhi, Bangkok. $F2 $A2 All of them would be completely gone! $F3 $A3 250 million kids alive will die of tobacco related deaths. $F4 $A4 That is more than the population of the world's 25 largest cites. $F5 $A5 Smoking is ugly. $F6 $A6 www.smokingisugly.com

Text 11: Cold

Cold: phase 1 Text 12: Conscience Conscience: phase 1 subphase a

$F1 $A1 It's five below zero, thirty below with the wind chill. $F2 $A2 Cars won't start. $F3 $A3 Tree limbs are down. $F4 $A4 The only reason [a person would be outside in weather like this] is [if they didn't have a choice.] $HYb2 $F5 $A5 $CON When you're addicted to cigarettes, $FE1 $HYa2 you don't [[have a choice]]. $LT $NFN1 Mass. Dept. of Public Health $F1 $A1 The tobacco industry needs your children.

$F2 $A2 It's an economic imperative. $PA11 $F3 $A3 One business cycle winds down,

Conscience: phase 1 subphase b Conscience: phase 1 subphase c

$PA21 $F4 $A4 another picks up the slack. $F5 $A5 It's nothing personal. $F6 $A6 3,000 kids get hooked everyday $F7 $A7 It's just business. $NFN1 Minus a conscience.

Conscience: phase 1 subphase d Text 13: Courtney Courtney: phase 1 subphase a

A: B: A:

Courtney: phase 1 subphase b

B: B:

Courtney: phase 1 subphase c

B: Courtney: phase 1 subphase d Text 14: Crawford Memorial

Crawford memorial: phase 1 subphase a

A: Crawford memorial: phase 1 subphase b

Crawford memorial: phase 1 subphase c Crawford memorial: phase 1 subphase d Text 15: Dinner Lung Dinner Lung: phase 1 subphase a

A: A: B: C: A:

$F1 $W1 How much do you smoke? $F2 $A1 I am up to a pack and a half a day. $HYc1 $F3 $P1 When you started smoking, $Hya1 $F4 did you ever think $HYb1 $F5 you'd become addicted? $M1 No. $F6 $A2 I never thought that. $HYc2 $F7 $A3 $CON When you start anything $HYa2 $F8 you don't think $HYb2 $F9 you're gonna become addicted. $F10 $A4 My aunt actually died from smoking like on my birthday last year. $HYa3 $F11 $A5 I wish $HYb3 $F12 I could quit. $LT $NFN1 The Truth. $PA11 $F1 $A1 $CON Maybe they'll get to your little brother or sister, $PA21 $F2 $A2 or maybe they'll get to the kid down the block, $PA31 $F3 $A3 but one thing's perfectly clear to me: $PA41 $F4 $A4 the tobacco companies are after children. $FE1 $W1 Why [[is it so]]? $Hya1 $F5 $A5 $CON Because tobacco companies know $HYb1 $F6 that 90 percent of smokers start as children, $HYc1 $F7 before they know better. $F8 $A6 I'm Victor Crawford. $PA12 $F9 $A7 I was a tobacco lobbyist for five years, $PA22 $HYa2 $F10 $A8 so I know $HYb2 $F11 how tobacco companies work. $PA13 $F12 $A9 I liedâ&#x20AC;Ś $PA23 $F13 $A10 and I'm sorry. $F14 $A11 Victor Crawford died March 2, 19 96. $F15 $A12 He died of throat cancer $FE1 $A1 [[Iâ&#x20AC;&#x2122;m]] Sorry $F1 $A2 I'm late. (coughs) $M1 Hi everybody, $F2 $A3 this is Mike $Hya1 $F3 $A4 I hope $Hyb1 $F4 you like pork roast (coughs)

$F5 $P1 Are you okay

(coughs)

$M2 Oh, a lung $Hyb2 $F6 $A5 $CON If you're not cool already, $Hya2 $NF1 smoking won't help. $Hyb3 $F7 $A6 $CON And if you are cool, $Hya3 $F8 you don't need it. $NFN1 {Sfree}

Dinner Lung: phase 1 subphase b Text 16: Doesnâ&#x20AC;&#x2122;t kill Doesn't kill: phase 1 subphase a

A: B:

Doesn't kill: phase 1 subphase b

C: Doesn't kill: phase 1 subphase c Doesn't kill: phase 1 subphase d

Doesn't kill: phase 1 subphase e Text 17: Exhaust Pipe

$Hya1 $F1 $W1 You know $HYb1 $F2 what this car and cigarette smoke have in common? $NFN1 Carbon monoxide. $M1 Ah ha. $F3 $A1 No wonder smoking kills more people than AIDS, than murder, and heroin combined, more of the other nasty ways of dying. $F4 $A2 $PA11 Cigarette smoke is not only disgusting, $F5 $A3 $PA21 it's downright deadly.

Exhaust pipe: phase 1 subphase a

Exhaust pipe: phase 1 subphase b Exhaust pipe: phase 1 subphase c Text 18: Glowing Rat

$M1 Oh, my.

$FE1 $W1 What [[is the matter]]?

$PA11 $F1 $A1 This newspaper...it says, $PA21 $F2 $A2 "Cigarette smoke contains radioactive materials." $M2 C'mon Louise. $FE2 $P1 [[Have]]You been eating rabbit pellets again? $FE3 $A3 It does [[contain radioactive material]]! $NFN1 Polonium-something-thing. $F3 $A4 There's no way [the tobacco companies are going to put out a product [that's radioactive!]] $LT $NF1 {Truth Lab Tested}

B: A: Glowing Rat: phase 1 subphase a

$F1 $A1 My mom smoked for 20 years. $F2 $A2 She's still alive. $PA11 $Hya1 $F3 $A3 People told my dad $HYb1 $NF1 chewing tobacco was gonna kill him, $PA21 $FE1 $A4 but it didn't [[kill him]]. $PA12 $F4 $A5 One of my best friends smoked for [I don't know how long], $PA22 $F5 $A6 and she still breathes okay. $HYa2 $F6 $A7 I guess $HYb2 $F7 tobacco doesn't always do [what you think [it will]]. $LT $NF1 Tobacco, tumor causing, teeth staining, smelly, puking, stinking habit.

Glowing Rat: phase 1 subphase b Text 19: Hooked Too Quick Hooked Too Quick: phase 1 subphase a

$HYc1 $F1 $A1 When I was 15 year old $Hya1 $F2 I asked one of my older friends

$HYb1 $F3 if I can have a cigarette. Hooked Too Quick: phase 1 subphase b

Hooked Too Quick: phase 1 subphase c

Hooked Too Quick: phase 1 subphase d

C: D:

$F4 $A2 One cigarette is just gonna leads to two to three to half a pack $HYa2 $F5 $A3 I wish $HYb2 $F6 he had said hell no. $F7 $A4 I was up to at least a half a pack a day

Hooked Too Quick: phase 1 subphase f

$PA11 $F8 $A5 I would buy packs $PA21 $HYa3 $F9 $A6 and I would tell my sister $HYb3 $F10 it was just a phase. $F11 $A7 I can't stop smoking.

Hooked Too Quick: phase 1 subphase g

$F12 $A8 I tried a hundred times.

Hooked Too Quick: phase 1 subphase h

$F13 $A9 I'm so mad.

$F14 $I1 Don’t ever smoke. $F15 $I2 Don’t ever pick up a cigarette. $F16 $A10 The best way [to quit] is not to start at all. $F17 $A12 Every cigarette does damage. $FE1 $P1 [[Do you]] Want to quit? $FE2 $I3 [[Call]] 1-800-NO-BUTTS $LT $NF1 Brought to you by the San Francisco Department of public health Tobacco free project.

$FE1 $P1 [[Is there]] Anyone I know? $M1 Yeah $F1 $A1 my uncle died. $F2 $A2 He smoked too much. $PA11 $Hya1 $F3 $A3 After they tell him [to stop] $HYb1 $F4 he kept going and $PA21 $HYb2 $F5 $A4 he just died $HYa2 $F6 I guess. $HYa3 $F7 $A5 I know $HYb3 $F8 I shouldn't be smoking. $PA12 $F9 $A6 He had that little box in his throat $PA22 $HYb4 $F10 $A7 every time he talked $HYa4 $F11 he had to press a button. $F12 $A8 He sounded like [he was talking through a fan, like a robot]. $PA13 $F13 $A9 $CON And he was still smoking $PA23 $F14 $A10 after he did that. $F15 $A11 I don't want to die.

Hooked Too Quick: phase 1 subphase e

Hooked Too Quick: phase 2 subphase a

Hooked Too Quick: phase 2 subphase b Text 20: I don't want to die

I don't want to die: phase 1 subphase a I don't want to die: phase 1 subphase b

A: A:

I don't want to die: phase 1 subphase c I don't want to die: phase 1 subphase d

I don't want to die: phase 2 Text 21: Janet Sackman Janet Sackman: phase 1 subphase a

$F16 $A12 Every cigarette does damage. $FE2 $P2 [[Do you]] Want to quit? $FE3 $I1[[Call]] 1-800-NO-BUTTS $LT $NF1 Brought to you by the San Francisco Department of public health Tobacco free project. $LT $NFN1 The Truth

Janet Sackman: phase 1 subphase b Text 22: Jeff’s Mum

A: Jeff's Mum: phase 1 Jeff's Mum: phase 2 subphase a

B: B:

Jeff's Mum: phase 2 subphase b

Jeff's Mum: phase 3 Text 23: Jerome

A: B:

Jerome: phase 1 subphase a

A: Jerome: phase 1 subphase b Text 24: Lick Lick: phase 1 subphase a Lick: phase 1 subphase b Text 25: Make it Harder Make it Harder: phase 1

$PA11 $F1 $A1 You may get cancer, $PA21 $Hya1 $F2 $A2 but I doubt $HYb1 $F3 you'll get the truth from cigarette companies. $PA12 $HYa2 $F4 $A3 They keep saying $HYb2 $F5 you can't get hooked on cigarettes $PA22 $F6 $A4 even though many smokers [who lose their vocal cords] can't quit. $F7 $A5 I'm Janet Sackman. $PA13 $F8 $A6 I was a model in cigarette ads $PA23 $Hya3 $F9 $A7 and I convinced many young people $HYb3 $F10 to smoke. $HYa4 $F11 $A8 I hope $HYb4 $F12 I can convince you [not to]. $PA11 $F1 $A1 My name is Jeff Sprague, $PA21 $F2 $A2 I'm 15, $PA31 $$Hya1 $F3 $A3 and I've been smoking $HYb1 $F4 since I was 11. $F5 $A4 [He might have cancer] is [ what they told me]. $PA12 $HYa2 $F6 $A5 They said $HYb2 $F7 that they were granulomas, $PA22 $F8 $A6 and they're an infectious pus pocket [that sits on the walls of the lung and the walls of your chest]. $F9 $A7 I think about it a lot. $HYa3 $F10 $A8 I don't want it $HYb3 $NF1 to be cancer. $HYb4 $F11 $A9 If it turns out [to be cancer] $HYa4 $F12 that would kill me. $F1 $W1 Why do you smoke now? $F2 $A1 $CON Because I'm addicted. $F3 $A2 $Hya1 I suppose $HYb1 $F4 this is [what [I don’t know] cigarette companies are looking for]. $PA11 $F5 $A3 This is [what they're trying [to do]] $PA21 $F6 $A4 and they've succeeded. $F7 $A5 I'm completely incapable of quitting. $HYa2 $F8 $W2 When do you think $HYb2 $F9 you'll quit? $F10 $A6 Hopefully before I get cancer. $F11 $A7 I don't know ((Ska music)) $NFN1 {Y?} $PA11 $F1 $A1 $PA21 $F2 $A2 {ydouthink.com} $F3 $P1 Isn’t smoking just as disgusting

$F1 $W1 $CON So, what are you going to get?

$F2 $A1 I'm going to get this one.

C: D:

$M1 Yeah, $F3 $A2 those are great. $F4 $A3 That's cool. $F5 $A4 $HYb1 [Considering] how hard it is [to stop], $Hya1 $F6 shouldn't we make it harder [to start]?

Make it Harder: phase 2 Text 26: Marker Man

A: B:

A: B: A:

Marker man: phase 1

$Hya1 $F1 $A1 I shoulda known $HYb1 $F2 that permanent marker...meant permanent marker. $F3 $A2 We were kids, [ya know what I mean]. $PA11 $F4 $A3 It was funny; $PA21 $F5 $A4 it was fun, [ya know]. $F5 $A5 $CON And I'm crazy and different, [ya know and...] $F76 $A6 It must be tough [to live with]. $F7 $A8 It's hard [to get a solid job]. $F8 $A9 I'm not normal. $F9 $A10 $CON But I'm not weird in a fun, cool way $FE1 $A10 [[Iâ&#x20AC;&#x2122;m]] Sorry.

$HYb2 $F11 $A11 It's not the worst decision [I've ever made], $HYa2 $F12 I suppose.

$FE2 $W1 What's the worst [[decision]]?

$NF1 [[Smoking - Pack of cigarettes]] $NFN1 {TM}

$F1 $I1 Get this. $PA11 $F2 $A1 An RJ Reynolds tobacco executive, <<$Hya1 $F3 when asked $HYb1 $F4 Why he and his colleagues don't smoke,>> was quoted to say that, $PA21 $F5 $A2 we reserve that right for the young the poor the black, and the stupid. $NF1 $A3 Nothing like getting busted by your own words.

Text 27: Mohamed

Mohamed: phase 1 subphase a Mohamed: phase 1 subphase b

$NFN1 {TM} $PA12 $F6 $A4 You target us, $PA22 $F7 $A5 we target you. $LT $FE1 $A6 Documents[[are]]available at TMVOICE.Com

Mohamed: phase 2 Text 28: Monica Monica: phase 1

$PA11 $F1 $A1 This is Monica, $PA21 $F2 $A2 and she's like, our only friend [who smokes].

$F3 $A3 We're trying to get her [to stop.]

C: A:

$M1 Yeah. $HYa1 $F4 $A4 We told her $HYb1 $F5 that smoking stinks up her hair. $HYa2 $F6 $A5 She said $HYb2 $F7 she could fix it. $Hya3 $FE1 $A6 [[She said $Hyb3 $FE2 it was the ]] same with her breath and clothes.

A B C: C:

$M2 Gross

$HYa4 $F8 $A7 We told her $HYb4 $F9 smoking made her teeth and nails yellow. $HYa5 $F10 $A8 She said $HYb5 $F11 she could fix it. $PA12 $HYa6 $F12 $A9 $CON But then we read somewhere...

<<$F13 $A10 This really did it...>>

A: C:

... $HYb6 $F14 about how cigarette smoke gets, like, into your skin $PA22 $F15 $A11 and causes permanent wrinkles. $F16 $A12 $CON So we told her

$F17 $A13 She freaked

$M3 Totally

$F18 $A14 $CON Then she quit

$F19 $A15 It was cool

$M4 Really

$F20 $A16 $CON â&#x20AC;&#x2DC;Cause now we don't have any friends [who smoke].

Morph: phase 1 subphase a

Morph: phase 1 subphase b

$F1 $A1 I never should have started smoking. $F2 $A2 It's a habit [that's too hard [to kick.]] (younger) $F3 $A3 [You know] I've tried [to quit] six or seven times. $F4 $A4 I just can't seem to stop.

Text 29: Morph

A: Morph: phase 1 subphase c

Morph: phase 2 Morph: phase 3 Morph: phase 4

$HYb1 $F5 $A5 $CON But really, when I smoke, $Hya1 $F6 I'm cool. $HYa2 $F7 $A6 I know $HYb2 $F8 I'll never get hooked.

(girl)

$F9 $A7 3000 teens start smoking every day. $F10 $A8 We have to make it harder for our kids [to get cigarettes.] $F11 $A9 $CON Before it's too late. $F12 $A10 1 out of 3 will die from smoking. (child) $F13 $A11 Truth is...[cigarettes are bad for you]. $F14 $A12 I'll never smoke. $F15 $A13 It's time [we made smoking history.] $LT $NFN1 A message from the Massachusetts Dept of public health

Text 30: Mosh pit Mosh pit: phase 1 subphase

(Rock, grunge music at a concert)

Mosh pit: phase 1 subphase b

$LT $NF1 Tobacco, Tumor-Causing, Teeth-Staining, Smelly, Puking, Habit.

Text 31: Older than dead Older than dead: phase 1 subphase a

$F1 $A1 Smoking cigarettes really does make you look older. $F2 $A2 $CON Even young smokers have a reduced lung capacity, increased heart rate, and yellow teeth.

$NFN1 $CON Plus a nice head start on lung cancer, mouth cancer, and death. $FE2 $A3 [[you]]Can't get much older than dead. $F3 $A4 Tobacco smokes you. $F4 $A5 It's the truth. $F5 $A6 It's an outrage. $NFN2 Outrageavenue.com

Older than dead: phase 1 subphase b

Text 32: Recovery Time Recovery Time: phase 1 subphase a

$NF1 Broken metacarpal $NFN1 Recovery time: six weeks $NF2 Torn Achilles $NFN2 Recovery time: six months $NFN3 Larynx cancer. $NFN4 Recovery Time: Life $LT $NF3 Tobacco, tumor causing, teeth staining, smelly, puking, habit..

Recovery Time: phase 1 subphase b Recovery Time: phase 1 subphase c Recovery Time: phase 1 subphase d Text 33: Relaxed as can be Relaxed as can be: phase 1 subphase a

$F1 $A1 Smoking really can help you relax. $F2 $I1 Just ask the 430,000 people [who die, every year of lung cancer, heart disease, stomach cancer, throat cancer, and mouth cancer.] $F3 $A2 They're about as relaxed [as you can get.] $F4 $A3 Tobacco smokes you. $F5 $A4 It's the truth. $F6 $A5 It's an outrage. $NFN1 Outrageavenue.com

Relaxed as can be: phase 1 subphase b

Text 34: Runner Runner: phase 1 subphase a

$Hya1 $F1 $A1 They say $HYb1 $F2 we're angry, confused youth and don't know [what's best for us], and that [all we care about] is being cool. $F3 $A2 I'm so tired of all this psychoanalytical bull. $F4 $A3 I run. $F5 $A4 $CON So, I don't smoke. $F6 $A5 It's really not a big deal. $PA11 $F7 $I1 See, $PA21 $F8 $A6 not everybody fits into the stereotype of rebellious teen. $F9 $A7 $CON So I could set the world on fire. $F10 $A8 I'm just me. $F11 $A9 I can live with that. $LT $NF1 Tobacco, Tumor causing, teeth staining, smelly, puking habit.

$M1 Huh. $HYb1 $F1 $A1 [You know] when I was a lab rat at the cigarette research facility, $HYa1 $F2 I lived on cigarettes. $F3 $A2 Well, cigarettes and raisins I'd find in the rabbit cage... $M2 Hey, $F4 $P3 are you gonna drink that? $M3 Oh $F5 $A4 that's not mine

Runner: phase 1 subphase b Text 35: Sense of Taste Sense of Taste: phase 1 subphase a

Sense of Taste: phase 1 subphase b

A: B:

$M4 Great.

$M5 No! $F6 $A5 It was there yesterday. $M6 Um $FE1 $A6 [[It]] smells okay. $F7 $A7 This expired last week! $F8 $A8 It was a little chunky.

Sense of Taste: phase 1 subphase c Text 36: Shawn Shawn: phase 1 subphase a

B: A:

$F9 $A9 Smoking destroys your sense of smell and taste A: B:

Shawn: phase 1 subphase b

A: B:

$FE1 $P1 $Hya1 [[Do you]]Think $Hyb1 $F1 you'll ever quit smoking? $F2 $A1 Honestly, I'm not sure. $F3 $A2 I really would like to. $F4 $A3 I'm trying right now. $F5 $P2 $Hya2 Did you think $Hyb2 $F6 you'd get addicted $Hyc1 $F7 when you first started smoking? $M1 No. $PA11 $Hyc2 $F8 $A4 $CON When I first started smoking, $Hya3 $F9 I thought $Hyb3 $F10 it was like, [you known,] [all that addictive things I heard], $PA21 $Hya4 $F11 $A5 I thought $Hyb4 $F12 [it was], it took a long long time, $PA31 $F13 $A6 but a long long time to me was a couple of years, $PA41 $F14 $A7 but it ain't a long time no more, [that's right around the corner]. $F15 $A8 It just catches up to you .

Text 37: Stamina

Stamina: phase 1

$Hyb1 $F1 $A1 When I play ball, $Hya1 $F2 I love playing against a smoker. $NF1 Wheezing and coughing, colors changing in their face. $PA11 $F3 $A2 They can't even talk trash, $PA21 $F4 $A3 they're so winded. $Hya2 $FE1 $A4 [[I]] Don't know $Hyb2 $F5 what these guys are thinking, man. $FE2 $W1 [[What do]]The money players today [[do]]? $F6 $A5 They don't smoke. $PA12 $F7 $A6 You smoke, $PA22 $F8 $A7 you can't breathe. $PA13 $F9 $A8 You can't breathe, $PA23 $F10 $A9 you can't run. $PA14 $F11 $A10 You can't run, $PA24 $F12 $A11 you can't win. $M1 Yo, $FE3 $W2 [[Are]]you gettin' all of this? $F13 $A12 I'm not talking trash, man. $F14 $A13 I'm talking truth. $PA15 $F15 $A14 You smoke $PA25 $F16 $A15 you chocke.

Text 38: Stealing

A: A:

Stealing: phase 1 subphase a Stealing: phase 1 subphase b

A: A: A:

Text 39: Still can’t quit Still can't quit: phase 1 subphase a

Still can't quit: phase 1 subphase b

Still can't quit: phase 1 subphase c

Text 40: Teeth Teeth: phase 1 subphase a Teeth: phase 1 subphase b

Text 41: Thanking Customer Thanking Customer: phase 1 subphase a

$F1 $A1 Me and my friends used to steal cigarettes from their mom, my mom, my grandma. $PA11 $F2 $A2 $CON Sometimes we would even steal money... " ..from our parents $PA21 $F3 $A3 and go stand at the store $F4 $A4 75 percent of kids [who smoke] have parents [that smoke]. $PA31 $F5 $A5 and look for people [who looked like they smoked] [to buy us cigarettes.] $F6 $A6 Now I have spots on my lungs…, $F7 $E1 Funny how our kids pick up our little habits. …all because of smoking. $Hya1 $F8 $A7 I wish $HYb1 $F9 I would have never started $F1 $A1 $PA11 My name is Jeffrey Sprague, $F2 $A2 $PA21 I am 15 years old, $F3 $A3 $PA31 $Hya1 and I started smoking $HYb1 $F4 when I was eleven. $F5 $A4 $CON And now I end up here. $F6 $A5 I'm addicted to cigarettes. $HYa2 $F7 $A6 I found out $HYb2 $F8 I was hooked about three weeks after [I started]. $F9 $A7 $CON Now I have spots on my lungs. $F10 $A8 $HYb3 $CON If I don't quit smoking $HYa3 $F11 they can turn to cancer. $F12 $A9 It scares me. $F13 $A10 $CON And I still can't quit smoking. (old fashioned music and sound of teeth dropping) $Hyb1 $F1 $W1 You wouldn't want their teeth, $Hya1 $F2 why would you want their lungs? $F3 $A1 18-year-old smokers have 50-year-old lungs. $F4 $I1 {Question It} $F5 $I2 Question it.

$M1 Hey Dan, $F1 $W1 how are you doing?

B: A:

$F2 $W2 How are you buddy? $F3 $A1 $Hya1 We just stopped by $HYb1 $NF1 to let you know $HYc1 $F4 that we at Union Tobacco really appreciated your business. $NFN1 Thirty years. $F5 $A2 That's, that's incredible. $F6 $P1 $HYa2 $CON And not once did you think $HYb2 $NF2 about changing brands on us, [did you Dan?] $F7 $A3 They don't make 'em like you anymore buddy.

Thanking Customer: phase 1 subphase b

C: Text 42: Unthinkable Unthinkable: phase 1 subphase a

$F1 $A1 It dispenses a product [that's accounted for more deaths than both of these things combined]. $F2 $A2 A product that's as hard to kick as heroine. $FE1 $A3 $CON And [[that is ]]as easy to get as candy. $F3 $A4 That over 500,000 kids buy every single day. $NFN3 [[Cigarettes - Packet of cigarettes]] $F4 $A5 $HYb1 $CON If you see a vending machine or a cashier [selling cigarettes to kids], $Hya1 $F5 call [1-800-5-ASK-4-ID]. $F6 $A6 $CON And together, we'll stop it. $F7 $I1 1-800-5 ASK-4-ID

Unthinkable: phase 1 subphase b

Text 43: Voicebox Voicebox: helpline: phase 1 subphase a

Voicebox: helpline: phase 1 subphase b

$M2 No, $FE1 $A4 they don't [[make â&#x20AC;&#x2DC;em like you anymore]]. $F8 $A5 $HYa3 I don't know $HYb3 $F9 how we'll ever replace you. $F10 $A6 The tobacco industry loses over one thousand customers every day. $F11 $I1 Take it easy, Dan. $F12 $W3 $HYa4 Guess $HYb4 $F13 who's been chosen [to replace them?] $FE2 $W4 What [[are you looking at]]? $NFN2 {Truth}

$Hya1 $F1 $A1 I had my first cigarette $HYb1 $F2 when I was 13. $PA11 $HYb2 $F3 $A2 $CON When I found out [how bad it was] $HYa2 $F4 I tried [ to quit ] $PA21 $F5 $A3 but I couldn't. $PA12 $F6 $A4 Believe me, $PA22 $HYa3 $F7 $A5 I wish $HYb3 $F8 I could .

Text 44: What if a boy

What if a boy: phase 1 Text 45: What if a girl

What if a girl: phase 1

$F1 $W1 What if you could see [what cigarettes were doing to your insides?] $F2 $W2 What if you could sit back and watch your lungs slowly blacken and wither? $Hya1 $FE1 $W3 $CON Or [[you could see]] your heart enlarge $HYb1 $F3 as it struggles [to keep you alive?] $F4 $W4 What if you could see the cancer garden [you're growing every day, just beneath your skin]? $F5 $P1 Would you still smoke? $F6 $A1 Tobacco smokes you. $NFN1 UnfilteredTv.com $F1 $W1 What if you had to wear the damage [cigarettes are doing to the inside of your body on the outside?] $F2 $W2 What if you had to look in the mirror and see the tar [that's building up in your lungs?] $FE1 $W3 $CON And [[what if you had to see]] your tumours grow larger by the day? $F3 $W4 What if you had to watch your body slowly, but surely,

rot away? $F4 $P1 Would you still smoke? $F5 $A1 Tobacco smokes you. $NFN1 UnfilteredTv.com Text 46: X-ray Goggles X-ray goggles: phase 1 subphase a

A: A: B:

X-ray goggles: phase 1 subphase b X-ray goggles: phase 1 subphase c Text 47: Yellow smile

C: B:

B: A: B: Yellow smile: phase 1

$M1 Whoa. Sweet. $M2 Ohhhhh $F1 $W1 What are you looking at? $F2 $A1 Every year, over 100,000 people get cancer from tobacco. $PA11 $NFN1 A message from R.A.T$PA21 $F3 $I1 reject all tobacco. $F4 $I2 {R.A.T.} $F5 $I3 Reject all tobacco! $F6 $I4 www.gorat.com. $PA12 $F7 $I5 Take it from Terrance, $PA22 $F8 $A2 you better tell somebody $FE1 $W2 What [[is the matter]]?

$M1 Hey there. $F1 $A1 I'm Lab Rat 204. $F2 $A2 That's [[what they called me at the cigarette research facility] I escaped from]. $Hya1 $F3 $P1 Do you think $Hyb1 $F4 cigarettes have made my teeth yellow? $F5 $A3 I used to have pearly whites [that would make any chick's knees wobble]. $PA11 $F6 $I1 $CON But now, watch this... $PA21 $F7 $A4 I get nothin'. $F8 $A5 Your teeth are yellow. $F9 $W1 Who asked you, kid? $FE1 $A6 You did [[asked me]] $F10 $A7 A yellow smile is one of the first side effects of smoking.

Tab. 4.3: Transcription and tagging of the ATAC

In order for these results to be uploaded in MCA I created the following grammar on Grammar Definition under the heading of Comunian2, which is basically the transliteration of our Tagging system (Table 4.2) in MCAâ&#x20AC;&#x2122;s terms.

3282. Comunian2 3285. Functional Tagging 3317. Below the clause 3318. Rank-shifting 3450. Rank-shifting 1st occurence

3451. Rank-shifting 2nd occurence 3452. Rank-shifting 3rd occurence 3453. Rank-shifting 4th occurence 3454. Rank-shifting 5th occurence 3289. Clause 3291. Finite 3319. F01 3320. F02 3321. F03 3322. F04 3323. F05 3324. F06 3325. F07 3326. F08 3327. F09 3328. F10 3329. F11 3330. F12 3331. F13 3332. F14 3333. F15 3334. F16 3335. F17 3336. F18 3337. F19 3338. F20 3292. Finite + Ellipsis 3339. FE01 3340. FE02 3341. FE03 3296. Little Text 3293. Minor 3342. M01 3343. M02 3344. M03 3345. M04 3346. M05 3347. M06 3294. Non-finite 3348. NF01 3349. NF02 3350. NF03

3351. NF04 3352. NF05 3354. NF06 3353. NF07 3355. NF08 3295. Non-finite nominal 3356. NFN01 3357. NFN02 3358. NFN03 3359. NFN04 3360. NFN05 3361. NFN06 3286. Clause Complex 3288. Hypotaxis (Complete sentence) 3443. Hypotaxis 1st occurence in the ad (Complete sentence) 3444. Hypotaxis 2nd occurence in the ad (Complete sentence) 3445. Hypotaxis 3rd occurence in the ad (Complete sentence) 3446. Hypotaxis 4th occurence in the ad (Complete sentence) 3447. Hypotaxis 5th occurence in the ad (Complete sentence) 3448. Hypotaxis 6th occurence in the ad (Complete sentence) 3310. Hypotaxis Primary (in the dependence hierarchy) 3362. Hya1 3363. Hya2 3364. Hya3 3365. Hya4 3366. Hya5 3367. Hya6 3298. Hypotaxis Secondary (in the dependence hierarchy) 3368. Hyb1 3369. Hyb2 3370. Hyb3 3371. Hyb4 3372. Hyb5 3373. Hyb6 3299. Hypotaxis Tertiary (in 3374. Hyc1 3375. Hyc2

3287. Parataxis (Complete sentence) 3439. Parataxis 1st occurence in the ad (Complete sentence) 3440. Parataxis 2nd occurence in the ad (Complete sentence) 3441. Parataxis 3rd occurence in the ad (Complete sentence)

3442. Parataxis 4th occurence in the ad (Complete sentence) 3449. Parataxis 5th occurence in the ad (Complete sentence) 3300. Parataxis Primary (In the sequence) 3376. PA11 3377. PA12 3378. PA13 3379. PA14 3380. PA15 3301. Parataxis Secondary (In the sequence) 3381. PA21 3382. PA22 3383. PA23 3384. PA24 3385. PA25 3302. Parataxis Tertiary (In the sequence) 3387. PA31 3303. Parataxis Quaternary (In the sequence) 3386. PA41 3418. Cohesion (Intersentence level) 3419. Conjunction 3455. Conjunction 1st occurence 3456. Conjunction 2nd occurence 3457. Conjunction 3rd occurence 3458. Conjunction 4th occurence 3290. Mood 3311. Assertive Declarative 3388. AD01 3389. AD02 3390. AD03 3391. AD04 3393. AD05 3394. AD06 3392. AD07 3395. AD08 3396. AD09 3397. AD10 3398. AD11 3399. AD12 3400. AD13 3401. AD14 3402. AD15 3403. AD16

3312. Exclamative 3404. E01 3313. Imperative 3405. I01 3406. I02 3407. I03 3408. I04 3409. I05 3410. I06 3314. Interrogative 3315. Polar Interrogative 3411. P01 3412. P02 3413. P03 3316. Wh-Interrogative 3414. W01 3415. W02 3416. W03 3417. W04 3420. Phasal division 3425. Ending Phase 3421. Phase 1 3422. Phase 2 3423. Phase 3 3424. Phase 4 3426. Subphasal division 3437. Ending Subphase 3427. Subphase 01 3428. Subphase 02 3429. Subphase 03 3430. Subphase 04 3431. Subphase 05 3432. Subphase 06 3433. Subphase 07 3434. Subphase 08 3435. Subphase 09 3436. Subphase 10 3438. TEXT

Table 4.4: MCAâ&#x20AC;&#x2122;s Functional Tagging Grammar

The grammar has been developed in order to produce analyses at different levels of delicacy. By selecting for example “3443. Hypotaxis 1st occurrence in the ad (Complete sentence)“ we select all hypotactic clauses (as complete clauses) occurring for the first time in the advertisement, whereas if we go down one level and select “3362. Hya1” we can select all first primary clauses occurring for the first time in the advertisement. This means that by combining up to three parameters in MCA “search” box we can

retrieve

and

analyse

the

occurrence

certain

language-only

phenomena at the different subphases of the advertisements . What needs to be underlined is that though transcription and text definition have followed the phasal subdivision, the language-only tagging, in terms of occurrence of an item, has been counted taking the whole advertisement and not the phase/subphase as the unit of analysis. The decision to consider advertisements and not phases as unit of analysis has been

taken

the

basis

the

preponderance

monophasal

advertisements and the segmentation of these phases into subphases, (see Chapter 2.1). A tagging system based on the phase subdivision such as that in Turrisendo (2004) would have led to some additional complexity since there would have been the need to tag differently whether the phenomenon belonged to a phase or a subphase and to start counting for frequency from this specification. This would have possibly led to a double tagging, one at the subphase level and one at the phase level, creating a conflict of hierarchy between phase and subphase. Hence the frequency count starts from the beginning of the advertisement and finishes at the end of it. For purposes of clarity, the phase/subphase division remains, without affecting the frequency count. The counting is based on the advertisement, whereas language-only parameters are associated and selected at the phasal/suphasal level as required by MCA (Table 4.5). Tagging and clause text $HYa1 $F2 $I1 One, don't change into something Attractiveness: different phase 1 $HYb1 $F3 when we're around your friends. subphase b Table 4.5: Language-only tagging, an example. Phase

In this example we are analysing the second subphase of the first phase we can see that we have the first occurrence of Hypotaxis, the second occurrence of Finite clause and the first occurrence of the Imperative mood. We can also notice that this is also the first instance of Major clause ($HYa1, where “a” stands for “major” and “1” stands for “first occurrence”) and Subordinate clause ($Hyb1, where “b” stands for “second subordinate” and “1” stands for “first occurrence”)

4.3 Language-only analysis: findings The findings of the language-only tagging confirmed a generalized first impression that I had when I first listened to these advertisements. The language appeared less “immediate” than commercial advertisements, being

more complicated and requiring more attention to understand the

message. The findings shown in Table 4.6 confirm this first impression by highlighting a strong presence of Clause complexes, Embedding and a general high level of Intricacy, especially when compared with the results of Turrisendo’s tagging (2004) on a corpus of drinks advertisements .

Level

Category

Tag

Clause Complex

Parataxis Primary Secondary Third Fourth Hypotaxis Major Subordinate Subordinate Finite Finite with Ellipsis Minor Non-finite Non-finite nominal Little Text

$PA $PA1 $PA2 $PA3 $PA4 $HY $HYa $HYb $HYc $F $FE $M $NF $NFN $LT

Clause

Total # of cases 51 51 51 9 3 83 83 83 9 431 35 37 31 31 15

Max occurrence within one advert 5 5 5 1 1 6 6 6 2 20 3 6 8 6 1

Mood

Below the clause

Assertive declarative Exclamative Polar interrogative Wh-interrogative Imperative Conjunction Embedding

$A $E $P $W $I $C []

308 1 13 30 32 52 80

16 1 3 4 6

Table 4.6: Language-only analysis: findings

4.3.1 Clause complex The ATAC features a high presence of Clause complexes; in a total of 565 clauses 292, more than a half, are linked by Taxis, 114 by Parataxis and 178 by Hypotaxis. In the 47 advertisements we find 51 sentences containing Parataxis and 84 sentences containing Hypotaxis. Parataxis links up to 4 clauses whereas Hypotaxis links up to 3 clauses; in terms of occurrence per advertisement, the maximum for Parataxis is 5 cases while for Hypotaxis is 6 per advertisement. This heavy presence of taxis is probably due to the fact that these advertisements

often

consist

reporting

quoting

information,

experiences and thoughts, leading therefore to Projection, or consist of the explanation of problems to the audience, developing therefore a relationship of Expansion among clauses. So the language of our advertisements relies on complex clause structures to convey the semantic relationships intended rather than relying on juxtaposition or conjunction. Parataxis is used almost exclusively for Expansion (a), featuring only few cases of Projection (b) a) Four, there's an invention called the telephone, use it. (Text 02: Attractiveness) b) â&#x20AC;Śand I quote â&#x20AC;&#x153;They got lips, we want them". (Text 01: Aanron) Hypotaxis is fairly equally distributed between Expansion (c) and Projection, both verbal (d) and mental (e)

c) He stopped December 19 96, just six months before he died from lung cancer. (Text 09: Christy Turlington) d) So the sales rep in Florida for the RJ Reynolds Tobacco Company said he knew that they were targeting kids… (Text 01: Aanron) e) When do you think you'll quit? (Text 23: Jerome) The high presence of Taxis may be explained by Halliday’s words (1994: 350)

Density:

”spoken

language

becomes

complex

being

grammatically intricate: it builds up elaborate clause complexes out of parataxis and hypotaxis”. To prove the Spoken register of our corpus, I have compared the use of clause complex structures between spoken clauses and written clauses in our corpus (without taking into consideration a small group of 13 clauses overlapping written and spoken register). Of 59 written clauses in our corpus I have found only 3 cases of Hypotaxis and 3 cases of Parataxis, which in percentage terms means that in written clauses taxis goes down to 10% whereas in the spoken it reaches up to 50%. The strong presence of clause complexes becomes even more relevant when compared with Turrisendo’s results (2004). In his analysis of a corpus of 53 television drink advertisements he found only 11 cases of Parataxis and 10 cases of Hypotaxis with a maximum occurrence per phase of 1 and 2 respectively. Turrisendo’s (2004) cases of Taxis, especially Hypotaxis, actually are not fully explicit but rather rely in many cases on the Ellipsis of either the primary or secondary clause, or are parts of the advertisement’s soundtrack. In the ATAC Taxis is “rendered” in full, orally (g) or printed (h) in more complex clause structure. In my opinion this semantic choice, contributing to the slower pace of the advertisements, is in tune with the other multimodal realizations, where sudden changes and breaks are rare and where there are no sudden transition points between phases and subphases but rather a slow mutation with a good degree of continuity. f) I wish I would have never started. (Text 38: Stealing)

g) Most women say they don't like [to kiss smokers.] (Text 06: Breath test)

4.3.2 Clauses The ATAC is made up of 2743 word-tokens and 565 clauses distributed in 47 advertisements, which is a fairly high number when compared with Turrisendo’s (2004) corpus, which counts 1898 word-tokens and 391 clauses among 53 television drink advertisements. As stated above more than half of the clauses in our corpus are linked in clause complexes whereas the remainder consists of single clauses linked to each other by juxtaposition or conjunction. In Figure 4.7 we can see that most of the clauses in our corpus are Finite, this means that the Mood of the clause, what defines the “terms” of the interaction, “a point of reference in the here and now” (Halliday, 1994: 75), is present and explicit in the clause structure.

Clause type occurrence 431

500 400 Occurrence

300 200 37

100

0 $F

$FE

$NF

$NFN

Clause type

Figure 4.7: Clause type occurrence

Despite the spoken register, and probably because of the high presence of clause complexes Finite clauses with ellipsis are not a very common feature of the ATAC. These account for a percentage of 6.20 % versus almost 20% of Turrisendo’s corpus (2004). The

use

Minor

clauses,

Non-finite

and

Non-finite

nominal

quantitatively very similar. Minor clauses are used regularly to cover either

exclamations (“Whoa…”), or greetings (“Hi everybody”), whereas some Non-finite but especially Non-finite nominal clauses constitute a third item – Little Text - especially when in the ending phase. Though expected in the ending phase as slogans or logos or at the beginning as headline, Non-finite nominal clauses can be found at any phase/subphase of the advertisement. This is especially true when the participant wants to stress the importance of certain lexical items (a, b, c) making them an “independent” statement in a separate clause. a) Carbon monoxide. (Text 17: Exhaust pipe) b) Polonium-something-thing.(Text 18: Glowing rat) c) Minus a conscience. (Text 12: Conscience) Non-finite clauses are normally dependent clauses part of a hypothetical clause (a), or are independent clauses functioning as Little texts or slogans (b). a) …becoming pro someday (Text 04: Basketball) b) Brought to you by the San Francisco Department of public health Tobacco free project. (Text 19: Hooked too quick)

4.3.2.1 Little Text “A first approximation to the grammar of little texts might be to say that they retain all the lexical words and leave out all the grammatical ones”. (Halliday, 1994: 392) Some clause resulted difficult to define in terms of clause type, they were included in our classification of clauses, but in my opinion, due to their nature of slogans or headlines it was useful to consider them even as Little texts. The clause that led me to consider Little texts in my analysis was:

Tobacco, tumor causing, teeth staining, smelly, puking, stinking habit. (Text 04: Basketball) This could be considered a Finite with ellipsis or a Non-finite clause, but what best suits this kind of clause, which is actually a slogan repeated in many advertisements, is Halliday’s classification of Little texts under the heading of “Verbals without deixis (…) verbal groups occur without the Finite element.” (Halliday, 1994: 393). Parameter

Brief Description

Aanron: phase 2 Text 01 Aanron: YES: DOCUMENTS Little Text [[ARE]] AVAILABLE AT TMVOICE.COM Car (uncles): phase 1 TEXT 07 Car (uncles): YES: Guys on Little Text smoking Cold: phase 1 Text 11 Cold: YES: Mass. Dept. of Little Text Public Health I dont want to die: phase 2 Text 20 I dont want to die: YES: Brought to you by the San Francisco Little Text Department of public health Tobacco free project. Mohamed: phase 2 Text 27 Mohamed: YES: Documents Little Text [[are]] available at TMVOICE.Com Morph: phase 4 Text 29 Morph: YES: A message from Little Text the Massachusetts Dept of public health Basketball: phase 1 subphase c Text 04 Basketball: YES: Tobacco, Little Text tumor causing, teeth staining, smelly, puking, stinking habit. Crawford memorial: phase 1 subphase a Text 14 Crawford memorial: YES: The Little Text Truth.

Parameter

Brief Description

Doesnt kill: phase 1 subphase e Text 16 Doesn't Kill: YES: Tobacco, tumor Little causing, teeth staining, smelly, puking, Text stinking habit. Glowing Rat: phase 1 subphase b Text 18 Glowing rat: YES: {Truth Lab Little Text Tested} Hooked Too Quick: phase 2 subphase b Text 19 Hooked too quick: YES: Brought Little to you by the San Francisco Department Text of public health Tobacco free project. Janet Sackman: phase 1 subphase a Text 21 Janet Sackman: YES: The Little Text Truth. Mosh pit: phase 1 subphase b Text 30 Mosh pit: YES: Tobacco, Little Text Tumor-Causing, Teeth-Staining, Smelly, Puking, Habit. Recovery Time: phase 1 subphase d Text 32 Recovery Times: YES: Tobacco, Little Text tumor causing, teeth staining, smelly, puking, habit. Runner: phase 1 subphase b Text 34 Runner: YES: Tobacco, Tumor Little Text causing, teeth staining, smelly, puking habit.

Table 4.8: MCA search parameter: “Little Text [3296]”

To be consistent in the treatment of the same kind of ambiguity a total of 15 clauses were tagged as Little texts, fitting into different Halliday’s (1994: 393-397) case classifications. 1. “Nominal without deixis”: absence of those elements that determine the here–and-now. Documents available at Tmvoice.com. (Text 01: Aanron)

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2. “Unattached nominals”: a nominal group that implies “this is a /the…”, used both has heading (a, b) and as final clause (c). a) The truth. (Text 21: Janet Sackman) b) Guys on smoking. (Text 07: Car (Uncle's)) c) A message from the Massachusetts Dept of public health. (Text 29: Morph) 3. No choice of mood: omission of the mood supplied by the context of situation. Brought to you by the San Francisco Department of public health Tobacco free project. (Text 20: I don't want to die) The need to tag these clauses as Little text is more evident when comparing these with other Non-finite, and Non finite nominal clauses such as in the following examples a) Plus a nice head start on lung cancer, mouth cancer, and death. (Text 31: Older than dead) b) Thirty years. (Text41: Thanking customer) The specific structure that we identified for Little text working in headlines, slogans or ending clauses, therefore placed at the beginning or at the end of the advertisement, is absent in these clauses. These do not eem to achieve the same “text independency” in terms of clause ranking, and are found spread everywhere in the advertisement.

4.3.2.2 Embedding “Embedding is a mechanism whereby a clause or phrase comes to function as a constituent within the structure of a group, which itself is a constituent of the clause.”

101

(Halliday, 1994: 242) In the ATAC there are 80 cases of Embedding or Rankshifted clauses. Following Halliday’s (1994) classification, Embedding contributes in different ways to the meaning-making process of the clause: as Head (a), as Postmodifier (b) in the form of Defining relative clause (c), Perfective (d) and Imperfective clause (e) and Nominal groups (f). a) [He might have cancer] is what they told me. (Text 22: Jeff’s Mum) b) The only reason [a person would be outside in weather like this] is (…)(Text 11: Cold) c) …she's like, our only friend [who smokes]. (Text 28: Monica) d) If you see a vending machine or a cashier [selling cigarettes to kids]… (Text 42: Unthinkable) e) they don't like [to kiss smokers.] (Text 06: Breath test) f) In my life there are two people in my family [who quit smoking] (Text 09: Christy Turlington) The presence of Embedding within clauses contributes to Lexical Density present at the clause level. The meaning behind the choice of using rankshifted clauses may come from Martin (1992) who suggests in his chapter on Negotiation that an “embedded clause cannot be tagged or queried” (Martin, 1992: 486). This suggests that in discourse, embedded clauses are not questionable, or that what is questionable lies elsewhere, at a higher rank. And this is also true for dependent clauses, which “code meanings as already negotiated” (Martin, 1992: 41), since they are not tagged for Mood, the “questionable” part of the clause (b). In a clause such as (a) what is questioned and negotiated is the fact that something with certain features is dispensed and not the features or potential consequences of using the product. These meanings are given as unquestionable; a possible tag to this clause would be, “does it [dispense it]?” and not “has it [accounted for]?”.

102

a) It dispenses a product [that's accounted for more deaths than both of these things combined]. (Text 42: Unthinkable) b) When you started smoking, did you ever think you'd become addicted? (Text 13: Courtney) So Embedding is a way of directing the focus of the issue, a way for the participant to take the lead of the discourse. Thus highlighting what is arguable and what is not arguable. This is further proven by the fact that the issue of the majority of these advertisements is not whether smoking is bad for your health, but rather whether people should smoke or not, or whether children should have access to cigarettes.

4.3.3 Mood As mentioned before the majority of the clauses are Finite and therefore present the Mood element of the clause; the selection of the Mood implies a clear distinction in speech roles between participants and a better definition of the kind of relationship sought with the audience. Mood implies not only the presence of Subject and Finite and a choice in terms of Polarity and possibly Modality but also the chance of arguing the statement being exchanged (Halliday, 1994: 75). Table 4.9 reports the findings of the Mood distribution; finite clauses are more than the sum of the mood elements due to the fact that single dependent clauses linked with hypotaxis do not select mood, but rather the whole clause complex (that can link up to 3 clauses) selects a single Mood.

103

Mood 308

350 300 250 200 Frequency 150 100 50 0

30 $A

32 $I

15 $P

1 $E

Type of Mood

Figure 4.9: Mood distribution

Assertive Declarative is the most used mood type (79,8%), followed by Imperative

(8,3%),

WH-interrogative

(7,8%)

and

Polar

interrogative

(3,9%); like in Turrisendo (2004), Exclamative is the least selected mood, featuring only one case in the whole corpus. It is interesting to note that within the Assertive Declarative mood and therefore within the exchange of information, there is a wide range of subjects moving within different level of social and personal proximity (a, b, c, d). The same does not apply to Imperative, both positive or negative, which is used exclusively as a command to take action addressed to the audience. It never suggests

“let’s” but rather tells the audience (you) to

make their choice individually (e, f, g).

a) It's nothing personal. (Text 12: Conscience) b) 3,000 kids get hooked everyday. (Text 29: Morph) c) I wish I could quit. (Text 13: Courtney) d) We're trying to get her [to stop.] (Text 28: Monica) e) Don’t ever smoke. (Text 19: Hooked too quick) f) Question it. (Text 40: Teeth) g) Reject all tobacco. (Text 46: X-ray goggles)

104

4.3.4 Conjunction In his book Cook (1992: 154) reports a very limited use of conjunction in advertisements, whereas in our ATAC we find 49 instances of conjunctions, creating cohesion at the intersentence level. The fairly high clause complexity and density, together with the high number of word tokens, probably explains the presence of conjunctions in linking sentences, already consisting of various clauses. Conjunction

Description

Frequency

And

Additive

Causal

Conversational filler

But

Adversative

Causal-conditional

When

Temporal

Because â&#x20AC;&#x201C; â&#x20AC;&#x2DC;cause

Causal

Sometimes

Temporal

No wonder

Well

Conversational filler

Now

Temporal

Additive

Plus

Additive

Even

Additive

Then

Causal

Okay

Conversational filler

Before

Temporal

Table 4.9: Conjunction use.

We find a wide range of conjunctions, the most frequent are the Additive And (a), So used both as Causal conjunction (b) and as Continuative conversational filler (c), Adversative But (d) and Causal-conditional If (e) a) This is how the guys who make cigarettes want you to see them. And this is how they see you: they figure you're young so you're dumb and easy to influence. (Text 08: Cattle) b) But then we read somewhere...This really did it...about how cigarette smoke gets, like, into your skin and causes permanent wrinkles. So we told her. (Text 28: Monica)

105

c) So, what are you going to get? (Text 25: Make it harder) d) Now I have spots on my lungs. If I don't quit smoking they can turn to cancer. (Text 39: Still can’t quit)

4.3.5 Ending phase Phases have been thoroughly analysed in Chapter 3 from the multimodal perspective and the application of MCA. Here I will consider only some of the language-only aspects of some items found consistently within the ending phase and subphase. In the ending phase/subphase there are several items occurring consistently though not always and in different combinations. Unlike Turrisendo (2004), who found almost as a constant the presence of a slogan in the ending phase often characterized by a Non-finite nominal, the ATAC does not feature anything so consistent. The most often occurring elements in the ending phases are the following: a) Websites and telephone numbers (where to find further information and documentation) b) Logos c) Name of the campaign d) Institution sponsoring the campaign e) Slogans It is interesting to note that, unlike commercial advertisements, the above-mentioned elements or functions are sometimes difficult to identify as they often occur in a mixed manner. Unlike commercial advertisements the name of the campaign is often presented in the advertisement, becoming in some cases the slogan, and assuring continuity and cohesion between slogans and waves of the same campaigns. An extraordinary case is “The truth®18” campaign which copyrighted the campaign name making it 18

http://www.thetruth.com

106

their slogan and their logo, which has become a publicly recognized logo. As far as the other ending elements of the advertisements we would probably need to consider all the advertisements of the same campaign and of the same wave in order to understand whether a clause is intended as slogan, as a “catchy” sentence or if it is the name of the campaign. What it is important to remember is that all elements in the corpus have been treated as items in our language-only analysis (Table 4.3).

4.3.5.1 Websites and telephone numbers The ATAC contains 10 websites and 5 telephone numbers, all of them in the ending phase and subphase. These have been treated like text, and hence have been considered in our language-only analysis (Table 4.3). This choice was determined by the fact that, as can be seen in Table 4.10, the websites in the ATAC have full “linguistic dignity”. They consist of Finite clauses (2, 3, 7), Clause complex (4), Adjuncts in clauses (1), Nonfinite clauses (6) or Non-finite nominal clauses, (5). In addition, many American telephone numbers for public use are often “spelled” in letters for mnemonic and advertising purposes. These appear as acronyms (8, Center Disease Control), Non-finite nominal clauses (9), or full Finite clauses (10) .

Text name

Preceding

1. Text 01: Aanron

DOCUMENTS [[ARE]] AVAILABLE AT 18-year-old smokers have 50 year-old lungs. Question it Smoking is ugly

2. Text 03: Barber 3. Text 10: Cities 4. Text 24: Lick 5. Text 31: Older than dead 6. Text 33: Relaxed as can be

Telephone numbers or web sites TMVOICE.COM

Following

Questionit.com

www.smokingisugly.com

{Y?}

{ydouthink.com}

It’s the truth. It’s an outrage.

Outrageavenue.com

Tobacco smokes you.

UnfilteredTv.com

Isn’t smoking just as disgusting?

107

7. Text 46: X-ray goggles 8. Text 09: Christy Turlington 9. Text 19: Hooked too quick 10. Text 42: Unthikable

{R.A.T.} Reject all tobacco!

www.gorat.com

He stopped December 19 96, just six months before he died from lung cancer. [Do you] Want to quit? [Call]

1-800-CDC-1311

If you see a vending machine or a cashier [selling cigarettes to kids], call

[1-800-5-ASK-4-ID]

1-800-NO-BUTTS

Take it from Terrance, you better tell somebody

Brought to you by the San Francisco Department of public health Tobacco free project And together, we'll stop it.

Table 4.11: How websites and telephone numbers are combined within the clause sequence.

As can be seen from the Table 4.10, it is hard to find a generalized pattern in the websites or telephone number use. Websites and telephone numbers tell the audience where to find more information, they also function as slogan, slogan repetition, or slogan complementation. Websites are never verbalised whereas telephone numbers often are. Websites, telephone numbers, slogans and logos are found only in the ending phase/subphase but none of these elements, individually or combined are present in all advertisements or within a specific consistent pattern. The only exception in the position of logos are two advertisements from “The truth®19” campaign, which use the heading “The truth” as title of the advertisement.

http://www.thetruth.com

108

4.3.5.2 Slogans Parameter

Brief Description

Text 20 I dont want to die: all phases 06 Slogan: oral Text 20 I dont want to die: YES: and written Every cigarette does damage. Text 31 Older than dead: all phases 06 Slogan: Text 31 Older than dead: YES: written It's the truth. It's an outrage. Aanron: phase 2 06 Slogan: Text 01 Aanron: YES: YOU written TARGET US, WE TARGET YOU. Attractiveness: phase 1 06 Slogan: Text 02 Attractiveness YES: written Smoking what’s to like? Barber: phase 1 Text 03 Barber: YES: You wouldn't want their haircut. 06 Slogan: oral Why would you want their lungs? Basketball: phase 1 Text 04 Basketball: YES: Tobacco, 06 Slogan: tumor causing, teeth staining, written smelly, puking, stinking habit. Bowl Cleaner: phase 1 Text 05 Bowl Cleaner: YES: Go 06 Slogan: oral ahead, smoke away. Cattle: phase 1 TEXT 08 Cattle: YES: The 06 Slogan: oral tobacco industry. If you knew and written [what they thought,] you'd think twice. Cities: phase 1 06 Slogan: oral TEXT 10 Cities: YES: and written www.smokingisugly.com Doesnt kill: phase 1 Text 16 Doesn't Kill: YES: Tobacco, tumor causing, teeth 06 Slogan: oral staining, smelly, puking, stinking habit. Hooked Too Quick: phase 2 19 Hooked too quick: YES: Every 06 Slogan: cigarette does damage. [[Do you]] written Want to quit? [[Call]] 1-800-NO-BUTTS

Parameter

Brief Description

I dont want to die: phase 2 Text 20 I dont want to die: 06 Slogan: oral YES: Every cigarette does and written damage. Lick: phase 1 Text 24 Lick: YES: Isn’t 06 Slogan: oral smoking just as disgusting? Mohamed: phase 2 Text 27 Mohamed: YES: You 06 Slogan: written target us, we target you. Morph: phase 4 06 Slogan: oral Text 29 Morph: YES: It's time and written [we made smoking history.] Mosh pit: phase 1 Text 30 Mosh pit: YES: 06 Slogan: oral Tobacco, Tumor-Causing, and written Teeth-Staining, Smelly, Puking, Habit. Recovery Time: phase 1 Text 32 Recovery Times: YES: 06 Slogan: written Tobacco, tumor causing, teeth staining, smelly, puking, habit. Relaxed as can be: phase 1 Text 33 Relaxed as can be: 06 Slogan: written YES: It's the truth. It's an outrage. Runner: phase 1 Text 34 Runner: YES: Tobacco, 06 Slogan: written Tumor causing, teeth staining, smelly, puking habit. Stamina: phase 1 Text 37 Stamina: YES: You 06 Slogan: written smoke you chocke. What if a boy: phase 1 Text 44 What if a boy: YES: 06 Slogan: written Tobacco smokes you What if a girl: phase 1 Text 45 What if a girl: YES: 06 Slogan: written Tobacco smokes you.

Table 4.12: MCA search parameters: “3822. 06 Slogan: oral” or “06 Slogan: oral and written” or “3823. 06 Slogan: written”.

Slogans or “catchy” sentences are present in less than half of the advertisements (Table 4.11, 22 occurrences). This is a result quite in contrast with Taylor Torsello and Baldry (2005: 326) who, talking about business advertisements, state “slogans can probably be considered an obligatory element in this genre”. In the ATAC slogans come in various forms: Paratactical clause complexes (a), Imperative clauses (b) Polar interrogative (c), Little text (d) and Non-finite clauses (e).

109

a) You target us, we target you. (Text 01: Aanron) b) Question it (Text 03: Barber) c) Isn’t smoking just as disgusting? (Text 24: Lick) d) Tobacco, tumor causing, teeth staining, smelly, puking, stinking habit. (Text 32: Recovery time) e) Truth lab tested. (Text 18: Glowing rat) The presence of a slogan or catchy sentence correlates with the requirement to maintain the advertisement’s pace and “style” cohesively with the rest of the advertisement metafunctional realisations. Hence it is easier to find a slogan in advertisements that feature Dialogue or One-sided dialogue rather than those featuring a single person reporting his or her personal experience (Confession). In this case it is more likely to have a written slogan from “outside” rather than having the interlocutor switching to another “role”, switching from “sharing personal experience” to “giving advice”. Again, apart from the general observations on potential patterns of multimodal realization selection found in Chapter 3, it is hard to make general observations about slogans in language-only terms, since it is quite hard to actually understand if a sentence is a slogan, or if it is intended as a sentence simply used as an ending and provocative sentence. There seems to be strong cohesion in terms of structure, not only in the ending

phase

but

also

the

whole

and

among

advertisements of the same campaign and wave. However it is hard to find common patterns among the different advertisements of our corpus (coming from various campaigns). MCA has proven to be a very useful tool allowing the test of a countless number of combinations and hypotheses among the selection of different realizations both from the Multimodal Grammar (Table 3.1) and the Language-only Grammar (Table 4.4). In this direction further results can be obtained, possibly enlarging the corpus and refining our parameters.

110

Conclusions In this research the ATAC has gone through two kinds of investigations. The first is concerned with the multimodal metafunctional realization of our advertisements following Baldryâ&#x20AC;&#x2122;s Multimodal Corpus Linguistics directions (Baldry and Thibault, 2001), and another, complementing it, concerned with the

language-only

resources

deployed

the

corpus,

applying

the

framework of Systemic Functional Grammar (Halliday, 1994). In order to do this, two tagging systems have been adopted: one proposed by Taylor Torsello20, for the tagging of functional elements in language-only text, and another whose guidelines have been given by Baldry and Thibault (2001) and Thibault (2000), and before them by Kress and Van Leeuwen (1996) suggesting which features to observe in order to determine and classify multimodal metafunctional realizations. The combination of these two approaches, and the results coming from them have been complemented by MCA, an instrument able to classify systematically multimodal data. This can allow the researcher to easily formulate and test hypotheses at the corpus and cross-corpora level as well as enlarging or restrict his/her focus in terms of micro- and macro-analyses. One more opportunity offered by MCA is the chance of putting on-line, but also in-line, different projects facilitating comparison from which research can only benefit. In this sense the research is only a very small attempt to explore and classify some of the features of the subgenre of social advertising or better of the sub-subgenre of anti-tobacco advertising. Though in its infancy, this research could complement the present on-going inter-university activities involved in Multimodal Corpus studies. It could provide useful hints in the analysis and in the definition of specific corpora such as car advertisements

or drink advertisements, already present in

MCA.

(Taylor Torsello, Carol, Padova) Tagging Systemically http://claweb.cla.unipd.it/citatal/documenti/padova/Tags%20for%20systemic%20analyses.doc

111

This research has strongly benefited from the on-going research context still developing at the University of Padua in co-operation with other universities, around multimodal linguistic corpora and its application for didactic purposes (Taylor Torsello and Baldry, 2005) Though not quantitatively representative, I believe one of the main findings of this research has been to highlight a significant number of metafunctional realizations, both under the language-only perspective and the multimodal perspective. These findings can help discerning the genre of social advertising from business advertising, and again all corpora can benefit from the classification or definition of one single corpus. At this stage of the research, aspects which could be referred to as a tendency in co-occurrence could become, by adding more texts and more delicate parameters in the grammar, a pattern or a selection of patterns identifying, Hasan’s (1989) “contextual configuration” for social advertising. With further research this could possibly be the first distinction to be made under

the

heading

advertisements,

distinction

made

both

consideration of the context of situation, influencing the social semiotic selections (Lemke, 2002) involved, and the multimodal and metafunctional realization that this comprises. The ATAC features some consistent tendencies in the selection or nonselection of certain multimodal realizations. Under the language-only perspective it has shown some consistent realizations in terms of clause complex use, in terms of lexical density and grammar intricacy, which significantly differ from Turrisendo’s (2004 ) findings. In terms of structure we also notice some differences with Taylor Torsello and Baldry’s (2005: 326) assumptions on the presence of slogans in television business advertisements. Overall it has been noted a degree of interdependency between

the selection of certain participants and other multimodal

realization , Experientially, Interpersonally and Textually. MCA’s approach, both corpus-based and web-based (Taylor Torsello and Baldry, 2005: 325), has allowed the testing and partial confirmation of a personal hypothesis concerned with the metafunctional contribution in the creation of an appealing smoke-free role model. The research has shown

112

that multimodal metafunctional realizations contribute to the negative depiction and identification of smokers and that a good part of the metafunctional and multimodal realizations stereotypically attributed to smokers

are

turned

non-smokers.

Interestingly

non-smokers

antismoking advertisements do not assimilate all typical features of smokers in tobacco advertisements. They take some features, especially in experiential realizations, and add new interpersonal realizations (different gaze, colour saturation, participant dressing style), hence creating a new kind of relationship with the viewer and giving life to a brand new role model and not simply a subverted copy. Again, due to the size of the Anti-Tobacco Ads Corpus, these differences probably cannot be considered representative but they can give useful hints in the definition of advertising as a genre, and in the definition of the range of multimodal realizations it selects. MCA has proven to be a very useful tool for research and analysis purposes. The software is under constant update, and it is hoped that future technological progress will allow faster and multiple data uploading, granting accessibility and â&#x20AC;&#x153;operabilityâ&#x20AC;? also to less modern computers and internet lines. More research, both quantitatively and qualitatively, is required in order to investigate the meaning-making resources deployed in social advertising, possibly combining a multimodal corpus linguistics approach to a sociocultural approach, linking therefore a text to its other meaning-making component: context.

113

114

References Andreasen A.R. (1995). Marketing social change: changing behaviour to promote health, social development, and the environment. San Francisco: JosseyBass. Baldry, A. P. (2000a). “Introduction”. In Baldry, A. P. (ed.), Multimodality and Multimediality in the Distance Learning Age, 11-39. Campobasso: Palladino. Baldry, A. P. (2000b). “English in a visual society: comparative and historical dimensions in multimodality and multimediality”. In Baldry, A. P. (ed.), Multimodality and Multimediality in the Distance Learning Age, 41-89. Campobasso. Palladino. Baldry, A. P. and Thibault P. (2001). “Towards Multimodal Corpora”. In Aston, G. and Burnard, L., eds., Corpora in the description and teaching of English, 87-102. Bologna: CLUEB. Baldry, A.P. (2004). “Phase and transition, type and instance: patterns in media texts as seen through a multimodal concordancer”. In Kay O’Halloran (ed) Multimodal Discourse Analysis, 83-108. London and New York: Continuum. Baldry, A.P. and Beltrami, M. (2005). “The MCA Project: concepts and tools in multimodal corpus linguistics”. In M. A. Asplund Carlsson, A. Løvland and G. Malgren (eds.). Multimodality: Text , Culture and Use: Proceedings of the Second International Conference on Multimodality, 79-108. Kristiansand: Agder University College/Norwegian Academic Press. Baldry A.P., Thibault, P.J. (2005). Multimodal Transcription and Text Analysis, London and New York, Equinox.

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Software and Internet links MCA â&#x20AC;&#x201C; Multimodal Corpus Authoring System, version 3.4.7.7, Baldry, A.P. et al., 2002. University of Pavia, Italy. Url: http://mca.unipv.it Taylor Torsello, Carol, Tagging Systemically http://claweb.cla.unipd.it/citatal/documenti/padova/Tags%20for%20system ic%20analyses.doc CITATAL project: http://claweb.cla.unipd.it/citatal/ LINGUATEL project: http://claweb.cla.unipd.it/linguatel/ DIDACTAS project: http://www.units.it/~didactas/ Anti-tobacco advertisements database: http://www.cdc.gov/tobacco/mcrc Tobacco advertising gallery: http://tobaccofreekids.org/adgallery The truth campaign: http://www.thetruth.com Implementation Of Proposition 99: 1994-1995 and 1995-1996 Fiscal Years: Assembly Bill 816 http://www.ucsf.edu/campus/schmed/ihps/Prop99.html Master Settlement Agreement (November 23 1998) http://caag.state.ca.us/tobacco/pdf/1msa.pdf Attorney General Bill Lockyer Announces California Will Receive Previously Withheld Tobacco Payment, States Prevail in Dispute with Brown & Williamson Over $200 Million (April 5, 2002) http://caag.state.ca.us/newsalerts/2002/02-035.htm

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Windows Movie Maker http://www.microsoft.com/windowsxp/downloads/updates/moviemaker2.m spx Definition of Diegetic sound: http://www.filmsound.org/terminology/diegetic.htm Definition of Non-diegetic sound: http://www.filmsound.org/terminology/diegetic.htm#nondiegetic

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