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Visual Semiotics: a Study of Images in Japanese Advertisements

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Visual Semiotics: a Study of Images in Japanese Advertisements VISUAL SEMIOTICS: A STUDY OF IMAGES IN JAPANESE ADVERTISEMENTS RUMIKO OYAMA THESIS SUBMIITED TO THE UNIVERSITY OF LONDON iN FULFILMENT OF THE REQUIREMENTS OF THE DEGREE OF DOCTOR OF PHILOSOPHY INSTITUTE OF EDUCATION UNIVERSITY OF LONDON NOVEMBER 1998 BIL LONDON U ABSTRACT 14 ACKNOWLEDGEMENTS 15 Chapter 1 INTRODUCTION 16 1.1 THE PURPOSE OF THE RESEARCH 16 1.2 DEVELOPMENT OF RESEARCH INTERESTS 16 1.3 LANGUAGE VERSUS VISUALS AS A SEMIOTIC MODE 20 1.4 THE ASPECT OF VISUAL SEMIOTICS TO BE FOCUSED ON: Lexis versus Syntax 23 1.5 CULTURAL VALUE SYSTEMS IN VISUAL SYNTAX: A challenge to the notion of universality 24 Chapter Ii THEORETICAL FRAMEWORK 26 2.1 INTRODUCTION 26 2.2 LITERATURE SURVEY ON STUDIES OF IMAGES 27 2.2.1 What is an image? 27 2.2.2 Art history/Art theories 29 2.2.3 Sociological approaches to visual images 36 2.2.4 Cultural approaches to visual images 44 2.2.4.1 Visual images as cultural products 45 2.2.4.2 Visual images from linguistic perspectives 50 2.2.5 Semiotic approaches to visual images 54 2.2.5.1 Saussure, Barthes (traditional semiology I semiotics) 54 2.2.5.2 Film semiotics 59 2 2.2.5.3 Social Semiotics 61 2.2.6 Reflection on the literature survey 66 2.3 A THEORY FOR A SEMIOTIC ANALYSIS OF THE VISUAL 71 2.3.1 Visual semiotics and the three metafunctions 72 2.3.1.1 The Ideational melafunction 73 2.3.1.2 The Textual metafunction 75 2.3.1.3 The Interpersonal metafunction 78 2.4 VERBAL TEXT IN VISUAL COMPOSITION: Critical Discourse Analysis 80 23 INTEGRATED APPROACH FOR A MULTI-MODAL ANALYSIS OF VISUAL AND VERBAL TEXTUAL OBJECTS 84 2.6 CONCLUSION 91 Chapter III METHODOLOGY 93 3.1 INTRODUCTION 93 3.2 DATA 93 3.2.1 Why use advertisement? 94 3.2.2 Type of advertisements used in the thesis 96 97 3.2.3 The range ofprinted advertisements used 3.2.3.1 Textual sources 97 3.2.3.1.1 Newspapers 3.2.3.1.2 Women's magazines -Japanese -British 3.2.3.1.3 Magazines for the general reader -Japanese -British 3.2.3.1.4 Other sources 3 3.2.3.2 Types of commodities advertised 103 3.3 THEORY iN USE 105 3.3.1 Key descriptive/analytic concepts and terms 107 3.3.1.1 Text and discourse 107 3.3.1.2 Types ofparticipants 107 3.3.1.3 Visual lexis/ Visual syntax 109 3.3.2 Descriptive categories for visual semiosis 109 3.3.2.1 Visual Lexis: what/who is depicted in the text (the Ideational metafunction) 110 3.3.2.2 Visual Syntax: transitivity relations of represented participants (the Ideational metafunction) 111 3.3.2.3 Visual Syntax: the positioning of represented participants in the texts (the Textual metafunction) 112 3.3.2.3.1 Left/Right 3.3.2.3.2 Top/Bottom 3.3.2.3.3 Centre/Margins 3.3.2.3.4 Salience 3.3.2.4 Visual Syntax: how represented participants interact with the viewer (the Interpersonal metafunction) 115 3.3.2.4.1 The system of Contact 3.3.2.4.2 The system of Social Distance 3.3.2.4.3 The system of Attitude 3.3.2.4.4 Use of Colour 3.3.2.4.5 Contextualisation 3.3.3 Integrated theory for the visual and the verbal modes of semiosis 121 3.4 A SCHEMA FOR TEXTUAL ANALYSIS 124 Chapter IV VISUAL LEXIS: Ideational Function of Represented Participants 126 4.1 INTRODUCTION 126 4 4.2 THE REPRESENTATION OF 'BRITISHNESS' AND 'WESTERNESS' IN JAPANESE ADVERTISEMENTS 127 4.2.1 'Britishness' 128 4.2.1.1 Represented participants 128 4.2.1.2 Visual lexis that represent 'Britishness' 128 4.2.2 'Weslerness' in general 130 4.2.2.1 Represented participants 130 4.2.2.2 Visual lexis that represents 'Westerness' in general 131 4.3 THE REPRESENTATION OF 'JAPANESENESS' IN JAPANESE ADVERTISEMENTS IN BRITAIN 134 4.3.1 'Japaneseness' and cultural stereotypes 135 4.3.1.1 Human represented participants 135 4.3.1.2 Non-human represented participants 135 4.3.1.3 Verbal represented participants 136 4.3.2 'Japaneseness' in the aesthetic domain 137 4.3.2.1 Represented participants 137 4.3.2.2 Verbal elements as visual lexis that represents 'Japaneseness' 138 4.4 CONCLUSION 140 Chapter V VISUAL SYNTAX 1: Directionality and Use of Space 145 5.1 INTRODUCTION 145 5.2 WRITING SYSTEMS 147 5.3 DIRECTIONALITY: The Ideational Metafunction 150 5.3.1 Inherent directionality 151 5.3.2 Vectorial directionality 154 5.3.2.1 Forward (positive) directionality in Japanese advertisements 155 5 5.3.2.2 Forward (positive) directionality in British advertisements 156 5.3.3 Summary 157 5.4 USE OF SPACE: The Textual Metafunction 159 5.4.1 Left/Right 162 5.4.1.1 Left/Right as temporal sequence 162 5.4.1.2 Left/Right and the degree of salience 164 5.4.1.3 Left/Right as distribution of knowledge 165 5.4.1.4 Left/Right and scriptorial visual directionality 168 5.4.2 Top/Bottom 169 5.4.2.1 Top/Bottom as Abstractness/Spec jficness 170 5.4.2.2 Top/Bottom as PotentiaL' Reality 170 5.4.2.3 Top/Bottom as Positive/Negative 171 5.4.3 Centre/Margins 172 5.4.3.1 Vertical centrality 173 5.4.3.1.1 Human participants and images of products 5.4.3.1.2 Images of products 5.4.3.1.3 Balance created by Vertical centrality 5.4.3.2 Circular centrality 176 5.4.3.2.1 Circular images in the domain of Centre 5.4.3.2.2 Empty centrality 5.4.3.2.3 Balance created by Circular centrality 5.4.4 Summary 181 5.5 CONCLUSION 183 Chapter VI VISUAL SYNTAX 2: Social Interactions 185 6.1 INTRODUCTION 185 6.2 INTERPERSONAL MEANING IN JAPANESE ADVERTISEMENTS 186 6 6.2.1 TextualAnalysis 187 6.2.1.1 Interpersonal meaning making through human participants 187 6.2.1.1.1 The system of Contact. Social Distance and Attitude in three beverage advertisements 6.2.1.1.2 The system of Contact. Social Distance and Attitude in a campaign for wedding services 6.2.1.2 Interpersonal meaning making through non-human participants 194 6.2.1.2.1 The system of Contact 6.2.1.2.2 The system of Attitude 6.2.1.3 Use of colour and Contextualisation 199 6.2.1.3.1 Beverage advertisements 6.2.1.3.2 Car advertisements 6.2.2 Summa,y 203 6.3 INTERPERSONAL MEANING MAKING ACROSS CULTURES: A COMPARISON OF JAPAN AND BRITAIN 205 6.3.1 TextualAnalysis 206 Example 1 Organics Example 2 De Beers Diamond Ring 6.3.1.1 Human represented participants 206 6.3.1.1.1 The system of Contact 6.3.1.1.2 The system of Social Distance 6.3.1.1.3 The system of Attitude 6.3.1.2 Non-human represented participants 212 6.3.1.2.1 The system of Contact 6.3.1.2.2 The system of Social Distance 6.3.1.2.3 The system of Attitude 6.3.1.3 Use of Colour and Contextualisation 215 6.3.1.3.1 Use of Colour 6.3.1.3.2 Contextualisation 6.3.2 Summary 218 6.4 CONCLUSION 220 7 Chapter VII INTEGRATED ANALYSIS OF VISUAL LEXIS AND VISUAL SYNTAX 222 7.1 INTRODUCTION 222 7.2 THE REPRESENTATION OF 'BRITISHNESS' AND 'WESTERNESS' IN JAPANESE ADVERTISEMENTS 222 7.2.1 'Britishness' 223 7.2.1.1 Visual directionality: the Ideational metafunction 223 7.2.1.2 Use of space: the Textual metafunction 224 7.2.1.3 Social interactions: the Interpersonal metafunction 225 7.2.2 'Westerness' in general 227 7.2.2.1 Visual directionality: the Ideational metafunction 227 7.2.2.2 Use of space: the Textual metafunction 228 7.2.2.3 Social interactions: the Interpersonal metafunction 230 7.3 THE REPRESENTATION OF 'JAPANESENESS' IN JAPANESE ADVERTISEMENTS IN BRITAIN 231 7.3.1 Revisiting Figure 4-4: Kirin Lager Beer advertisement 232 7.3.1.1 Visual directionality: the Ideational metafunction 232 7.3.1.2 Use of space: the Textual metafunction 233 7.3.1.3 Social interactions: the Interpersonal ,netafunction 234 7.3.2 Revisiting Figure 4-7: Asahi Super Dry Beer advertisement 236 7.3.2.1 Visual directionality: the Ideational metafunction 236 7.3.2.2 Use of space: the Textual metafunction 237 7.4 CONCLUSION 239 8 Chapter VIII INTEGRATED ANALYSIS OF THE VISUAL AND VERBAL ASPECTS OF TEXTUAL OBJECTS/ADVERTISEMENTS 242 8.1 INTRODUCTION 242 8.2 FUNCTIONAL LOADS OF THE ViSUAL AND THE VERBAL MODES AND TEXTUAL INTEGRATION 242 8.2.1 Simply structured examples 242 8.2.1.1 The isotype 244 8.2.1.2 Advertisements 245 8.2.2 Functional loads in dfferent textual composite types 249 8.2.2.1 Left/Right 249 8.2.2.2 Top/Bottom 256 8.2.2.3 Centre/Margins 263 8.3 FUNCTIONAL LOADS OF THE VISUAL AND THE VERBAL MODES IN A CROSS-CULTURAL SEMIOTIC PERSPECTIVE 266 8.3.1 Textual analysis 267 8.3.1.1 De Beers Diamond Ring advertisement 267 8.3.1.2 Cup soup advertisements 276 8.3.1.3 Pain killers advertisements 280 8.4 CONCLUSION 284 Chapter IX FURTHER DIRECTIONS FOR VISUAL SEMIOTICS 286 BIBLIOGRAPHY 292 9 LIST OF FIGURES Figure 2-1 Tree diagram of 'Images' (Mitchell 1986:10) Figure 2-2 The Dimensions of Visual Space in Western Visual Semiotic Figure 2-3 Interactive meanings (Kress and van Leeuwen 1996:154) Figure 3-1 Sources of Data Figure 3-2 Types of commodities advertised in data Figure 3-3 Represented participants Figure 3-4 Descriptive categories for the analysis of visual semiotics Figure 3-5 Descriptive categories for functional loads of the visual and verbal modes Figure 4-1 Laceby Hall Tea Figure 4-2 Toshimaen, Tokyo Figure 4-3 The system of signification in Figure 4-2 Figure 4-4 Kirin Lager Beer Figure 4-5 Kirin Lager Beer Figure 4-6 Kirin Lager Beer Figure 4-7 Asahi Super Dry Beer Figure 4-8 The system of signification m Figure 4-7 Figure 4-9 The signifier of "Japaneseness" Figure 5-1 Types of Visual Directionality Figure 5-2 Isotype "Exit" (Japanese) Figure 5-3 Isotype "Exit" (British) Figure 5-4 photo data (on the pillar) 10 Figure 5-5 photo data "watch your step" Figure 5-6 photo data "No parking" Figure 5-7 University of London Union Student Guidebook 1996 Figure 5-8 Narita Express Figure 5-9 Keikyu Department Store opening campaign Figure 5-10 Sumitomo Bank Figure 5-11 Evening Standard Figure 5-12 Evening Standard Figure 5-13 Underlying spatial semiotic systems
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