Parsing the Australian English curriculum: grammar, multimodality and cross-cultural texts.
Exley, Beryl ; Mills, Kathy A.
During the intense period of uncertainty about the linguistic
traditions that would inform The Australian Curriculum: English (ACARA,
2012), two journalists entered into the dialogue. Their separate
accounts serve as evidence of some of the viewpoints on offer.
Dubosarsky (2010), a Herald-Sun reporter and author of grammar books for
students claimed: 'Now, 40 years on, with the National Curriculum,
it looks as if formally taught grammar is coming back into
fashion'. She notes that 'several fascinating and dramatic new
theories of grammar have been developed in the linguistics departments
of universities. But you have to start somewhere and for children, a
perfectly reasonable starting point, I think, is what is known as
traditional grammar ...' Dubosarsky (2010) recounted her own
schooling experiences in the 1970s:
[W]e had grammar lessons every week, dividing sentences up into
subjects and objects, clauses and tenses ... It was like doing ...
mental arithmetic exercises every morning; not exciting perhaps,
just a simple matter of gaining knowledge to build on in later life
...
A second journalist and former secondary school teacher, Harrison
(2010), advised that The Australian Curriculum: English would be
adopting a systemic functional approach, but claimed that it
'should not be mandated in the curriculum' on the basis that
'traditional grammar is more than adequate for students to discuss
language and apply the resulting insights in their own texts'.
The tensions within and between these viewpoints that set forms of
grammar apart from each other are typical of those Christie (2010)
recounts in her chapter entitled The 'Grammar Wars' in
Australia. Historically, traditional grammar provides the most widely
known grammatical terms to describe the syntax of formal written and
spoken language (Kress, 1993). These include the parts of speech (e.g.
noun, verb, conjunctions, prepositions and so on), subject and
predicate, tenses, and other terms for classifying word usage within
sentences. Traditional grammar has 'historically been based on
normative rules and the standards of edited English, those traditions,
which appeared to promote one correct way for every rule .' for
formal written and spoken language (Hancock & Kolln, 2010, p. 28).
Although Dubosarsky (2010) and Harrison (2010) separately claim that
traditional grammar and its focus on form is more than adequate, Clark
(2010, p. 47) draws on empirical research to argue that one of the most
'tenacious shibboleths of governmental educational policy and
thinking is that teaching pupils [traditional] grammar will of itself
result in improved writing'.
While acknowledging the importance of traditional grammar, Cope and
Kalantzis (1993, p. 4) similarly counter: 'there is a time and a
place for many of the usages that traditional grammar deemed
incorrect'. For example, there are many informal social contexts of
language use where formal written and spoken English may not achieve the
intended purpose, such as when indicating solidarity or intimacy between
members of a group. Furthermore, traditional grammar is limited to
describing the linguistic elements of written and spoken texts,
typically excluding visual, audio, spatial and gestural modes that
frequently modify the meaning of words in texts (Lemke, 1998).
In contrast, systemic functional linguistics (SFL) emphasises the
cultural and social dimensions of texts (Halliday & Matthiessen,
2004). This model considers how language varies within the context of
culture--the social practices of genre--and the context of
situation--the variables of register--(see Derewianka, this issue). Its
underpinning theory enables the identification of three kinds of
meanings (called metafunctions): ideational metafunctions that build
subject matter or field; interpersonal metafunctions that construe roles
and relationships through tenor; and textual metafunctions that
construct the mode or flow of a text (Halliday & Matthiessen, 2004).
In written and spoken language, clauses simultaneously express these
three aspects of meaning. The three metafunctions can also be used as a
framework for examining the meaning making potential of visual, spatial
and gestural text (van Leeuwen, 2003). They too are socially constructed
forms of representation and communication that can be 'read'
for meaning (Economou, 2009; Fox & Exley, 2009: Mills, 2011).
Undertaking a metafunctional analysis of multimodal text is complex.
This is because ideational, interpersonal and textual meanings intersect
across the modes; they unfold simultaneously, whilst each contributes
different structures to a text (Economou, 2009). From a functional
perspective, what is most interesting is how specific linguistic,
visual, audio, spatial and gestural text features are interwoven for
particular social and cultural contexts (Lee, 2008; Exley, 2010). This
latter approach offers the 'possibility of understanding
language-in-culture and language-in-society', highlighting language
forms that 'reveal matters of cultural and social significance,
difference and relevance' (Kress, 1993, p. 23).
Although Dubosarsky (2010) and Harrison (2010) set forms of grammar
apart from each other, The Australian Curriculum: English foregrounds a
significantly different approach. In the next section, we identify
statements from the new Curriculum to clear up any misconceptions about
the inherent linguistic traditions. We then demonstrate the
possibilities of this new approach by undertaking a textual analysis to
address selected Year Six Curriculum outcomes. We do so by comparing
online Coca-Cola advertisements from South Korea and Australia.
Grammar in The Australian Curriculum: English: A new approach to
describing how language works
In this section, we demonstrate how The Australian Curriculum:
English (ACARA, 2012) offers a new approach to building students'
developing knowledge about language. The Curriculum construes
traditional and functional grammars as more than complementary; it
reorientates the role of grammar by combining a selected traditional
nomenclature through a functional approach to highlight the dynamic
forms and functions of multimodal language in texts. In the first
instance, we turn to the following statement, taken directly from the
Strand 'Language: Knowing about the English language':
English uses standard grammatical terminology within a contextual
framework, in which language choices are seen to vary according to the
topics at hand, the nature and proximity of the relationships between
the language users, and the modalities or channels of communication
available (ACARA, 2012, p. 7).
This statement explicates that 'English uses standard
grammatical terminology', indicating a role for traditional grammar
terminology. The statement also acknowledges SFL theory in its claim
that 'language choices are seen to vary' according to the
'relationship between the language users' and
'modalities' of communication (ACARA, 2012, p. 7). Figure 1
further demonstrates the new approach to grammatical form and function
in the Australian English curriculum.
[FIGURE 1 OMITTED]
This annotation draws attention to three systems of meaning from
SFL: field, tenor, and mode. An understanding of genre is noted with the
reference to a 'contextual framework' (ACARA, 2012, p. 7). The
'topics at hand' concern the field or subject matter of the
text. The 'relationships between the language users' is a
description of tenor. There is direct reference to
'modalities' or channels of communication, such as spoken or
written language. In SFL theory, field, tenor and mode work together to
influence register.
Further evidence of the innovative weaving of traditional and
functional grammar is located in the glossary of the curriculum where
'language features' are defined as:
... the features of language that support meaning, e.g. sentence
structure, vocabulary, illustrations, diagrams, graphics, punctuation,
figurative language. Choices in language features and text structures
together define a type of text and shape its meaning. These choices vary
according to the purpose of a text, its subject matter, audience and
mode or medium of production. (ACARA, 2012, p. 106)
This definition of language features highlights the new approach to
grammar as a study of form and function. The form of sentence structures
is a focus of traditional grammar, while language choices for expressing
and connecting ideas are expressed through a functional approach. The
following section offers a practical demonstration of how this new
orientation can be deployed to achieve three learning outcomes of the
curriculum to build students' knowledge about language.
The new orientation: the relationship between form and function
In this practical demonstration of the enactment of three learning
outcomes from the English Curriculum, we also consider one of the new
cross-curriculum priorities, that of Australia's engagement with
Asia. Across all learning areas of The Australian Curriculum 'Asia
and Australia's engagement with Asia' is a cross-curriculum
priority. A key multicultural aim is to ensure that attention is paid to
the development of 'communication skills that reflect cultural
awareness and intercultural understanding' (ACARA, 2012, p. 15).
This rationale is similarly grounded in the Literature Strand of the
English Curriculum which argues that stimulus texts should be drawn from
everyday life in Australia and around the world. It is for this reason
that we compare two everyday multimodal texts that were produced for
similar purposes on an international website for consumers in two
disparate socio-cultural contexts. Specifically, we analyse two online
Coca-Cola web advertisements designed for South Korean and Australian
markets. Figure Two details the target cross-curriculum priority and the
three learning outcomes drawn from Year Six that pertain to our text
analysis, one each from the Language, Literature and Literacy Strands
(ACARA, 2012).
We consider both texts as connected to the popular culture of young
adolescents. Our focus here is on the structural features of the text in
relation to the social context in which each text was produced, and how
these influence particular configurations of integrated linguistic,
visual, spatial and gestural visual design. Our interest is in the
realisation of relations of power between the original producers of the
text, the Coco-Cola[C] company, and the intended consumers from two
diverse socio-cultural contexts.
Although South Korea is a relatively small, mountainous landmass of
just over 200 000 square kilometres, it has a population of 47 million.
Its 2010 Gross Domestic Product of $1.5 trillion compares favourably to
Australia's $882 billion. A remarkable feature of South Korea is
its financial recovery from the Korean War of the 1950s, and its
burgeoning economic rise in past decades, despite limited natural
resources and a heavy commitment to sustaining an active military
presence. Educational reform, and its associated focus on science, steel
manufacturing and the service sector, has been one of the key features
of the 'compact modernisation' of South Korea (Department of
Korean Studies, 2011).
Even taking South Korea by surprise, is the booming Hallyu
industry. Hallyu, coined by the Chinese media in the late 1990s, refers
to the wave of South Korean popular culture in China, Southeast Asia,
Japan, Egypt, Israel, Ghana, Mexico, the United States and Europe.
Exports of music, television dramas, movies and video games increased by
33% during 1993-2008, realising a billion dollar export industry
(Department of Korean Studies, 2011). The advertisement depicts two of
the celebrities of boy band 2PM who are tied to this circulation of
popular texts (see Figure 3).
[FIGURE 3 OMITTED]
In contrast, the Australian context is renowned for its focus on
sport, in particular, sports played by male athletes, especially those
involving the various football codes such as the AFL (Australian
Football League) or the NRL (National Rugby League) (see Figure 4).
Football is seen as such a way of life, the Australian Government (2012)
website describes football as 'a serious ritual' for thousands
of Australians on numerous occasions over a six month period that
involves 'proudly wearing team colours, barracking for favourite
players, and engaging in enthusiastic cheering at every
opportunity'.
In some Australian communities (such as the Queensland public
school where we are undertaking our research), the consumption of
Coca-Cola was so normalised, it was sold in the school tuckshop until
the Queensland Government enforced the 'Smart Choices Healthy Food
and Drink Supply Strategy for Queensland Schools' (Queensland
Government, 2007). Under the 2007 policy, the sale of foods full of fat
and sugar are permissible twice per school term. The removal of
Coca-Cola from the school tuckshop overtly labelled Coca-Cola as an
unhealthy product.
[FIGURE 4 OMITTED]
An analysis of multimodal texts
Multimodal texts, such as the advertisement in Figure 4, are more
than visual elements added to a predominantly linguistic text. Their
integration across the spatial dimension makes them something other than
writing and pictures presented together. Rather, it is a multimodal text
whereby the semiotics can 'operate simultaneously or sequentially,
or according to a pattern that combines the two' (van Leeuwen,
1993, p. 214). Meaning is augmented through multimodality (Economou,
2009). One semiotic may be dominant and continuous, whereas another may
be intermittent and integrated into the dominant semiotic strand (van
Leeuwen, 1993).
How the multimodal text is interpreted is dependent upon: (i)
perceptual salience, made up of elements (e.g. tone, line, shape, colour
and space), and principles of design (e.g. radiation, dominance,
contrast, harmony, repetition and balance); and (ii) semantic factors,
such as a demanding glare of a subject (van Leeuwen, 1993). As these
multimodal texts make reference to the experiential world outside
themselves and their immediate context, they exhibit patterns of
discourses of the non-linguistic kind. The interpretation of a text is
also shaped by the social and cultural mores of the reader and the
reader's understanding of the context of production. Kress and van
Leeuwen (1996) provide a grammar for considering multimodal
communication across sites of consumption. The following framework is
adapted from van Leeuwen's (1993, p. 215) summary, and juxtaposed
against the system of register as articulated in the new Curriculum (see
Figure 5).
We apply this framework of analysis to compare two online Coca-Cola
advertisements targeted for the South Korean (Figure 3) and Australian
(Figure 4) markets.
The two stimulus texts appear on the same Coca-Cola international
website. They both draw on carefully crafted and integrated written and
visual texts with the same intended purpose--to increase product sales.
However, they each draw on different linguistic and visual designs to
persuade the viewer to purchase the product, Coke Zero. These points of
difference reveal themselves only after a careful consideration of the
social and cultural context, and the design of the variables of register
across written and visual modes.
At the macro level of language design and genre, a key point of
difference is that the text for South Korean consumers is a persuasive
advertisement, whilst the text for Australian consumers is a persuasive
text with an embedded instructional orientation. This focus on the
social purpose reveals differentiated marketing strategies by the same
company for different cultural contexts. In the South Korean text,
desire is created through an association with masculine bodies and
celebrity product endorsements. In contrast, the Australian text creates
desire through association with money, making entry to the competition
contingent upon product purchase.
Similarly, analysis of the three metafunctions--ideational,
interpersonal, and textual--show significantly different semiotic
designs across the two texts to achieve a similar purpose. One example
is how different colour choices are selected for different audiences.
Another example is how both texts emphasize strength through different
visual elements. The South Korean text depicts strength through the
boxing handwraps, the demanding gaze of the human subject, and the
jagged texture of the heart shape. In contrast, the Australian text
construes strength through the rigid font, and the dollars bulging from
the seams of the football.
A final point of difference is the dominance of the visual display
vis-a-vis the written display. In the South Korean example, the visual
text is dominant in making meaning, whereas in the Australian
advertisement, the written words carry the greatest semiotic load.
Similarly, the Australian text relies on carefully crafted processes, or
verb groups, because the audience is instructed to act on desire (e.g.
win; enter; grab,) within specific temporal circumstances (e.g. between
July 1 & August 30; now; each week).
Conclusion
In summary, this paper has parsed statements from The Australian
Curriculum: English to identify the linguistic traditions inherent with
the Curriculum, and the potential for developing students'
knowledge about language. We have demonstrated the possibilities of the
new orientation to grammar inherent within through a multimodal textual
analysis of two online Coca-Cola advertisements intended for two diverse
social and cultural context of use.
At the empirical level, we have demonstrated how the prescribed
learning outcomes for students can be achieved through a deep
understanding of the form and function of multimodal semiotics. As
expressed in the Curriculum (ACARA, 2012), the analysis provides a
metalanguage for 'expressing and developing ideas', drawing on
texts from different historical, social and cultural contexts.
Specifically, it focuses on one text that also addresses the
cross-curriculum priority of Australasian relations. The example
highlights the importance of using texts in context and using the theory
of a text in context model. As shown, the effects of the different
approaches and the interaction of semiotic meanings are made visible
through an application of a multimodal framework for textual analysis
(see Figure 5).
At the theoretical level, this paper reveals the orientation to
grammar in the English Curriculum--an approach whereby a multimodal
metalanguage of description draws attention to the relationship between
form and function. Such an approach deviates from traditional
understandings of grammar with its focus on written and spoken textual
elements.
Despite Dubosarsky's (2010) view that traditional grammar is
'a perfectly reasonable starting point' for children to know
language, and Harrison's (2010) claim that 'traditional
grammar is more than adequate for students to discuss language and apply
the resulting insight in their own texts', it is evident that a
multimodal grammar is necessary to support students' understanding
of the visual, spatial, gestural, audio and linguistic meanings of
texts. As this analysis shows, organising principles of grammar are
based on the distinction among macro-functions: ideational,
interpersonal, and textual. These functions produce differentiated
meanings with respect to representations of the objective world, the
depicted social relations between the subject and the viewer, and the
internal relations between elements within the text. Thus, the
limitations of traditional grammar for describing visual and other modes
of communication are overcome by an approach to grammar that accounts
for the multimodality of textual design, purpose, and function.
Acknowledgements
The authors offer thanks to two anonymous referees who commented on
an earlier draft of this paper.
This article reports conceptual work that has been used as the
foundation of coaching relationships at the research site of an
Australian Research Council Linkage scheme project LP0990289
(2009-2013). The authors would like to thank their research colleagues
(Annette Woods, Allan Luke, Karen Dooley, Vinesh Chandra, Michael
Dezuanni, Amanda Levido, John Davis, Katherine Doyle and Adrienne
McDarra), the Queensland Teachers' Union (in particular John
McCollow and Lesley McFarlane), and the staff, students and community of
the school where the research is based.
Beryl Exley thanks the Asia Education Foundation and the Korea
Foundation for a scholarship to undertake a South Korean Study tour in
July 2011. This tour provided the stimulus materials for this article.
References
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London: Routledge.
Harrison, S. (2010, February). Grammar is a tool to enhance
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http://www.theage.com.au/opinion/society-and-culture/grammar-is-a-tool
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Beryl Exley & Kathy A. Mills
Queensland University of Technology
Beryl Exley is a Senior Lecturer in language and literacy education
at the Queensland University of Technology. Her research work spans
English curriculum and primary and middle years curriculum literacies.
Beryl is also a chief investigator on an ARC Linkage documenting a
digital intervention project in one low SES school.
Kathy Mills is a lecturer of literacy at the Queensland University
of Technology. She serves on the executive committee of the AERA Writing
and Literacies Special Interest Group. Dr Mills has been a lecturer in
higher education for a decade, publishing classroom-based research in
multiliteracies, multimodality, reading comprehension, new pedagogies,
and literacy assessment.
Figure 2: Targets drawn from Year Six (ACARA, 2012)
strand sub-strand Learning outcome
Language Expressing and Identify and explain how analytical
developing ideas images ... contribute to our
understanding of verbal information
in factual and persuasive texts
(ACELA1524).
Literature Literature and Make connections between students'
context own experiences and those of
characters and events represented
in texts drawn from different
historical, social and cultural
contexts (ACELT1613).
Literacy Texts in Context Compare texts including media texts
that represent ideas and events in
different ways, explaining the
effects of the different approaches
(ACELY1708).
Figure 5: Multimodal Elements--Framework for analysis
Multimodal Elements--Framework for analysis
Social and Cultural Context of production and
consumption
Social purpose, Genre & Text type
Ideational Field (Subject Matter): Written
Metafunction * Vocabulary and metaphor
* Delivery (features of rhythm, intonation, accent,
stress)
* Modality (the nature of the producer's commitment
to the message)
* Transitivity (types of processes and participants
in the clause and their circumstances)
* Information Structure (clauses and sentences)
* Cohesion (relations between clauses)
Field (Subject Matter): Visual
* Colour (e.g. opacity, hue, contrast)
* Texture (e.g. skin texture)
* Line (e.g. thick, thin, vertical, curved)
* Shape (e.g. outline, juxtaposition)
* Balance (e.g. symmetry/asymmetry)
* Spatiality (e.g. top-bottom, left-right, centre-
margins)
Interpersonal Tenor (Roles & Relationships): Interacting through w
Metafunction written/visual text
* Framing (e.g. Inclusions and omissions from view in
frame)
* Vectors (e.g. Leading of the viewer's eye)
* Gaze (e.g. Between represented participants and
viewer)
Textual Multimodal Compositional Meanings
Metafunction * Functional Load (e.g. Which elements carry the
greatest proportion of the meaning?)
* Composition (e.g. How are the elements combined to
make meaning?)
Figure 6: Comparison of context and language choices in two online
Coca-Cola texts
Context variables Language choices for Language choices for
South Korean Australian audience
audience
Social & cultural Coca-Cola Coca Cola
context of international international
production & website for a South website for an
consumption Korean market where Australian market
the boy band, 2PM, where sports, in
is leading the particular,
booming Hallyu football, is
industry in 2011. considered an
important feature of
Australian life
(Commonwealth of
Australia, 2007).
Persuasive text-- Persuasive text--
product product
advertisement. advertisement with
Structure includes embedded procedures
headline (name of for entering a
product), followed competition.
by a description of Includes goal (e.g.
the effects of 'Win a footy star's
consuming the payday', and 'Cheque
product. ('Wild worth $10, 000 to be
health; strong mind; won each week').
healthy body'). Includes steps to
achieve goal and
materials (e.g. need
to purchase a
product; need to
have access to a
code).
Ideational Field (Subject
Metafunction Matter)): Written
Vocabulary & metaphor: Vocabulary & metaphor:
Black heart says 'Wild Contextualised
health'. Red Korean vocabulary: footy
writing translates to star's; pay day; live
'Healthy mind'. Black it up; code; grab; PET
Korean text can be bottle; unique code
translated 'Strong (which is the same as
body'. Absent are links the aforementioned
between 'healthy' & code); grabs; official.
'body '. The limited Metaphor: live it up.
amount of worded text
keeps the text punchy
and to the point. This
text is about the
effects of the product.
Delivery: Stress Delivery: Stress found
suggested by font in exclamation: '...
choice & colour. you're in with a chance
to WIN $10,000!'
Modality: The producer Modality: High modality
has a strong commitment or commitment to the
to this message. message (e.g. 'Enter',
Written text is concise 'just grab', 'enter a
& offers a catchy code now'.)
mantra.
Processes: No processes Processes:
in worded text.
Participants: Action processes
Participants are formed required of the
by descriptive non- consumer are dominant:
human noun groups: wild win, enter, have to
health; healthy mind; win, grab (actions);
strong body. Other processes include
mental (e.g. want),
relational (e.g. in
with), and existential
(e.g. there is).
Circumstances: There Participants form
are no circumstances extensive noun groups:
explaining when, where, a footy star's payday;
why, how or with whom. chance to WIN $10, 000;
any specially marked
450 ml bottle; the
unique code from behind
the label; official
soft drink of AFL and
NRL; cheque worth
$10,000. Addresses the
consumer in second
person (e.g. you).
Circumstances: between
July 1 & August 30
(when); just (how); now
(when); each week
(when). Absence of
references to why and
where.
Information Structure: Information Structure:
Does not use formal Declarative mood:(e.g.
sentence structure. Win a footy star's pay
Written text provides day.)
three short, but Imperative mood:
descriptive noun (e.g.Enter a code).
groups: wild health,
healthy mind, strong
body. Processes are
elided.
Cohesion: No Cohesion: Cohesion
conjunctions between between clauses limited
clauses. References to additive
implicit. conjunctions (e.g.
'and ', 'so'). Pronoun
references are not
always precise (e.g.
'Want to live it
up?').
Field (Subject Matter):
Visual
Colour: Contrasting Colour: Green signifies
dark background (left) growth (e.g. grass,
& light background money). Black, white
(right). Contrasting and red are
company colours of characteristic of the
black & red used in Coca Cola logo. Red on
writing, which is white provides sharp
visually salient on contrast for visual
white background. Black salience. Silver,
heart is used to white, and green are
indicate masculinity. lively and dynamic.
Although red is the
corporate insignia, it
is also a colour of
luck, happiness and
long life in South
Korea. Half of the
backdrop is given to a
white background, a
signifier of purity.
Texture: Flawless, Texture: Shimmering
glowing skin juxtaposed metallic signage and
against ruggedness of ball. Texture used to
boxing hand wraps. make grass visually
Jagged texture (edges) salient.
of heart shape
indicates excitement.
Line: Multiple Line: Left hand side--
thicknesses, curved horizontal lines (for
shapes. reading & extra lines
added to show
slickness). Right hand
side -all images are
curved.
Shape: Curved, fluid, Shape: Left hand side
natural shapes, include uses rigid 'formal'
the rounded corners of font for writing. Right
the background squares, hand side uses curved
contours of the bottle, spout, dollar
shoulders, heart shape, notes, ball, and
and rounded oblong TV elliptical shape of
screen. Reminiscent of grass. Items that do
the South Korean Yin not curve in real life
and Yang--harmony. are shown in shadow to
soften rigid lines
(e.g. grass).
Balance: Entire image Balance: Image is
is balanced across balanced across three
three planes: left- planes: Coke bottle is
background human plane; dominant by its centred
centre-foreground human position & balanced
plane; right--written either side with a
information plane. silver shape.
Spatiality: A Spatiality: The coke
foregrounded human bottle is centred and
figure is centred and given its own space,
magnified in size to thus, highlighting its
become visually dominance.
salient.
Interpersonal Tenor (Roles & Relationships):
metafunction Interacting with others through written/
visual text
Framing: The picture is Framing: The picture is
framed from a lower framed from an equal
viewing angle, viewing angle; the
suggesting the power of viewer is neither
the participants. dominant nor
subordinate to the
advertising images.
Vectors: A vector is Vectors: A shimmer of
formed between the line light leads the
of light across the viewer's eye from the
bodies, the limbs, and top left corner to form
the tilt of the head an oblique vector to
toward the product the bottom right.
(Coke Zero bottle).
Gaze: The foregrounded Gaze: No gaze. No human
human demands the participants.
viewer's attention.
Light is cast on his
left eye to focus the
viewer. Backgrounded
human also has a
demanding gaze, but is
less salient in size
and position.
Textual Multimodal
metafunction Compositional Meanings
Functional load of Functional load of
written and visual written and visual
text: Visuals dominate, text: Given that this
determined by the space is an instructional
accorded (approx text, the written text
70%).Visuals are carries the greatest
central to the viewing proportion of the
trajectory. The message functional load. The
can be achieved through visuals are
the visuals, supplementary; they
supplemented by the don't replace the
written text. instructions.
Composition of written Composition of written
and visual text: and visual text:
Purpose is for readers Purpose is to persuade
to associate Coke Zero readers to purchase
with a lifestyle of Coke Zero with the hope
'wild health'. Viewer to win a competition.
is positioned as a Viewers are to make
Hallyu fan and associations between
potential buyer of a Coke-Zero and football.
lifestyle product. The Consumers are
elements are combined positioned as football
through colour & links fans. Written text
between the attends to visual
experiential meaning of elements (font style
the words (wild health, and colour). Visual
healthy mind, strong text is supplemented by
body) & the depicted the linguistic
bodies. representation of the
goal--writing on ball.