Luận văn thạc sĩ a study on multimodal metaphor in coca cola and pepsi’ television commercials

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST- GRADUATE STUDIES PHẠM THỊ THU HIỀN A STUDY ON MULTIMODAL METAPHOR IN COCA- COLA AND PEPSI’ TELEVISION COMMERCIALS (NGHIÊN CỨU VỀ ẨN DỤ ĐA PHƯƠNG TIỆN TRONG CÁC TVC QUẢNG CÁO CỦA COCA- COLA VÀ PEPSI) MA THESIS – TYPE Field : English Linguistics Code : 8220201.01 HANOI – 2018 z VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST- GRADUATE STUDIES PHẠM THỊ THU HIỀN A STUDY ON MULTIMODAL METAPHOR IN COCA- COLA AND PEPSI’ TELEVISION COMMERCIALS (NGHIÊN CỨU VỀ ẨN DỤ ĐA PHƯƠNG TIỆN TRONG CÁC TVC QUẢNG CÁO CỦA COCA- COLA VÀ PEPSI) MA THESIS – TYPE Field : English Linguistics Code : 8220201.01 Instructor : Nguyễn Thị Minh Tâm, Ph.D HANOI – 2018 z DECLARATION I hereby certify that the thesis titled „A Study on Multimodal Metaphor in Coca - Cola and Pepsi’ Television Commercials’ is the result of my own work in partial fulfilment of the requirements for Degree of Master of Arts of Faculty at Post - graduate Studies, University of Languages and International Studies, Vietnam National University of Hanoi The research has not been submitted to any other universities or institutions Signature i z ACKNOWLEDGEMENTS For the fulfilment of the master thesis, first and foremost, I would love to express my deepest gratitude to my supervisor Dr Nguyen Thi Minh Tam for all her invaluable comments, counsel and her whole-souled instructions as well Beside my advisor, my sincere thanks are sent to all my colleagues at the faculty of Foreign Languages at Hanoi Pedagogical University No.2 for their suggestions that enable me to complete my study My heartfelt thanks would also go to my institution – Hanoi Pedagogical University No.2 for giving best conditions to study at University of Languages and International Studies for my postgraduate program and carry out the thesis over a long time Finally, I owe a debt of gratitude to my family for their supports and care during the completion of my study ii z ABSTRACT There is no shadow of doubt that human beings have been employing metaphor in almost all aspects of life even though they are sometimes unaware of the fact And the professional world of scholars has already taken the notion of metaphor into account Especially after the publication of the work named Metaphors We Live By in 1980 by Lakoff and Johnson, the notion of metaphor was exploited conceptually and seemed to have more practical applications The thesis was done to investigate how multimodal metaphor has been used in Coca- Cola and Pepsi‟ television commercials accompanied by a comparison between two companies The present study includes four main chapters: literature review, methodology, findings and discussion, and conclusions Findings show that both brands take full advantage of visual, verbal and sonic modes, despite different degrees, to represent groups of metaphorical themes Similar and different aspects in their usage of, multimodal metaphor were also disclosed in the study iii z Table of contents DECLARATION i ACKNOWLEDGEMENTS ii ABSTRACT iii LIST OF FIGURES AND TABLES vi PART A INTRODUCTION 1 Rationale .1 Research questions .2 Significance of the study Scope of the study Design of the thesis .3 PART B DEVELOPMENT .5 CHAPTER LITERATURE REVIEW APPROACHES TO METAPHOR 1.1 Before Cognitive Linguistics 1.2 Cognitive Linguistics MULTIMODAL METAPHOR 2.1 Multimodality and monomodality .9 2.2 Features of a multimodal metaphor 11 2.3 Modes in a multimodal metaphor: Classification and interaction .13 2.4 Multimodal metaphor and the genre .15 EMPIRICAL STUDIES 18 CHAPTER SUMMARY 20 CHAPTER METHODOLOGY 21 Description of the data 21 Methods of the study .21 Analytical Framework 23 Data Analysis Procedure 25 iv z Chapter summary 26 CHAPTER FINDINGS AND DISCUSSION 27 3.1 Statistical findings 27 3.1.1 Coca – Cola 27 3.1.2 Pepsi 28 3.2 Qualitative findings 29 3.2.1 Multimodal metaphor in Coca- Cola TV commercials 29 3.2.2 Multimodal metaphor in Pepsi TV commercials 46 3.3 Discussion of research questions 62 3.3.1 Answer to research question 1: „How is multimodal metaphor used in the TV ads of Coca - Cola and Pepsi?’ 62 3.3.2 Answer to research question 2: „What are similarities and differences in using multimodal metaphor of the two soft drink brands?’ 63 3.4 Chapter summary 64 PART C CONCLUSIONS .65 Recapitulation of main ideas 65 Limitations 66 Recommendations for further studies 67 REFERENCES 68 APPENDICES I v z 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.33.44.55.54.78.655.43.22.2.4.55.2237.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.66 LIST OF FIGURES AND TABLES Figure Subdivision of Modes - Forceville (2007: 20) Figure Metaphorical Themes Frequency in 15 Coca- Cola's TVCs Figure 3: Metaphorical Themes Frequency in 15 Pepsi's TVCs Table 1: Sample Analytical Framework Table 2: Mappings of the CM Love is a journey Table 3: Mappings of the CM Drink is a journey vi 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.99 z 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.33.44.55.54.78.655.43.22.2.4.55.2237.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.66 PART A INTRODUCTION In this part, the researcher explains why she chose the research topic and indicates aims, scope and design of the study Two raised research questions were clearly stated Rationale Metaphor was considered as an exclusively figurative phenomenon which had little or no place in everyday language until the 19th century Yet, since Lakoff and Johnson published their work named Metaphors We Live By in 1980, the notion of conceptual metaphor theory (CMT) has ruled metaphor studies Here, metaphors are primarily a phenomenon of thought rather than of language, which have been applied to all corners of life such as literature, economy and especially recreational and media areas Additionally, as a result of the quick social commercialization and the surge of media, advertising becomes one of the most efficient ways of broadcasting products, and a fundamental part of our life as well as „a major manifestation of conceptual metaphors‟ (Kövecses 2002: 59) In the realm of advertising, metaphor is regarded as an integration of words, images, sounds and meanings A well-selected metaphor will significantly provoke shoppers‟ inspiration to buy a certain product Forceville (2008) asserts that it is vital to study nonverbal and multimodal metaphors systematically to test claims made about conceptual metaphors Within Conceptual Metaphor Theory framework, multimodal metaphors are defined as those metaphors whose target and source are rendered exclusively or predominantly in two or more modes and the verbal is in many cases just one of them (Forceville: 2006; see also Forceville: 2008; Forceville and Urios Aparisi: 2009a) The possible modes likely consist of written and spoken language, static and moving images, music, nonverbal sounds, and gestures (Forceville and Urios-Aparisi: 2009b) The researcher was impressed by Coca - Cola and Pepsi – two typical soft drink brands in the beverage industry Both have invested a lot in commercial 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.99 z 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.C.33.44.55.54.78.655.43.22.2.4.55.2237.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.66 strategies to propagate their names worldwide One of reasons for their success may come from their advertising campaigns with TV commercials (TVCs) combined by different modes ranging from images, sounds and words The researcher questions the use of multimodal metaphor on those TVCs in broadcasting the items and grabbing the audience‟s attention; hence, she is so curious to a thorough research into this area For the aforementioned explanations, the thesis mainly concentrates on analyzing the multimodal metaphors used in TVCs of two brands Coca-Cola and Pepsi within the Conceptual Metaphor Theory, from which some comparison will be made between the two brands Research questions A great number of works within the Conceptual Metaphor Theory have been done, but concentrate only on one aspect of the metaphor Even if they did consider various modes, their areas are totally different, so hardly can the researcher find a research of the same field and topic The present paper analyses metaphor as a complex phenomenon and argues that the genre and modes interact to create a meaningful message to advertise the target items The problem raises the following research questions: How is multimodal metaphor used in the TV ads of Coca - Cola and Pepsi? What are similarities and differences in using multimodal metaphor of the two soft drink brands? The research‟s aims were to identify multimodal metaphors and relationships between their target and source domains in expressing certain messages followed by a comparison in using multimodal metaphors of the two big names The corpus included two series of 30 TV commercials taken from the website iSpot.tv 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.99 z 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vehicles 4.2.2.3 A drink is a companion of joy and refreshment P09 (2014 – 30 seconds) Explosively Cherry Com- Mode mercial Visual code Related Verbal Spoken Written Sound Meaning contextual Sonic Music informatio n P09 A man at a gas station Spoken and The slogan A opens „Live a Pepsi Wild written similar for sound z the of vibrant XXVI 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.99 The three modes and 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Drew, played by NBA star Kyrie Irving, through the decades, doing what he does best: working up a thirst and getting buckets Whether he's breaking ankles or breaking some hearts, Irving's alter ego says an ice-cold Pepsi Cola always brings refreshment and he's been drinking it for a long time and two athletes - Pepsi is a carrier of revitalization When on we sip an ice cold Pepsi, we will refresh the sports ourselves with extremely cool feelings - fields The phrase „future tastes good‟ and all z XXVIII 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sunny and dynamic Man – Real summer day with lots of voiced summer people Pepsi‟; joining outdoor narration big Summer – joyful and inspiring z XXIX 37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.55.77.77.99.44.45.67.22.55.77.C.37.99.44.45.67.22.99 Summer was made for good times and when Pepsi comes 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