RATIONALE
Cartoons play a vital role in childhood, serving as a popular form of entertainment for children while also providing valuable lessons and fostering creativity.
The rise of mainstream animation has significantly transformed the entertainment landscape, with countless cartoons released annually This saturation raises the challenge of generating buzz for new films, necessitating extensive advertising campaigns across various mass media platforms Trailers, in particular, serve as a vital marketing tool in the film industry, playing a crucial role in enhancing the movie-going experience.
Snow White and the Seven Dwarfs (1937) trailer
"Snow White and the Seven Dwarfs," the first full-length animated feature from Disney Studios, made history upon its release in December, becoming a memorable classic that set the standard for future animated films.
1937 and since then has become an incomparable screen classic
Evaluating the impact of cartoons and their trailers can be challenging; however, the visuals in the trailer for Snow White and the Seven Dwarfs (1937) effectively capture the viewer's attention, even when experienced independently from the film itself.
Movie trailers, particularly for cartoons, aim to entice audiences by generating suspense without revealing the main plot In just two and a half minutes, a trailer must deliver enough information to pique curiosity, encouraging viewers to watch the full film upon its release With the adage that one minute of video equates to 1.8 million words, a well-crafted trailer serves as a mini-story that effectively promotes the larger narrative of the movie.
Trailers have become a significant subject of analysis over the years I believe that examining popular trailers can enhance our understanding of the linguistic elements and visual techniques employed in each one.
I chose to research "A Study of Cartoon Trailers in English from the Perspective of Multimodal Discourse Analysis" to explore how modalities in cartoon trailers contribute to film appreciation This study aims to enhance our understanding of animated movies by examining their internal workings, ultimately enriching our viewing experience Additionally, it seeks to illuminate the connections between films and broader societal and cultural contexts.
AIMS AND OBJECTIVES
Aims
This study aims to analyze the linguistic features of both verbal and visual elements in cartoon trailers, exploring how these components collaborate to effectively convey the story's meaning to the audience.
Objectives
The aim is formulated as a set of objectives, as follows:
- to analyze the elements in a cartoon trailer
- to find out how their meaning are construed to attract viewers
- to suggest some implications on advertising as well as on teaching and learning English of Vietnamese learners.
RESEARCH QUESTIONS
1 How are the elements of cartoon trailers structured?
2 How are meanings expressed through visual and verbal resources in cartoon trailers?
SCOPE OF THE STUDY
The study of multimodal discourse is an interdisciplinary field that integrates linguistics, semiotics, and media studies, necessitating in-depth research into how meanings are constructed through various modalities In cartoon trailers, this involves the interplay of dynamic moving images, written and verbal text, and music Due to time and knowledge constraints, the researcher focused on specific aspects of cartoon trailers, excluding grammatical, phonetic, pragmatic, and musical analyses This thesis introduces a model for analyzing multimodal discourse in cartoon trailers, emphasizing verbal and visual resources The research involved a detailed examination of the elements that contribute to meaning in images and classified the types of utterances, leading to significant conclusions A case study of three cartoon trailers was conducted to investigate the interaction between semantic features and visual imagery in the meaning-making process.
SIGNIFICANCE OF THE STUDY
This thesis focuses on advancing multimodal discourse analysis by examining cartoon trailers as a primary database By employing an integrated multimodal approach, the research enhances our comprehension of how various modalities within a trailer convey meaning and elicit audience responses The findings aim to enrich multimodal discourse theory while providing valuable insights for trailer producers on effectively utilizing modality choices and visual arrangements for optimal design Ultimately, this study seeks to benefit teachers, learners, and advertisers by improving their understanding of cartoon trailers.
Chapter Two LITERATURE REVIEW AND THEORETICAL BACKGROUND
This chapter provides an overview of prior research on multimodal discourse analysis and the discourse analysis of cartoon trailers, followed by an explanation of the theoretical foundations of this study and key definitions The structure of this chapter includes sections on the Literature Review (2.1) and Theoretical Background (2.2).
LITERATURE REVIEW
Scholars and researchers both in Vietnam and abroad have done researches on multimodal discourse from different aspects.
O'Halloran (2005) offers a nuanced definition of multimodality, differentiating it from the concept of multi-semiotic He defines 'mode' as the channel—such as auditory, visual, or tactile—through which semiotic activities occur, while 'multi-semiotic' refers to texts that are constructed using multiple semiotic resources.
Multimodality refers to discourse that incorporates multiple semiotic modes O'Halloran (2008) emphasized the relationship between words and images within this context, utilizing the analytical framework of System Functional Linguistics to explore their expressive systems.
In 2006, Ye explored the multimodality of hypertext through an analysis of personal websites, focusing on a social semiotic perspective This study examined the interplay between visual elements, the context of the content, and the social relationships between viewers and images, highlighting the significance of multimodal texts in digital communication.
In the realm of language studies and discourse analysis, practical research on movie trailers has been conducted in Vietnam Nguyen Thi Hong Ha (2011) explored the structure and linguistic features of American and Vietnamese movie trailers, focusing on grammatical aspects like tense, mood, and voice, as well as lexical elements such as word layers and the use of first and second-person address Her study analyzed 50 trailers—25 from each country—primarily sourced from the Internet However, it did not address the significance of imagery within these trailers.
In his 2016 study, Zhao conducted a multimodal discourse analysis of movie posters, focusing on "Maid in Manhattan" in English and "Lust and Caution" in Chinese Utilizing Kress and van Leeuwen's Visual Grammar, he examined the posters through three meta-functions: representational meaning, interactive meaning, and compositional meaning The findings highlighted the effectiveness of Visual Grammar in image analysis, providing valuable insights for this research.
A study by Pham Thi Thanh Nga (2016) analyzed the discourse features of American cartoon trailers, focusing on the narrative layout, lexical choices, syntactic characteristics, and cohesive devices The research examined 83 American cartoon trailers sourced from the Internet, covering the period from 2010 to 2016.
2015 for the corpus The limitation of this study is that it has not mentioned the role of sound and images in those trailers
Dai (2017) explored the interplay of language, image, motion, posture, and sound through a multimodal discourse analysis of a 3-minute and 30-second clip from the movie Argo His findings revealed that the clip effectively constructed multimodal discourse by utilizing specific cultural and situational contexts, ultimately promoting Western mainstream ideology This research not only applied multimodal discourse analysis to feature and horror films, thus broadening the field, but also demonstrated its feasibility and operability in these genres Additionally, the study integrated discourse with film and television media, contributing to the development of interdisciplinary research within linguistics and media studies, and offering a fresh perspective for analyzing discourse in cinematic contexts.
In conclusion, while the researchers focused solely on the discourse structure and linguistic features of movie and cartoon trailers, they overlooked other significant aspects such as music, sound, and imagery This gap in their analysis prompted me to conduct further research on these additional elements of trailers.
“A study of cartoon trailers in English from the perspective of multimodal discourse analysis’”.
THEORETICAL BACKGROUND
Definition of terms
The concept of 'Multimodality,' introduced in the 2000 Handbook of Visual Analysis by van Leeuwen and Jewitt, emphasizes the importance of considering various semiotic resources, including language, color, images, and sound As complex social and cultural discourse practices become more prevalent in the semiotic landscape, the role of language as the primary method of meaning-making is diminishing.
According to the Oxford Advanced Learner’s Dictionary 8th edition, a cartoon is defined as a film or movie created by photographing a sequence of progressively changing drawings or models, giving the illusion of movement In this thesis, cartoons are considered as films for cinema, television, or computer screens, produced by displaying a rapid succession of these changing images to create the appearance of motion.
A trailer is a brief promotional film presented within regular theater programming, designed to showcase the highlights of an upcoming movie and capture audience interest (Katz, 1980) Film scholars and viewers alike have mixed feelings about trailers, recognizing them as a distinct narrative form that merges advertising with storytelling (Kernan, 2004) In trailers, carefully selected images and narration prioritize grabbing the viewer's attention over maintaining a coherent narrative Typically, trailers consist of visual elements and voiceovers, and they are widely distributed online through film websites, studio pages, trailer archives, YouTube, and media-focused platforms.
Labov (1967)’s model of narrative structure
Labov (1967) presents a distinctive model of narrative analysis that emphasizes oral narratives rather than written texts, contrasting with earlier structural approaches that viewed language as a rigid set of symbols to be studied in isolation.
Labov's (1967) narrative analysis model emphasizes that understanding language change requires consideration of the social context within the community where it occurs He argues that merely observing sound changes is insufficient, advocating for a comprehensive view of these changes in relation to community dynamics Labov identifies six key components of narrative structure: abstract, orientation, complicating action, evaluation, resolution, and coda, which serve as analytical tools for recognizing recurring themes While not every narrative must include all six elements, and their order can vary, these components provide a framework for analyzing narrative patterns effectively.
The term "abstract" refers to the introductory section of a narrative, serving as a concise summary of the events An abstract can be just a line or two designed to pique the reader's interest, compelling them to engage with the rest of the story.
The orientation stage of a story provides essential information about the setting, introducing the characters and describing the location and time in which the narrative takes place This foundational context is crucial for audiences to fully understand and engage with the unfolding action, ensuring the story is both valid and coherent.
The "complicating action" stage follows orientation in a narrative, highlighting the key events that propel the story forward This stage encompasses physical actions, spoken statements, and internal thoughts, all of which contribute to the unfolding of the plot.
Evaluation in storytelling serves as the rationale behind the narrative, which can be expressed in various forms It may be explicitly stated or subtly implied Internal evaluations occur during the unfolding of the story, whereas external evaluations happen outside the immediate events of the narrative.
- Following this is a part that Labov calls the “result” or “resolution” Basically,
“Result” is the conclusion which indicates that the story has come to a close or a final action has occurred
In storytelling, a "coda" serves as a crucial element where the narrator highlights the story's significance by linking it to everyday life or external events According to Labov, while the coda enhances the narrative's relevance, it is not a mandatory component in every story.
Labov’s model has significantly impacted language studies since its inception and remains relevant in various contexts today With the rise of the internet, a new form of informal communication has emerged, yet Labov’s model proves to be an effective tool for analyzing internet writing, which balances informality and structure As language evolves, Labov’s model is likely to adapt and continue serving as a valuable resource for future language analysis.
Halliday (1985)’s Transitivity System
Systemic Functional Linguistics emphasizes the analysis of clauses through process types, a concept initially introduced by Halliday in 1976 to aid language teaching This framework was expanded in Halliday's "Introduction to Functional Grammar" (1985) and its subsequent editions in 1994 and 2004, providing a comprehensive understanding of grammar that supports educators.
Halliday (1985) identifies three primary functions of language that explain its structure: ideational, interpersonal, and textual The ideational function allows us to convey our experiences of the external world and our inner thoughts, with one key aspect being the transitivity system at the clause level This system involves selecting from six processes that can be represented in a sentence.
Related to the choice of process is the choice of participant (person or thing involved) or the choice of circumstance (time, place, manner )
The interpersonal function of language facilitates communication by allowing speakers to adopt specific roles that influence the receiver's understanding This is evident in the system of "mood," which shapes how messages are conveyed Additionally, language serves to express the speaker's attitudes through modality, further enhancing the interpersonal aspect Finally, the textual function focuses on the creation of coherent texts or discourse that are relevant to the situation, distinguishing them from mere random sentences.
In conclusion, these three meta-functions can be summarized as follows:
- The ideational function is to organize the speaker’s or writer’s experience of the real or imaginary world
- The interpersonal function is to indicate, establish or maintain social relationship It consists of forms of address, speech function, modality and so on
- The textual function is to create written or spoken texts which coheres within themselves and fit the particular situation
In this thesis, the researcher only focused on exploring the ideational meaning in visual and verbal modes constructed from the cartoon trailers
According to the theory, there are three components of what Halliday calls a
“transitivity process”: the process itself, the participants in the process and circumstances Then, Halliday (1985) divides into six processes, namely: material, mental, relational, behavioral, verbal and existential
Participants in a process are defined as the doers of actions, which can include people, ideas, or things These participants engage in processes under specific circumstances and are represented by nominal groups There are 14 distinct types of participants that help convey ideational meaning: Actors and Goals in material processes, Behavers in behavioral processes, Sensers and Phenomena in mental processes, Sayings and Targets in verbal processes, and Tokens, Values, Carriers, Attributes, Identifiers, and Identified in relational processes, along with Existents in existential processes.
The material process refers to actions or events where an entity performs an activity, involving two key participants: the actor and the goal.
The man opened the door
The mental process involves two key participants: the senser, which refers to the conscious being experiencing feelings and thoughts, and the phenomenon, which represents what is being sensed, such as emotions and ideas.
There are three types of relational process in the clause:
- Intensive ‘X is A’ (relationship of resemblance between two entities)
- Circumstantial ‘X is at A’ (location, time or manner of the entity)
- Possessive ‘X has A’ (one entity owns another)
Each of these comes in two modes: attributive and identifying
-Attributive means A is an attribute of X ( A: attribute / X: carrier) -Identifying means A is the identity of X (A: identified / X: identifier) For example:
Table 2.1 Table of attributive clauses Attribute of
-quality they look / are beautiful
The trip is on Sunday
Table 2.2 Table of Identifying clauses Identification by
He owns an expensive car
Behavioral process is considered to stand between material and mental processes As a rule of thumb, a behavioral process verb is:
- Intransitive (only one participant in the sentence)
- Indicates an activity in which both the physical and mental aspects are inseparable and indispensable to it
In this process, there is only one participant (behaver -the agent who behaves
She neither laughs nor smiles at that funny video
Verbal process is the action of “saying” The participants include sayer
(participant who speaks), receiver (the one to whom the verbalization is addressed), verbiage (a name for the verbalization itself)
Another type of verbal process involves the sayer acting verbally on a direct participant, known as the target, using verbs such as insult, praise, slander, abuse, and flatter.
I told him a story sayer Process: verbal receiver verbiage
I always praise him to my friend sayer Process: verbal
The existential process refers to the occurrence or existence of something, typically expressed through the verb "be" or other verbs that denote existence, such as "exist" or "arise." The existent is any entity that exists within this process, often manifesting as a phenomenon or event.
Circumstances refer to the conditions surrounding processes, addressing key questions like where, when, why, how, how many, and in what manner They can be categorized into various types, including time, place, manner, cause, accompaniment, matter, and role This article utilizes Halliday's (1985) Transitivity System Theory to classify verbal resources into distinct processes.
The Grammar of Visual Design of Kress and van Leeuwen (1996)
Multimodal discourse analysis, which gained prominence in the 1990s, effectively addresses various communication challenges, utilizing the theoretical tools provided by Halliday's Systemic Functional Grammar (1973) Kress and van Leeuwen (1996) expanded on this foundation in their work "Reading Images," offering a systematic framework for visual analysis This led to the development of polynomial discourse analysis, which builds upon their insights into visual learning signals Their approach establishes a robust theoretical framework and methodologies for analyzing image signals, rooted in the principles of Systematic Linguistics as proposed by M.A.K Halliday.
M.A.K Halliday's theory of systematic functional linguistics (1998) views language as a dynamic system intertwined with human culture and society, emphasizing its pivotal role in social functions Language is characterized as a system of choices rather than rigid rules, serving as a potential force for meaning Halliday uses the owl as a metaphor to illustrate language functions, positing that each grammatical structure reflects a choice from a set of descriptive capabilities, thereby establishing language as a source of meaning His grammar systems significantly aid in interpreting various meanings Halliday identifies three primary functions of language: the ideational, interpersonal, and textual functions, which coexist and interact within any text These functions correspond to situational contexts—field (FIELD), atmosphere (TENOR), and method (MODE)—that are essential in all communication scenarios.
Kress and van Leeuwen (1996) conducted a study on visual communication in various texts, including newspapers, magazines, textbooks, and children's comics They concluded that images function similarly to language by conveying processes, participants, and contexts However, since words and images serve as distinct signals, the systems that define their functions also differ.
In 1996, Kress and van Leeuwen introduced a framework that builds on the semiotic findings of Halliday, who identifies three meta-functions of language: ideational, interpersonal, and textual Kress and van Leeuwen reinterpret these as representational, interactive, and compositional, respectively Representational meaning focuses on how images depict relationships among participants, further divided into narrative and conceptual representations Narrative representation includes action, reaction, and mental processes, showcasing dynamic events, while conceptual representation captures participants in a stable essence, categorized into classification, analytical, and symbolic processes Interactive meaning addresses the social relations among participants and their evaluative stances, relying on elements like contact, social distance, attitude, and modality Contact reflects the demand or offer dynamics between participants and viewers, while social distance indicates the relationship through frame size Attitude differentiates images as subjective or objective, influenced by angles, thus shaping viewer perception.
Modality, a concept derived from linguistics, pertains to the credibility or truth value of statements made about the world (Kress & van Leeuwen, 2006, p 155) It examines the significance of modality markers such as color saturation, differentiation, and modulation in conveying meaning.
The compositional meaning relates to the representational and interactive meanings of the image through three interrelated systems (Kress & van Leeuwen,
The three principles of composition—information value, salience, and framing—play a crucial role in understanding visual elements Information value pertains to the strategic placement of elements, where left and right signify given and new information, top and bottom represent ideal and real information, and center and margin arrangements are influenced by cultural context Salience focuses on establishing a hierarchy of importance through variations in size, focus, and tonal contrast Framing examines the relationship between connectedness and individuality within images While these principles offer valuable insights for interpreting visuals, they also risk over-interpretation or misinterpretation due to the researcher's subjective perspective or unfamiliarity with specific attributions that carry significant meanings.
Kress and van Leeuwen’s framework of visual analysis, established in 1990, 1996, and 2006, is grounded in metafunctional theory, emphasizing Ideational, Interpersonal, and Textual metafunctions Their categories for visual representation effectively bridge visual and verbal semiotics, making them ideal for this study focused on intersemiosis—the interaction between these two forms of semiotics The experiential categories utilized for image analysis are directly linked to the Systemic Functional Language's lexico-grammatical system of transitivity, encompassing processes and the participants involved in those processes.
This thesis utilizes Labov's (1967) Narrative Structure to analyze the narrative framework of trailers, while employing Halliday's (1985) Transitivity theory to examine verbal resources Additionally, visual meanings are investigated through the lens of Kress and van Leeuwen's (1996) theories.
Multimodal Discourse Analysis
According to O’Halloran (2011, p.120): “Multimodal discourse analysis
Multimodal Discourse Analysis (MDA) is an evolving field in discourse studies that examines how language interacts with various resources, including images, gestures, music, and sound, to create meaning The terminology within MDA is currently fluid, reflecting the ongoing development of concepts and methodologies in this area This approach focuses on 'multimodal' or 'multi-semiotic' phenomena, where different semiotic resources—often referred to as 'modes'—combine in diverse formats such as print materials, videos, websites, and everyday interactions.
‘modalities’ Multimodal Discourse Analysis itself is referred to as ‘multimodality’,
‘multimodal analysis’, ‘multimodal semiotics’ and ‘multimodal studies’ “
O'Halloran's theory introduces the concept of 'semiotic resources,' which encompass various forms of communication, including language, images, music, gestures, and architecture He also identifies 'sensory modalities' such as visual, auditory, tactile, olfactory, gustatory, and kinesthetic elements that contribute to multimodal texts, discourses, and events, collectively referred to as 'multimodal phenomena.'
Multimodal Discourse Analysis (MDA) focuses on the theory and analysis of semiotic resources and the semantic expansions that occur when these resources combine in multimodal contexts It examines the design, production, and distribution of these resources in social settings, as highlighted by van Leeuwen (2008) The shift from studying language in isolation to integrating it with other semiotic resources is driven by the need for discourse analysts to interpret diverse human discourse practices, the availability of new technologies for methodological advancements, and the rise of interdisciplinary research Consequently, MDA plays a crucial role in multimodal analysis, enhancing the search and retrieval of information.
Since the mid-2000s, multimodal research has significantly grown, driven by systemic linguists and a broader interest in how language integrates with various resources This evolution highlights that communication is fundamentally multimodal, emphasizing that literacy extends beyond just language.
Multimodal discourse analysis is a growing field that examines how meaning is constructed through various communication modes, including images, videos, sounds, and text By exploring the interactions between these different modes, this approach draws on established discourse theories and insights from other social sciences to enhance our understanding of communication.
In this thesis, the researcher assigned equal importance to the roles of linguistic as well as visual modalities in creating the final meaning of a cartoon trailer
This thesis adopted MDA as analytical framework which was described in detail in chapter three.
SUMMARY
The analysis of the narrative structure in each trailer utilized Labov's (1967) Narrative Structure framework, while the visual elements of three cartoon trailers were examined through Kress and van Leeuwen's (1996) Grammar of Visual Design The study focused on both visual resources, such as images, and verbal elements, including utterances, in selected shots These components were analyzed in terms of participants, process types, and circumstances, following Halliday's (1985) framework.
This chapter outlines the research design developed to address the two research questions presented in Chapter Two It will provide a concise overview of the research design, data collection methods, data analysis techniques, and the analytical framework employed in the study.
RESEARCH DESIGN
This thesis utilizes qualitative, quantitative, and descriptive methods to examine narrative structure through Labov's theory (1967) and conducts a transitivity analysis of ideational meaning based on Halliday's framework (1985), rather than focusing on the representational meaning outlined by Kress and van Leeuwen or their Grammar of Visual Design (1996).
- The qualitative method was applied as a useful tool to highlight the semantic features of spoken language and image meaning used in trailers
- The quantitative method was used to calculate the frequency of occurrence and ratio of linguistic elements in cartoon trailers
- The descriptive method was applied to make interpretation of what the researcher saw, heard and understood through the visual resources in each shot.
DATA COLLECTION METHODS
Sources
To conduct this thesis, the researcher downloaded cartoon trailers from two sources of data:
Three leading American animation studios, recognized for their success in the animated film industry, consistently produce numerous cartoons annually Their official websites serve as primary sources of information about their latest projects and achievements.
1 Walt Disney Animation Studio – www.disneymovieslist.com
2 Pixar Animation Studios – www.pixar.com/
3 Warner Bros Animation – www.warnerbros.com
- The second source is the website www.youtube.com The cartoon trailers which are collected from this website must be uploaded by one of three companied mentioned above
This study conducts a multimodal discourse analysis of selected scenes from three animated trailers: "Finding Nemo," "Up," and "Smallfoot," focusing on visual meaning and the types of utterances within their narrative structures The trailers were chosen for their rich visual storytelling and diverse narrative techniques.
+ First, these cartoon trailers are produced by two famous animated-companies: Pixar Animation Group and Warner Animation Group Pixar Animation Group is an
Pixar Animation Studios has consistently achieved remarkable sales and critical acclaim, with all its debut films earning at least an "A-" on the Cinema Score rating system, reflecting strong viewer satisfaction Notably, thirteen Pixar films rank among the top 50 highest-grossing animated movies, including the Oscar-winning "Finding Nemo" from 2003 In contrast, the Warner Animation Group (WAG), a division of Warner Bros Entertainment, has produced films that collectively grossed $1.4 billion at the box office One of its notable releases, "Smallfoot," debuted on September 28, 2018, receiving a 76% approval rating on Rotten Tomatoes and generating over $214 million in global revenue.
The three animated films have achieved significant acclaim, winning numerous prestigious awards while also imparting important messages about humanity and education Their unique themes and characteristics are outlined in the introductions of each trailer presented in Chapter 4.
Sampling
The researcher analyzed selected shots from three cartoon trailers, resulting in a total of 158 resources, which encompass both verbal and visual elements as defined by MDA Verbal resources consist of the spoken utterances, while visual resources include components such as images, sound, color, gestures, facial expressions, and the appearances of characters Given the quick-cut structure of cartoon trailers, the emphasis is predominantly on visual resources, leading to a higher collection of visual elements compared to verbal ones.
Table 3.1 Total resources in three trailers
Trailers Resources The number of resources in each trailer
Data Collection Procedure
The research was conducted in a series of steps
- Firstly, I watched the whole trailer at least 5 times to get an overview of that trailer
I categorized the footage into individual shots and reviewed each one carefully, pausing at every scene to gather visual resources During this process, I documented the key elements present in each image, including characters, colors, and appearances.
- Next, I listened carefully to the utterances of each character and then transcribed into written form in sentences for further analyzing These scripts were regarded as verbal resources for analyzing.
DATA ANALYSIS METHODS
In my research, I utilized MDA theory alongside Labov's (1967) narrative structure, Halliday's (1985) Transitivity System, and Kress and van Leeuwen's (1996) Grammar of Visual Design to perform both qualitative and quantitative analyses of these frameworks.
+ Applied Labov (1967)’s Narrative Structure, each trailer was considered whether it had a full narrative structure or not or how many parts there were in each trailer
+ The verbal resources were analyzed into processes under the theory of Halliday (1985)’s Transitivity System
The analysis of visual resources, including images and sound, focused on key elements such as color, position, salience, gestures, and behaviors Each selected shot is structured into three sequential components: participants, process types, and circumstances, in accordance with Kress and van Leeuwen's (1996) Grammar of Visual Design theory, as discussed in Chapter 2.
- Second, the processes of verbal and visual resources were counted in terms of frequency and calculated by ratio to reach the final discussion
After a thorough analysis of narrative structure, utterance processes, and visual meaning, each trailer was summarized in the discussion The researcher concluded the structural elements, genre classification, shot purposes, and main plots of each trailer, ultimately demonstrating how the visual components support the utterances to convey the overall meaning effectively.
ANALYTICAL FRAMEWORK BASED ON MDA ADOPTED
Table 3.2 Analytical framework based on MDA adopted
ANALYSIS RESOURCES IN SELECTED SHOTS
-Body shape -Color of clothes
+ eyes +eyebrows +mouth +glint -Actions
SUMMARY
This chapter outlines the research design and sources, detailing the methods for data collection, including sampling techniques and procedures It also discusses the data analysis methods and the analytical framework based on MDA Additionally, this chapter prepares the groundwork for the findings and discussions that will be presented in Chapter 4.
Chapter Four FINDINGS AND DISCUSSIONS
In this chapter, I analyze the visual elements and verbal modes of selected shots from various trailers The discussion is structured into four sections, beginning with a detailed examination of the "Finding Nemo" trailer in section 4.1, followed by an analysis of the "Up" trailer in section 4.2 Each section provides an introduction, thorough analysis, and discussion to enhance understanding of the trailers' visual storytelling techniques.
“Small foot” is in 4.3 Summary is in 4.4
Section 4.1, 4.2 and 4.3 would deal with the two research questions:
1 How are the elements of cartoon trailers structured?
2 How are meaning construed through visual and verbal resources in cartoon trailers?
ANALYSIS OF TRAILER “FINDING NEMO”
Introduction of “Finding nemo” trailer
"Finding Nemo," a 2003 animated adventure film by Pixar Animation Studios and Walt Disney Pictures, follows the journey of Marlin, a clownfish searching for his son Nemo, who is captured by a diver on his first day of school Accompanied by Dory, a regal blue tang, Marlin learns to embrace risks and accept Nemo's independence Their adventure reveals the dangers of life in the Coral Reef and introduces Marlin to an exciting underwater world he had never experienced before.
Once hailed as the greatest animated film ever, "Finding Nemo" garnered over 30 awards, including the coveted Oscar for Best Animation in 2003 The film's acclaim also includes three additional Academy Award nominations, solidifying its status in cinematic history.
"Finding Nemo" made history as the first Pixar film nominated for Best Screenplay, Best Soundtrack, and Best Sound Effects Upon its release, it became the highest-grossing animated film of all time, amassing $871 million globally, making it the second-highest-grossing film of 2003 In 2008, the American Film Institute recognized it as the 10th greatest animated film in their 10 Top 10 lists, and it was also voted one of the 100 greatest motion pictures since 2000.
"Finding Nemo," directed by Oscar-winner Andrew Stanton, serves as both an entertaining animated film and an educational experience Stanton highlights the film's deeper message, illustrating the anxiety parents face as they navigate the challenges of raising children in a world filled with dangers and uncertainties.
Analysis of trailer “Finding Nemo”
Question 1: How are the elements of cartoon trailers structured?
The 1 minute and 53 seconds cartoon trailer for "Finding Nemo" features 18 key elements, including 10 characters such as a clown fish, a blue fish, a giant fish, three sharks, a pelican, a whale, and the clown fish's son The trailer is set in two main locations: under the sea and at the pier It showcases six distinct processes—material, mental, behavioral, relational, verbal, and existential—across 10 utterances structured within seven selected shots The narrative begins with an engaging introduction that captivates the audience.
“Orientation” (1 shot) and then “Complication Actions” (5 shots) and ends with a
“Resolution” (1 shot) Actually, this trailer did not follow a full narrative structure of Labov because there are no Abstract and Coda in this trailer
The "Orientation" shot features five visual elements, including three participants: a clown fish, a blue tang fish, and a light, set in the bottom of the sea The action revolves around the observation of the light by the two fish In their conversation, which includes six utterances, the clown fish, blue tang fish, and light engage in three mental processes and three relational processes, all occurring in the underwater setting.
The "Complication Action" serves as the central plot of the film, showcasing the adventurous journey of a clownfish and his regal blue tang friend as they search for his missing son, Nemo After introducing the main characters and their circumstances in the first shot, the subsequent five shots (shots 2 through 6) reveal a series of unexpected challenges that the characters must confront These intriguing developments captivate the audience's curiosity and compel them to watch the entire movie to discover the ultimate outcome.
In shot 2, the underwater scene features six key elements: three fish characters—a clown fish, a blue fish, and a fierce fish—alongside two significant processes, which include the threatening action and the appearance of a giant fish Notably, this shot conveys its narrative without spoken language The relational process highlights the giant fish's frightening appearance, while the material process illustrates the threatening gesture through its mouth movements.
In shot 3, the presence of three sharks alongside a blue fish creates an impression of camaraderie rather than hostility Their physical features and gestures convey a relational process, a mental process, and a behavioral process, all without the use of verbal communication This scene comprises eight elements, including four participants (the blue fish and three sharks), three distinct processes, and a setting that takes place under the sea.
In shot 4, the scene features two visual elements: a clown fish and its underwater environment The accompanying dialogue includes the clown fish and its son, highlighting a material process Moving to shots 5 and 6, the narrative expands to introduce a pelican, a friend of the two fishes Shot 5 encompasses five elements, featuring two fishes and the pelican, along with two processes and a setting at the pier The three utterances in this shot involve the same participants and processes In shot 6, the complexity increases to eight elements, maintaining the three participants and introducing four processes.
1 circumstance of place (at the pier)
The trailer concludes with the "Resolution" in shot 7, showcasing a conversation between two fish discussing their experiment with a whale This shot features seven elements, including three participants (two fish and one whale), three processes, and one setting (under the sea) The dialogue between the fish involves three participants, four processes, and one location, emphasizing the underwater environment of their interaction.
Question 2: How are meaning construed through visual and verbal resources in cartoon trailers?
Utilizing the MDA theoretical framework, Labov’s narrative structure, and Halliday’s Transitivity System, an analysis was conducted on seven key shots from the "Finding Nemo" trailer, focusing on image meaning, language features, and their combined effects These selected shots were characterized by their longer duration in the trailer, highlighting pivotal scenes that showcase the most surprising moments of the film.
Table 4.1 The summary of verbal resources analyzing in trailer 1
Types of process Occurrence Rate (%)
The analysis of 17 utterances across 7 selected shots, grounded in Halliday’s Transitivity System, revealed that relational processes were the most prevalent, occurring 6 times This was followed by 5 instances of material processes, 4 of mental processes, and a single occurrence each of verbal and behavioral processes The findings were effectively complemented by the visual elements, tone, and sound associated with the images.
Utilizing the Visual Grammar framework established by Kress and van Leeuwen, this analysis examined various non-verbal modalities, specifically focusing on image and sound The study identified a total of 29 distinct processes, categorized into 10 relational processes, 6 behavioral processes, 6 material processes, 3 mental processes, 2 verbal processes, and 2 existential processes.
Table 4.2 The summary of visual resources analyzing in trailer 1
Types of process Occurrence Rate (%)
Those elements of visual and verbal resources were analyzed in detail as follows:
The image prominently features three main subjects: a regal blue tang fish, a clown fish, and a small light bulb The presence of the two fish suggests they are situated at the ocean floor, despite the stark black background.
The image exhibits a narrative structure, highlighted by the striking prominence of two fish, whose vivid colors stand out against a black background Additionally, the light bulb holds a medium level of prominence within the composition.
-The regal blue tang fish with black stripes, yellow fins and big size is Dory
- The clown fish in orange with white stripes is Marlin, he is smaller than the blue fish (Relational process of identifying)
- The light bulb is at higher position than the two fishes and the light surrounding it stands out on the black background (relational process of attributive)
The striking contrast of black and white creates a remarkable visual experience, particularly highlighted by the interaction between the two fish and the surrounding light This captivating scene is best observed through the eyes of the two characters, whose upward gaze and eager expressions convey a sense of anticipation and engagement.
There are 6 utterances in this shot These utterances are analyzed under the theory of Halliday’s Transitivity System:
I see a light senser process: perception phenomenon
It is so pretty Carrier Process attribute
5 It’s a big deal for me
It is a big deal for me
I want to touch it sensor Process: cognition phenomenon
The analysis reveals that the six utterances demonstrate three mental processes and three relational processes In contrast, the image analysis of the three participants indicates three relational processes and one behavioral process Consequently, it can be concluded that this shot conveys a narrative meaning characterized by a relational process.
The integration of spoken language and visual imagery in this shot is crucial, as each dialogue is complemented by the characters' facial expressions and accompanying visuals.
- The appearance of the light on the black background is along with the sentence “I see a light” which helps to identify the light bulb (relational process of existential)
Discussion
Table 4.3 The summary of process types in trailer 1
Types of process Occurrence Rate (%)
The trailer predominantly utilized relational processes, accounting for 37% of its content, which categorizes it as "presenting." Its primary focus was on introducing the characters, highlighting both friends and foes of the two fish.
A well-crafted trailer creates a seamless flow of motion, enhanced by sound and music that collectively immerse viewers in the film's experience It builds anticipation and interest, with rhythm playing a crucial role in heightening these emotions The trailer's structure effectively contrasts moments of happiness with sudden shifts to anxiety and introspection, captivating the audience throughout.
According to Labov’s Narrative Structure, this trailer had an uncompleted structure with only 3 main parts ‘Orientation’ – ‘Accomplication Actions’ –
The trailer effectively presented a coherent structure, introducing all the main characters and events of the story It provided audiences with a clear beginning and end, offering a comprehensive overview of the narrative.
In the film "Finding Nemo," seven carefully selected shots encapsulate the main plot, highlighting Marlin's journey to find his son, Nemo (shot 4), the dangers they encounter along the way (shots 2 and 7), and the friends who assist them in their quest (shots 3 and 6) The resolution presented in shot 7 hints at the final challenge they must overcome, enticing audiences to watch the full movie for the complete story.
In an analysis of 17 utterances across seven selected shots using Halliday’s Transitivity System, it was found that relational processes were the most prevalent, occurring six times This was followed by five instances of material processes and four instances of mental processes Additionally, there was one occurrence each of verbal and behavioral processes The findings were effectively complemented by the visual imagery, tone, and sound present in the shots.
According to Kress and van Leeuwen's Grammar of Visual Design, the trailer was analyzed through visual resources, focusing on participants, process types, and circumstances Notably, only five of the seven shots included dialogue or monologue, with just two featuring monologues Consequently, the trailer effectively communicated key information through facial expressions and character positioning, even in the absence of spoken words Additionally, the accompanying sound and music significantly enhanced the emotional impact for the audience.
This thesis presents unique findings by analyzing verbal and visual elements in selected shots, revealing insights into the meanings conveyed through non-verbal modalities such as images and sound This analysis led to a deeper understanding of the trailer's genre and the narrative structure used to engage viewers effectively.
ANALYSIS OF TRAILER “Up”
Introduction of “Up” trailer
"Up" is an American animated 3D film produced by Pixar Animation Studios and published by Walt Disney Pictures According to the rank of "They Shoot
The animated film "Up" ranks 110th among the top 250 films of the 21st century and is the second-best animated film of 2009, following "Fantastic Mr Fox." With a worldwide gross of over $735 million, "Up" has garnered universal acclaim from critics, who consider it one of the greatest animated films ever made.
Director Pete Docter emphasized the importance of emotion in the film's music, leading composer Michael Giacchino to create a character theme-based score that producer Jonas Rivera felt enhanced the narrative One notable example is "Ellie's Theme," which is featured multiple times throughout the film in various arrangements; for instance, during the scene where Carl lifts his house with balloons, the theme evolves from a simple piano melody to a rich orchestral composition Giacchino likens the film to an opera, as each character is represented by a unique theme that adapts to specific moments in the story.
"Up" follows the journey of Carl Fredricksen, a widower who embarks on an adventure with a young boy named Russell by attaching thousands of balloons to his house This whimsical flight symbolizes Carl's quest to explore the wilds of South America and fulfill a promise to his late wife, Ellie The enchanting image of a small house soaring through the sky, adorned with vibrant balloons, captivates the imagination and evokes a sense of wonder, reminding us that dreams, no matter how outlandish, are always worth pursuing.
“Up” is also the first cartoon to be nominated for an Academy Award for The Best Animation Film and the first 3D animation to attend the Cannes Film Festival
"Up" continues to be one of the most impactful animated films, resonating deeply with audiences of all ages It transcends the typical children's movie by exploring themes of youth, mortality, and the significance of life For more than ten years, the profound message of "Up" has remained relevant and meaningful.
Analysis of trailer “Up”
Question 1: How are the elements in cartoon trailers structured?
The cartoon trailer featured a total of 65 verbal and visual resources, comprising 17 elements across 8 selected shots, including 7 participants, 5 processes, and 5 circumstances A detailed analysis of these elements revealed the meanings constructed through various processes Following Labov's (1967) narrative structure, the eight shots were categorized into three parts: Orientation (1 shot), Complication Action (6 shots), and Resolution (1 shot), indicating that the trailer did not fully adhere to Labov’s complete narrative framework.
The opening shot of the story, titled "Orientation," introduces the main characters, Carl and Russell, along with the setting of the narrative This scene features six visual elements, including two participants—a boy and an elderly man—three processes, and a specific location, which is a house Their dialogue consists of two participants engaging in two distinct processes, establishing the foundation for the unfolding events.
- The rest shots (2,3,4,5,6,7) were “Complication Actions” with the purpose of revealing the main contents or what the story was about,:
In Shot 2, three key participants—an image of a flying house, a cluster of colorful balloons, and Mr Car—interact within the process of flying in the sky, which serves as a pivotal moment in the film This material process highlights the house's ascent into the sky, marking the beginning of an adventurous journey.
In shots 3 and 4, the challenges faced by the two main characters emerge as their house ascends into the sky, highlighted by the unexpected arrival of Russell and a brewing storm Shot 3 features seven visual elements, including two key participants, an old man and a boy, alongside four significant processes that illustrate their predicament.
1 circumstance of place (a flying house) Their conversation had 5 utterances in which there were 2 participants and 3 processes In shot 4, the
7 elements were 3 participants (an old man, a boy and a flying house), 3 processes and 1 circumstance of place (in the sky)
In shots 5, 6, and 7, additional characters are introduced on their journey, including a dog, a giant bird, and the anti-hero Muntz The relational process is predominant, highlighting the characters' appearances, while the behavioral process reveals their traits and alliances with the main characters Shot 5 features seven elements, comprising three participants (a boy, an old man, and a dog), three processes, and one circumstance (a mountain) Shot 6 includes seven elements as well, with two participants (a bird and an old man), four processes, and one circumstance (in the jungle) Finally, shot 7 presents five elements, featuring one participant (a man), three processes, and one circumstance (a dirigible balloon).
In the final shot of the story, known as shot 8, a sense of resolution is achieved as it highlights a happy ending in the characters' journey This is vividly illustrated through Russell's repetitive action of turning the knob on the collar The scene comprises six visual elements, featuring two participants—a boy and a dog—along with three distinct processes and a setting on a tepui mountain.
Question 2: How are meaning construed through visual and verbal resources in cartoon trailers? a) In terms of verbal resources
According to Halliday’s Transitivity System, the analysis of 22 utterances revealed a variety of processes: 11 were identified as material processes, 5 as mental processes, 3 as relational processes, 2 as verbal processes, and 1 as a behavioral process.
Table 4.4 The summary of verbal resources analyzing in trailer 2
Types of process Occurrence Rate (%)
Total 22 100 % b) In terms of visual resources
By adopting the MDA in analyzing every image in 8 selected shots, the result was 43 processes including 15 relational processes, 11 material processes, 12 behavioral processes and 5 mental processes
Table 4.5 The summary of visual resources analyzing in trailer 2
Types of process Occurrence Rate (%)
The eight selected shots were analyzed in detail as follows:
The image features two key figures: an elderly man and a young boy, set against the backdrop of a house soaring through the sky This composition suggests a narrative depth, while the eye contact between the characters conveys an interactive meaning, indicating that they are engaged in a brief conversation.
The image prominently features a little boy, whose high salience is evident due to his central position and the vibrant colors of his clothing His chubby body and round face, complemented by two plump cheeks and a small circular nose, contribute to his overall cuteness Additionally, his small, shifty eyes and arched eyebrows enhance his adorable appearance, making him easily noticeable to viewers.
- He is holding a book on his hand and carrying a lot of items on his back such as backpack, rope, badge, racket, hat, flag (material process)
-He looks very eager (behavioral process)
The elderly man captures moderate attention, as his face remains somewhat obscured, with only his white hair and glasses clearly visible.
-He is standing at the door (behavioral process)
The striking contrast in clothing colors between Carl, dressed in dark tones, and the bright yellow attire of young Russell highlights their dynamic relationship This visual representation of identification is enhanced by the sunny daytime setting within a house, as sunlight streams through the main door, illuminating their expressions.
The language feature of the short conversation between Mr Carl and the little boy Russel is mentioned as follows:
Characters Utterance Type of process
Russel 1.Good afternoon Are you in need of any assistance today sir?
Russel 3.I could help you cross the street
You cross the street actor Process: goal
(Reconstruction – it meant no need)
Russel 5 I could help you cross your yard
You cross your yard actor Process: goal
(Reconstruction – It meant no need)
Russel 7.I could help you cross your…
The analysis reveals that among seven utterances, three represent material processes, three indicate mental processes, and one is a relational process This demonstrates a strong interplay between visual effects and linguistic elements in the shot, highlighting their effective mutual support.
-The mental process is also the greeting of Russell, which is the beginning of their conversation
In their conversation, the old man's repeated response of "No"—occurring three times—highlights his disinterest in the boy's offers This consistent refusal, coupled with a neglectful expression on his face, reveals his lack of engagement and emotional detachment.
Initially, the old man's reaction to Russell's arrival is one of surprise, but he quickly shows little interest in the boy's words In contrast, Russell is portrayed as kind and compassionate, as evidenced by his frequent offers of assistance, with three out of four of his sentences beginning with "I could help you." His attentive gaze towards the old man further emphasizes his genuine desire to connect and support him in fulfilling a specific need.
Despite Mr Carl's initial refusal, Russell persists in making multiple offers, demonstrating his eagerness to gain acceptance from the old man His determination continues until Mr Carl abruptly closes the door, highlighting the boy's hopeful yet challenging endeavor to connect with him.
Discussion
Table 4.6 The summary of process types in trailer 2
Types of process Occurrence Rate ̣(%)
The analysis of the trailer indicates that it primarily falls within the action genre, with a significant emphasis on material processes, which account for 34% of the content This genre is characterized by dynamic events and actions, as illustrated by key moments in the trailer, including the introduction of Russell (shot 3), the depiction of a storm (shot 4), and the presentation of additional characters such as the dog (shot 5), the bird (shot 6), and the anti-hero (shot 7).
Labov’s theory identifies three key components—Orientation, Complication, and Resolution—that help audiences grasp the main plot and visualize the characters' journey and outcomes This structure contributes significantly to the effectiveness of the trailer.
Halliday's theory classifies 22 utterances from eight shots into various processes, revealing that the material process is the most frequent, appearing in 11 sentences This finding is further reinforced by the expressions and gestures of the main characters.
Kress and van Leeuwen's theory emphasizes the analysis of visual resources through participants, process types, and circumstances The integration of spoken language with visual elements enhances the trailer's appeal, making it more engaging and effective at capturing the audience's attention for the film.
It is necessary to mention the findings of analyzing eight selected shots in trailer
“Up” These finding proved that MDA had been adopted effectively to find out the combination between verbal and visual resources in creating meaning whereas other researches had not mentioned.