CHAPTER 1: INTRODUCTION
Rationale and research questions
In the modern era of electronic technology, visual communication predominates through mediums like advertisements, flyers, and posters Among these, film posters stand out as a highly effective communication tool, serving not only to promote upcoming movies but also to engage audiences through a clever blend of semiotic elements.
Technological advancements have led to increasingly complex discourse in posters, as they now integrate various symbolic resources Audiences critically assess the aesthetic and collectible value of the objects featured, making it essential to understand how each element contributes to the overall comprehension of the text Consequently, exploring the interpretation of film posters through multimodal discourse presents a valuable research opportunity.
(1) How protagonists and antagonists are multimodally represented in Marvel film posters?
(2) How do Marvel’s film posters succinctly address the contents of the films?
Scope of the study
This study analyzes eight film posters from Marvel Studios, selected from a total of 24, featuring heroes and villains from 2008 to 2019 The analysis focuses on both protagonists and antagonists depicted in the posters A multimodal discourse analysis is employed to explore how the characters are portrayed and to understand how the content and context of Marvel films are intricately woven into the design of the posters.
This thesis analyzes movie posters, emphasizing visual elements over verbal texts The study focuses on interpreting images rather than words, utilizing Kress and van Leeuwen’s (2006) framework of visual communication as the primary analytical tool To enhance the analysis of the selected posters, the researcher has made adjustments to certain aspects of this framework.
Significance of the study
This study explores Marvel's portrayal of heroes in film posters from a multimodal perspective, highlighting how these representations contribute to the overall conveyance of film content The findings will enhance the field of multimodal research by demonstrating how film posters effectively depict character portrayals and convey movie connotations, serving as a valuable reference for future studies.
Organization of the thesis
The research content is organized into five following main parts:
Chapter 1 offers the Introduction by describing the rationale, objectives, scope and the significance of the study then raising the research questions
Chapter 2 explores Literature Review, which provides an overview of the relevant literature on the issues of multimodality and posters, especially film posters
Chapter 3 outlines the Methodology The chapter gives a description of research methods, data collection instruments, data collection procedures and data analysis procedure
Chapter 4 reports the Findings and Discussions In details, in this chapter, two research questions are addressed and further discussed with analyzed data alongside the literature introduced in Chapter 1
Chapter 5 discusses the Conclusion by summarizing the main results of the study
Limitations and implications for further studies are also included in this chapter.
CHAPTER 2: LITERATURE REVIEW
Theoretical Background
Systemic Functional Linguistics (SFL), developed by Michael Halliday, views language as a "social semiotic" system that connects linguistic elements to their social context Halliday (1978) emphasizes that language serves as a means for generating meanings, with its grammatical features representing various choices (Halliday & Matthiessen, 2014) SFL highlights the relationship between language and its societal functions, positing that all languages simultaneously convey three types of meanings: ideational, interpersonal, and textual, as outlined in Halliday's theory.
Halliday and Matthiessen (2014) identify three meta-functions of language: the ideational meta-function, which interprets human experience and represents the natural world; the interpersonal meta-function, which expresses the relationship between the speaker and the audience, conveying feelings and attitudes; and the textual meta-function, which focuses on the organization and presentation of meanings within a text, ensuring coherence and context (Halliday, 2003, p.351) Halliday (2003) emphasizes that language is inherently social, and these meta-functions are reflected in the clause, the fundamental unit of analysis The structure and systems governing clause analysis are summarized in the accompanying table.
Table 1 Three meanings in the clause (Halliday and Matthiessen, 2014, p.83)
The rapid advancement of technology and electronic media has led to predominantly multimodal communication Building on Halliday's development theory of Systemic Functional Linguistics (SFL), Gunther Kress adapted this theory to explore various methods of meaning-making, collaborating with Theo van Leeuwen to introduce the term that encapsulates these concepts.
“multimodality” as “the analysis of composite or multimodal text comprises any text whose meaning are realized through more than one semiotic code” (Kress & Leuuwen,
In 2006, it was noted that meanings are constructed through multiple semiotic codes rather than a single element This approach integrates various components such as text, images, graphics, layout, and gestures, creating a cohesive understanding of the overall composition.
Multimodality, first introduced in the 1990s, has been extensively studied, leading researchers like Jewitt, Bezemer, and O’Halloran to refine its definition In 2013, Rodríguez, Velasco, and Sánchez defined multimodality as the integration of various communication modes to effectively construct meaning for diverse users O’Halloran (2016) introduced the term "multi-semiotic" to clarify the concepts of mode and modality, which pertain to communication channels Supporting this perspective, Jewitt, Bezemer, and O’Halloran (2016) emphasized that multimodality encompasses a wide array of semiotic elements, such as typography and color, which contribute to the meaning potential within each semiotic system.
In conclusion, "Multimodality" refers to the integration of various modes within a message to enhance meaning As noted by Machin (2007), it describes a visual grammar with semiotic rules and structures that can generate meaning The potential meanings derived from multimodal texts are influenced by the context in which their elements are presented.
Systemic Functional Linguistics (SFL) provides a theoretical foundation for Multimodal Discourse Analysis (MDA), which has seen significant growth in research on various semiotic features such as written texts, speech, websites, films, and images MDA explores how texts utilize different modes of communication alongside language to create meaning, focusing on semiotic tools like color, framing, and positioning Inspired by Halliday’s social semiotic theory, researchers in the 1990s examined non-verbal semiotic resources, including visual design and mathematical symbolism Prominent frameworks for multimodal analysis include O’Toole’s and Kress and van Leeuwen’s approaches, which offer structured methods for analyzing the interplay of various communicative modes.
O’Toole's (1994) book, The Language of Displayed Art, is a significant work in the field of Multimodality, drawing inspiration from Halliday’s Systemic Functional Linguistics (SFL) He argued that Halliday’s framework is the sole semiotic model capable of integrating and theorizing the interplay between the three key aspects of contemporary semiotics: ideational, interpersonal, and textual meanings In his analysis of visual art, which includes a modern painting and a contemporary building, O’Toole explored three universal functions interpreted through representational, modal, and compositional choices.
O’Toole (1994) proposed a framework for analyzing art and architecture through a rank scale that includes units such as Picture, Episode, Figure, and Member for painting, while adapting it to Building, Floor, Room, and Element for architecture This approach aligns with Halliday’s rank scale of linguistic elements but modifies the unit criteria for architectural works In his analysis of painting, O’Toole categorized functions as Representational, Modal, and Compositional to engage with key debates in the art world Conversely, when examining architecture, he retained Halliday’s functional labels, emphasizing the significance of linguistic functions in this context.
2.1.2.3 Kress and van Leeuwen’s approach
Kress and van Leeuwen utilized Halliday's Systemic Functional Linguistics (SFL) to explore additional meaning-generating elements such as sounds, images, colors, gestures, and framing (Hu & Luo, 2016) Their work laid the foundation for Multimodal Discourse Analysis (MDA) through their 2006 publications, "Theory of Visual Communication" and "Reading Images – The Grammar of Visual Design," which focus on interpreting visual discourse by analyzing multiple modes concurrently They argue that the semiotic system used in language, known as verbal grammar, is also applicable to visual composition through the concept of visual grammar By applying Halliday's three meta-functions of language—ideational, interpersonal, and textual—Kress and van Leeuwen illustrate visual compositions through representational structure, interaction, and composition, respectively, highlighting the relationship between verbal and visual grammar.
Table 2 Three strands of meta-functions in SFL and VG
Firstly, the ideational meta-function is visually realized by the representational structure
In verbal grammar, the transitivity structure enables the representation of objects and their relationships as experienced by humans (Kress & Leeuwen, 2006) Interaction between two objects can be visually depicted through vectors or alternative structures, such as a "tree" structure To effectively convey aspects of the world, images are classified into two main types: narrative and conceptual structures Both types are expressed through processes, participants, and contexts, mirroring the transitivity structure found in the ideational strands of meaning within verbal grammar.
Figure 1 Main types of visual representational structure (Kress & van Leeuwen, 2006, p.59)
Narrative processes focus on communication among interactive participants, which can be humans or anthropomorphized animals displaying human traits like facial expressions These participants engage in various actions, events, movements, and transitions across time and space Conversely, conceptual structure emphasizes generalized concepts, categorizing participants based on their class, structure, or meaning, as discussed by Kress and Leeuwen.
2006), with the former two are analogous to the relational process in SFL
The interpersonal meta-function focuses on the social interactions between the subjects depicted in images and their audience This type of meaning is conveyed through elements such as gaze, subjectivity, and social distance Kress and van Leeuwen (2006) introduced analytical tools to explore the various potential meanings within images, which are illustrated in the accompanying figure.
Figure 2 Interactive Meanings in Images (Kress & van Leeuwen, 2006, p.149)
According to Kress and van Leeuwen (2006), interactive (interactional) meanings of images are realized through gaze, distance and attitude
Gaze or contact in visual media refers to the relationship between the interactive subject and the viewer, characterized by either a "demand" or "offer" type of gaze Eye contact is seen as a "demand," creating an imaginary interpersonal connection with the viewer, while the absence of gaze is viewed as an "offer," suggesting that the visual element primarily conveys information or subtle messages Analyzing these gazes requires understanding specific cultural and situational contexts.
Social distance in visual media illustrates the relationship among the producer, viewer, and represented participant, which can be identified through the framing choices, such as close-ups, medium shots, and long shots.
Previous literature
Lately, there has been a growing interest in MDA which captures the attention of numerous researchers As the pioneering work, Kress and Leeuwen’s (1990, 2004, 2006)
“Reading Images” has established itself as a key authority in the interpretation and evaluation of visual compositions The study of Multimodal Discourse Analysis (MDA) has advanced significantly, with Li (2003) applying Kress and Leeuwen's (1999) grammar of visual design to analyze advertisement hypertexts, focusing on multimodality, visual discourse, tourism image advertisements, and the social dynamics between readers and images Similarly, Daniel (2015) utilized Kress and Leeuwen’s framework to examine the cover images of “The New York Times.” Their foundational work has led to the broader application of MDA across various genres by linguistic scholars, including notable studies on film posters that highlight the theory's significance.
Tziamtzi, Kyridis, Vamvakidou, Christodoulou, and Zagkos (2015) did a quantitative and semiotic analysis based on Kress and Leeuwen (2010)’s framework with one hundred of
The study evaluates the aesthetic and ideological value of Hollywood children's movie posters by interpreting them as a blend of various codes that serve promotional purposes It highlights that protagonists, such as superheroes and royalty, are depicted in vibrant colors, creating a stark contrast with the somber hues of antagonists While protagonists engage viewers with a "demand" gaze, antagonists are characterized by an "offer" gaze Furthermore, the research emphasizes that the poster backgrounds enhance the movie's narrative, reflecting the story's environment and themes.
In 2014, Chen and Gao analyzed the representational meaning of seven Chinese movie posters by adapting Kress and van Leeuwen’s theoretical framework Their research highlighted how the representational meta-function illustrates the internal relationships among represented participants, while also serving as a crucial element for predicting plot developments and understanding the film's themes and key features.
Iftikhar, Shahnaz, and Masroor (2019) utilized the framework established by Chen & Gao (2014) to examine the poster covers of three Academy Award-winning animated feature films Their research demonstrates that visual modalities effectively convey the themes of these movies Notably, the lack of direct gaze from the characters invites viewers to reflect on the plot and underlying messages presented in the films Additionally, MDA has been widely applied to analyze different genres within the filmmaking industry.
This study seeks to explore the representation of character lines and the integration of plot elements in Marvel Cinematic Universe film posters, addressing the lack of attention given to these iconic visuals.
Chapter summary
In this chapter, a comprehensive compilation of main approaches to MDA was specified
The researcher establishes a solid foundation for the study by introducing the key concept of MDA A chronological review of several relevant studies ensures the validity of the concepts and definitions, while also suggesting feasible approaches for the research.
CHAPTER 3: METHODOLOGY
Data collection
The study analyzes a collection of twenty-four Marvel film posters sourced from the official Marvel Studios website, utilizing non-probability sampling techniques Each selected poster exemplifies the Kress and van Leeuwen (2006) meta-functions, ensuring a comprehensive model of multimodal discourse analysis (MDA) for movie posters Marvel's unique position as a franchise with sequels allows its posters to effectively encapsulate film plots, aligning with the study's research objectives To assess advertising effectiveness, a purposive sampling method is employed to select eight posters, specifically including two featuring a single male character.
2 posters of a single female character, 2 posters of a couple of characters, and 2 posters of a group of characters The list of posters is provided in the Appendix.
Data analysis
This study employs a descriptive qualitative method alongside a quantitative approach to analyze the representation of protagonists and antagonists in film posters Initially, the quantitative method categorizes films based on the number and gender of characters depicted Subsequently, a thorough analysis of each poster is performed to explore how these visuals convey character dynamics and the film's synopsis.
The researcher employs Kress and van Leeuwen's (2006) visual grammar theory to conduct a qualitative and interpretive study using a descriptive research method The multimodal discourse analysis (MDA) approach is deemed most effective for analyzing Marvel film posters The interpretation of these posters is based on three meta-functions identified by Kress and van Leeuwen: representational meaning, interactive meaning, and compositional meaning However, the researcher has made specific adjustments to these frameworks to enhance the analysis of the data.
The researcher focuses on Representational meaning by examining process-participants and circumstances to depict characters and backgrounds, without analyzing the types of processes formed by vectors In terms of Interactive meaning, the portrait orientation of the posters renders horizontal perspective analysis unnecessary For modality, the study emphasizes contextualization due to its relevance to the poster’s background and the film’s settings, excluding other modality elements like detail, depth, color, and illumination The Compositional meta-function is fully utilized as it aligns with the poster analysis In summary, the criteria explored include character representation (process-participants, gaze, frame size, vertical perspective, information value, salience, framing) and background illustration (circumstance, contextualization), as illustrated in Figure 4.
Figure 4.Analytical framework for MDA of Marvel Film poster
The data analysis procedure involves an initial examination of the common features across four groups of two posters This is followed by a detailed evaluation of the unique characteristics of each poster, utilizing Kress and Leeuwen's (2006) framework, which encompasses three strands of meaning: Representational Meaning, Compositional Meaning, and Interactive Meaning The analysis will be conducted both before and during the evaluation of the posters.
This article explores the concept of salience framing through a detailed analysis of the film's content By providing a concise summary of the film, readers can better understand the relationship between multimodal analysis and the film's narrative This connection enhances comprehension and enriches the overall viewing experience.
CHAPTER 4: FINDINGS AND DISCUSSION
Findings
Figure 5 presents data about the presentation of Marvel characters in its film posters in terms of gender and number of characters portrayed
Figure 5 Distribution of portrayal of characters in Marvel film poster
A qualitative research study was conducted to analyze the distribution of Marvel film posters, focusing on specific criteria The study identified a total of 24 posters, ranging from the inaugural film Iron Man, released in 2008, to the most recent release, Black Widow.
In 2021, over 80% of Marvel film posters prominently featured Group and Single Male representations, totaling 10 posters The remaining posters showcased Couple and Single Female characters, highlighting a significant trend in character representation within the franchise.
FEATURES OF PORTRAYAL IN MARVEL FILM POSTER
Single Male Single Female Couple Group
Table 3 offers a brief overview of the research’s qualitative findings of the eight film posters analyzed
Table 3 Summary of the qualitative findings
Representational Meaning Interactive Meaning Compositional Meaning
Process- Participant Circumstance Contact Size of frame Frontal
Information value Salience Framing Hulk Conceptual –
Accompaniment Offer Long shot Inferiority Decontextualized Ideal-Real Present Single
Narrative Locative Demand Extreme long shot Equality Contextualized Center-
Margin Present Single Black Widow
Narrative Accompaniment Demand Extreme long shot Superiority Decontextualized Center-
Margin Present Non-single Captain
Analytical Locative Demand Long shot Superiority Contextualized
Narrative Locative Offer Medium shot Superiority Contextualized Center-
Margin Present Single Thor – The dark world Narrative Accompaniment
Locative Offer Long shot Equality Contextualized Ideal-Real Present Single Black Panther Conceptual –
Classificatory Accompaniment Demand Close up shot Equality Contextualized Ideal-Real Present Single Civil War Conceptual -
Classificatory Accompaniment Offer Close up shot Equality Contextualized Polarized
4.1.2.1 Hulk – The Incredible a) Baseline Information
In June 2008, "Hulk – The Incredible" premiered, showcasing Scientist Bruce Banner's struggle as he accidentally releases the uncontrollable rage of the Incredible Hulk while seeking a cure for the gamma radiation that has affected his cells Faced with the challenge of managing the monstrous force within, Bruce chooses to live in isolation, distancing himself from his previous life and the woman he loves.
The poster features two distinct versions of the main character, Hulk, prominently showcasing the superhero version at the top, which overshadows his human form Notably absent is the antagonist, emphasizing the film's focus on Hulk's internal conflict The background is derived from a key scene where Hulk battles to discover his true identity, reinforcing the theme of self-discovery.
In terms of PROCESS-PARTICIPANT, this poster is a representation of a conceptual process, in which the presentation of the represented participant acts as symbolic attributives
In terms of CIRCUMSTANCE, this poster employs a locative circumstance in the background
The poster's depiction of Bruce Banner and the Hulk conveys significant meaning, showcasing a contemplative Bruce in the foreground as a symbolic representation of the powerful Hulk behind him This visual highlights their duality as distinct yet interconnected beings, each with unique traits and perspectives The background serves to emphasize the characters while also featuring the iconic setting where pivotal scenes unfold, illustrating the poster's effective use of locative elements.
In terms of INFORMATION VALUE, the poster is considered an Ideal – Real one
In terms of SALIENCE, the representation of Hulk is the most salient element of the composition due to its overwhelming size
In terms of FRAMING, the two versions of the represented character are portrayed in a single frame
The poster prominently features the protagonist, Hulk, occupying the upper three-fourths of the design, guiding the viewer's gaze from the top The film's title, "Hulk – The Incredible," is strategically placed at the bottom, illuminated to draw attention and enhance visibility.
The superhero Hulk is depicted against a dark green, low-saturation background, creating a muted effect, while Bruce Banner, the human counterpart, is shown in the foreground in a smaller size and darker blue hue The film title, capitalized and color-coordinated with the character, enhances the overall cohesion of the poster The desaturated colors contribute to a mysterious atmosphere, piquing viewer curiosity about Hulk's transformation The contrasting sizes of the characters in the single framing highlight their connection while simultaneously suggesting their incompatibility.
In terms of CONTACT, this poster presents the character in an offer gaze
In terms of FRAME, the poster employs a long shot for the represented participants
In terms of VERTICAL PERSPECTIVE, the poster indicates inferiority between viewer and the represented participant
In terms of MODALITY - CONTEXTUALIZATION, the poster’s background is decontextualized as there is an absence of background in the poster
The poster featuring Hulk presents both his human form, Bruce Banner, and his giant monster version, inviting viewers to reflect on their contrasting representations Neither version directly engages with the audience; the giant Hulk even turns away, symbolizing his self-loathing and shyness, while Bruce maintains a downcast, submissive posture The use of a long shot emphasizes social distance, while the high camera angle reinforces Bruce's feelings of insecurity and isolation This visual approach not only serves to market the film effectively but also evokes curiosity and empathy for the character's struggles.
The film's plot is conveyed through various criteria, including representational meaning, which utilizes process-participant and circumstance elements Compositional meaning is achieved through information value, salience, and framing Additionally, interactive meaning incorporates gaze, size of frame, vertical perspective, and modality-contextualization.
Released in October 2016, "Doctor Strange" follows the journey of Dr Stephen Strange, a skilled surgeon whose life is irrevocably altered by a devastating car accident that cripples his hands Faced with the limitations of conventional medicine and therapy, he embarks on a quest for alternative healing methods, leading him to discover a mystical world that transforms his understanding of reality.
The poster features Dr Strange, the film's protagonist, in a striking costume that includes a red cape, boots, a blue top, and trousers, complemented by a gold necklace with a distinctive green stone Notably, the antagonist is absent from this design, similar to the previous poster The background showcases the primary setting of the film, where Dr Strange experiences a life-altering transformation.
In terms of PROCESS-PARTICIPANT, this poster is a representation of a narrative process In terms of CIRCUMSTANCE, this poster employs a locative circumstance in the background
The film poster features a striking image of a man emerging from a vibrant red transparent circle, capturing the viewer's attention and symbolizing his ability to traverse time and space The red ring of fire serves as a time gate, while the subtle movement of his cape and footstep suggests effortless travel His distinctive red thigh-high boots indicate a journey beyond the ordinary, hinting at his long and arduous quest to reach Kamar-Taj, where he gains magical powers that enable him to manipulate time.
The character navigates a kaleidoscopic environment filled with mysterious, antique buildings, which provides clues about the film's setting This unique backdrop is visually captivating, with reflections and distortions occurring in all four corners, enhancing the overall compositional meaning.
In terms of INFORMATION VALUE, the poster is considered a Center-Margin one
In terms of SALIENCE, the representation of Dr Strange – the protagonist is the most salient element of the composition
In terms of FRAMING, the depiction of the represented character is portrayed in a single frame
The poster's information is designed to be read from the center to the margins, with the central portrayal of the participant being the most prominent feature This symmetrical layout emphasizes the character's depiction, which is presented within a single frame, enhancing its visual impact.
In terms of CONTACT, this poster presents the character in a demand gaze
In terms of FRAME, the poster employs an extreme long shot for the represented participants
In terms of VERTICAL PERSPECTIVE, the poster indicates equality between viewer and the represented participant
In terms of MODALITY - CONTEXTUALIZATION, the poster’s background is contextualized
The poster featuring Dr Strange is visually compelling, as his direct gaze engages viewers and draws their attention Utilizing an extreme long shot, the poster presents him in full view against a detailed background, creating an objective and impersonal portrayal The vertical dimension and frontal angle emphasize his power and confidence, enhanced by a low camera angle The vibrant light blue background symbolizes hope and healing, while the vivid red foreground represents his willpower and success as a powerful sorcerer This careful selection of colors connects deeply to the narrative, making the multimodal text more impactful.
Discussion: Answers to the research questions
4.2.1 Answering Research Question 1: “How protagonists and antagonists are multimodally represented in Marvel film posters”
Table 5 summarizes the representation of the protagonist and antagonist in the 8 Marvel film posters, which is mainly shown through contact, size of frame, vertical perspective and salience
Contact Size of frame Vertical
Hulk Protagonist Offer Long shot Inferiority Present
Dr Strange Protagonist Demand Extreme long shot Equality Present
Black Widow Protagonist Demand Extreme long shot Superiority Present
Antagonist Offer Medium shot Superiority Non-present
Captain Marvel Protagonist Demand Long shot Superiority Present
Iron Man Protagonist Offer Medium shot Superiority Present
Antagonist Thor – The dark world
Protagonist Offer Medium shot Equality Present Antagonist Offer Medium shot Inferiority Non present
Black Panther Protagonist Demand Closeup shot Equality Present
Antagonist Offer Medium shot Equality Non present
Civil War Protagonist Offer Closeup shot Equality Non present
Antagonist Offer Closeup shot Equality Non present
In the analysis of eight Marvel films, it is evident that while all posters feature the protagonists, only four include the antagonists This strategy highlights Marvel Studios' intent to emphasize the main characters and suggests that the villains' roles may be less critical to the overarching narrative For instance, in "Doctor Strange," the film primarily centers on the protagonist's personal journey, making the antagonist's presence in the poster unnecessary Additionally, posters that omit opposing characters tend to concentrate more on the protagonists' internal struggles rather than their battles, reinforcing the focus on character development over conflict.
In the frontal perspective of the film, the main character Hulk is depicted from an inferior angle, which highlights the film's ideology In contrast, the other protagonists are generally portrayed with an equal or superior status in relation to the viewer This representation of higher status is a notable feature of Marvel Studios films, showcasing both superheroes and superheroines effectively.
In Marvel Studios films, the protagonists often exhibit a varied gaze to enhance the narrative, while antagonists are typically portrayed with an offer gaze, frequently looking to the sides This visual representation aligns with Tziamtzi et al (2015), who note that film villains are commonly depicted with an offer gaze in promotional materials, reinforcing their role as adversaries.
In analyzing frame sizes in film posters, it is clear that protagonists are consistently depicted with larger frames than their antagonists, making them the focal points of the imagery This trend holds true for seven out of eight posters studied, where antagonists either lack representation or are less prominent The only exception is the "Civil War" poster, which features a balanced representation of both characters, reflecting a deeper narrative connection to the film's plot.
4.2.2 Answering Research Question 2: “How do Marvel’s film posters succinctly address the contents of the films?”
The analysis reveals that the poster designs effectively convey the films' content, resulting in significant marketing impact Table 6 summarizes the application of the three meta-functions identified by Kress and van Leeuwen (2006).
Table 5 Summary of elements delivering the film content
Representational Meaning Compositional Meaning Interactive Meaning
Process- Participant Circumstance Information value Salience Framing Contact Size of frame
The key criteria for hinting at a film's plot include Process – Participant, Circumstance, Size of frame, Contextualization, Salience, and Framing These elements not only reveal the main characters and their environment but also contribute to the overall theme and message of the movie This aligns with the findings of Chen and Gao (2014), who assert that representational meaning is crucial for understanding the relationships among characters and is essential for predicting the plot and grasping the film's theme.
The poster design for Marvel films often emphasizes the internal emotions of the main characters over their physical confrontations This approach highlights the skillful use of essential design elements such as Contact, Perspective, and Information Value The characters' gaze and perspective establish a connection with viewers, enhancing the overall coherence of the multimodal text Moreover, the application of Information Value cleverly conveys the film's narrative; for instance, Captain Marvel's New-Given aspect reveals her dual identity, while Hulk’s Ideal-Real information value illustrates the complexity of his character.
Marvel Studios effectively utilizes key criteria in its film posters, making them a powerful communication tool for audiences However, these posters convey only a partial synopsis of the films, aligning with Horn's (2015) assertion that successful marketing campaigns thrive on intrigue and ambiguity.
Kotler and Keller (2016) classify communication process models into micro and macro types The micro-model focuses on the buyer's journey through cognitive, affective, and behavioral stages, which is essential for Marvel Studios, as their blockbuster films have high audience involvement but limited product differentiation In this context, the cognitive stage plays a crucial role in fan retention and is where the macro-model excels Marvel Studios, as the sender, must effectively encode messages for the target audience to decode through various communication channels, including personal and non-personal methods Research by Burson-Marsteller and Roper Starch (2006) highlights the impact of word-of-mouth, indicating that one influential person's recommendation can sway the buying intentions of others, particularly through online platforms Recognizing the power of social media, Marvel actively engages its fans, transforming them into co-producers who participate in discussions across platforms like Facebook, Twitter, and Instagram By teasing characters and plotlines through film posters, Marvel fosters curiosity and stimulates brand awareness among its growing fan community.
Figure 6 Elements in the Macro of the Communications process (Kotler & Keller,