Luận án A multimodal analysis of conceptual metaphors in American and Vietnamese beverages TV commercials

Nội dung text: Luận án A multimodal analysis of conceptual metaphors in American and Vietnamese beverages TV commercials

1. STATEMENT OF AUTHORSHIP The thesis entitled “A Multimodal Analysis of Conceptual Metaphors in American and Vietnamese Beverages TV Commercials” has been submitted for the degree of Doctor of Philosophy. I, the undersigned, hereby declare that I am the sole author of this thesis; I have fully acknowledged and referenced the ideas and work of others, whether published or unpublished, in my thesis. The thesis does not contain work extracted from a thesis, dissertation, or research paper previously presented for another degree or diploma at this or any other university. Signature ..................................... i
2. ACKNOWLEDGMENTS I am grateful to many people whose kind support and assistance have made this study possible. First and foremost, I am greatly indebted to my supervisor, Assoc. Prof. Dr. ... She taught me the first lessons in Linguistics. Even though I used to have the intention of canceling my Ph.D. journey at my previous challenge stage, she was extremely patient and encouraged me to overcome and reach the target. My profound thanks extend to Dr. ... who first orientated me to research multimodal analyses of metaphors in advertisements. My maturity in research has been greatly boosted by his valuable guidance, instructions, and encouragement. This work was achieved with his unlimited support. My heartfelt thanks are extended to Assoc. Prof. Dr. ... and Dr. ... for their expertise, warm-heartedness and unconditional assistance, without which I might have traveled a much longer way to accomplishment. I would like to express my special thanks to the ... for providing a supportive environment and making my time here most enjoyable. My thanks are also given to my colleagues at the ..., who helped me with the school's work and always gave me care during my Ph.D. journey. Finally, I would like to express my sincere gratitude to all my beloved family members for their love, understanding, and encouragement, especially for my lovely daughter. This dissertation fulfills a promise of becoming the most perfect mother in my daughter’s eyes, Hana. ii
3. ABSTRACT The study contrasts the generation and conceptualization of multimodal metaphors in American and Vietnamese beverages TV commercials. Apart from the application of the theoretical framework and perspective of classifying metaphors of Lakoff and Johnson (2008), this study's theoretical approach is based on Forceville's (2007) distinction of modes in the multimodal metaphor of the analysis of three modes, Van Leeuwen (2006) and Graakjổr (2015) are the tools for the examination of images, sound effects and music in non-alcoholic TV commercials. In terms of interaction among three modes, the ideational meaning of the intersection of images and texts is constructed by Unsworth (2006), and the audiovisual relations are based by Cook (1998). This interplay of three modes is the first to be applied to analyze multimodal metaphors to enhance the credibility of the analysis of modes under the light of Forceville (2007). It is said that the study is building more storeys under the base of Forceville’s theoretical backgrounds, of which three modes (visual, verbal, and sonic modes) are three pillars of the linguistic virtual house; and reinforcing cement and steel to increase cohesion among these pillars or modes through the analysis of generation and conceptualization of multimodal metaphors in advertising discourses. The study consists of 50 commercials of non-alcoholic beverages (coffee, tea, soda); 25 are from America, and 25 are from Vietnam. In addition, the exploratory sequential mixed methods design is applied to achieve the stated research objectives. The qualitative analysis takes into consideration how multimodal metaphor is specifically generated. The quantitative analysis is used for the statistics of domain choices, combinations and relationships among three modes. The identification of multimodal metaphors by Forceville (1996) is to identify implicit multimodal metaphors. The findings show that the domain choices and there is no absolute equivalence in identical conceptual metaphors in non-alcoholic TV commercials in America and Vietnam: either distinction of mapping features or dissemblance of relationship amongst modes and even the generation of metaphors. Most of the conceptual metaphors in American and Vietnamese non-alcoholic beverages commercials are duplicates: target domain A DRINK is discovered in the representation of the products whereas target domain HUMAN FEELINGS and HUMAN ACTION are both cued in the expression of the target customers. However, the number of metaphors in Vietnamese advertisements is nearly two times as much as in American commercials so the domains in TV commercials in Vietnam are more diverse than the others, for example, in the connection of the domains target domain TET regarding the time of marketing of each brand is generated in only Vietnamese publicity. iii
4. Besides, sonic modes are less prominent in the generation of metaphors than two other modes; and the combination of three modes (IVS) and visual and verbal modes (IV) hit the highest proportion in both datasets. Additionally, the first generation on target domains takes the majority while other places are the cue of source and concurrence of domains, which is typical characteristics of multimodal metaphors in adverting discourses. All the research findings have not only complimented the theoretical backgrounds of domain choices of Kửvecses (2010), multimodal metaphors of Forceville and other reputable linguistics; but also broadened the cognitive recognition of multimodal metaphors in advertising discourses. Last, this framework may come up with the innovation in the generation and conceptualization of metaphors in multimodal analysis. iv
5. TABLE OF CONTENTS STATEMENT OF AUTHORSHIP............................................................................... i ACKNOWLEDGMENTS ............................................................................................. ii ABSTRACT ................................................................................................................. iii TABLE OF CONTENTS .............................................................................................. v ABBREVIATION ...................................................................................................... viii LIST OF TABLES ........................................................................................................ ix LIST OF FIGURES .................................................................................................... xiv CHAPTER 1. INTRODUCTION................................................................................. 1 1.1 Rationale ................................................................................................................ 1 1.2 Aims and Objectives .............................................................................................. 2 1.3 Research Questions ................................................................................................ 3 1.4 Scope of the study .................................................................................................. 3 1.5 Methods of the study .............................................................................................. 5 1.6 Significance of the study........................................................................................ 6 1.7 Structure of the study ............................................................................................. 6 CHAPTER 2: THEORETICAL BACKGROUND AND LITERATURE REVIEW ......................................................................................................................................... 8 2.1 Theoretical background ......................................................................................... 8 2.1.1 An Overview of Metaphors ............................................................................. 8 2.1.2 Multimodal metaphors .................................................................................. 12 2.1.3 Advertisements .............................................................................................. 22 2.2 Theoretical frameworks ....................................................................................... 26 2.2.1 Multimodal metaphors in non- alcoholic TV commercials .......................... 26 2.2.2 Multimodal metaphors with the representations of the products and target customers ................................................................................................................ 32 2.3 Previous Studies ................................................................................................... 32 2.3.1 Previous studies on advertisements .................................................................. 32 2.3.2 Previous studies on multimodal metaphors .................................................. 37 2.4 Summary .............................................................................................................. 56 CHAPTER 3: RESEARCH METHODOLOGY ...................................................... 57 3.1 Research questions ............................................................................................... 57 3.2 Research Approaches ........................................................................................... 58 3.3 Research design ................................................................................................... 59 v
6. 3.4 Research methods ................................................................................................ 61 3.4.1 Data collection .............................................................................................. 61 3.4.2 Data analysis ................................................................................................. 67 3.4.3 The analytical framework ............................................................................. 71 3.5 Summary .............................................................................................................. 75 CHAPTER 4: MULTIMODAL METAPHORS IN AMERICAN NON- ALCOHOLIC BEVERAGES TV COMMERCIALS .............................................. 76 4.1 The generation of multimodal metaphors ............................................................ 76 4.1.1 Domains in terms of THE PRODUCT ......................................................... 76 4.1.2 Domains in terms of THE TARGETED CUSTOMERS .............................. 97 4.2 The use of multimodal metaphors ..................................................................... 105 4.2.1 The ratio of domain choices ........................................................................ 105 4.2.2 The use of multimodal metaphors ............................................................... 107 4.3 Summary ............................................................................................................ 113 CHAPTER 5: MULTIMODAL METAPHORS IN VIETNAMESE BEVERAGES TV COMMERCIALS ............................................................................................... 115 5.1 The generation of multimodal metaphors .......................................................... 115 5.1.1. Domains in terms of THE PRODUCT ...................................................... 115 5.1.2 Domains in terms of the potential customers .............................................. 150 5.2 The use of multimodal metaphors ..................................................................... 164 5.2.1 The ratio of domain choices ........................................................................ 164 5.2.2 Combination of modes in multimodal metaphors ....................................... 167 5.3 Summary ............................................................................................................ 174 CHAPTER 6: A COMPARISON OF MULTIMODAL METAPHORS IN AMERICAN AND VIETNAMESE BEVERAGES COMMERCIALS ............... 176 6.1. A comparison of the generation of multimodal metaphors .............................. 176 6.1.1 TARGET DOMAIN- A DRINK .................................................................. 176 6.1.2 TARGET DOMAIN –HUMAN FEELING ................................................... 183 6.1.3 TARGET DOMAIN- MAGIC ....................................................................... 186 6.2 A comparative analysis of the use of multimodal metaphors ............................ 187 6.2.1 A comparative analysis of domain choices ................................................. 187 6.2.2 A comparative analysis of the use of multimodal metaphors ..................... 192 6.3 Summary ............................................................................................................ 201 CHAPTER 7: CONCLUSION ................................................................................. 202 7.1 Recapitulation .................................................................................................... 202 7.2 Implications ....................................................................................................... 207 vi
7. 7.2.1 Theoretical implications .............................................................................. 207 7.2.2 Practical implications .................................................................................. 208 7.3 Limitations and suggestions for future research ................................................ 208 REFERENCES .......................................................................................................... 210 THE RESEARCHER’S ARTICLES RELATED TO THE DISSERTATION ... 215 APPENDICES ............................................................................................................ 216 vii
8. ABBREVIATION American TV commercial (1-25) A1-A25 Combination of visual- verbal- sonic modes IVS Combination of visual- verbal modes IV Combination of visual- sonic modes IS Combination of verbal - sonic modes VS Sonic mode S Television TV Verbal mode V Vietnamese TV commercial (1-25) V1-V25 Visual mode I viii
9. LIST OF TABLES Table 2.1. Mapping of A DRINK IS A FRIEND from the analysis of A1 .............. 10 Table 2.2: The frequency of the target domains of Kửvecses (1986) cited in Shutova& Teufel (2010) ............................................................................................................ 10 Table 2.3: The frequency of source domains of Kửvecses (1986) cited in Shutova& Teufel (2010) ............................................................................................................ 11 Table 2.4: The outline of the distinctive format of a typical origin and product ..... 15 (Graakjổr, 2015) ....................................................................................................... 15 Table 2.5: The System of Grammar of Visual Design (Kress & Leeuwen, 1996) .. 16 Table 2.6: Previous studies on advertising analysis ................................................. 35 Table 2.7: Previous studies on the theoretical development of multimodal metaphors .................................................................................................................................. 40 Table 2.8: Previous studies on the approaches to multimodal metaphors .............. 44 Table 2.9: Previous studies on multimodal metaphors in advertisements ............... 48 Table 2.10: The identification of metaphors ............................................................ 54 Table 3.1: The criteria for data selection .................................................................. 64 Table 3.2: Distribution of sample non-alcoholic beverages TV commercials on .... 66 product categories ..................................................................................................... 66 Table 3.3: Example of quantitative data for quantitative content analysis (the ratio of target domains in American beverages TV Commercials) ...................................... 70 Table 3.4: The analytic sample of American beverages TV commercials (1) ......... 72 Table 3.5: The analytic sample of American beverages TV commercials (2) ......... 73 Table 3.6: The analytic sample of Vietnamese beverages TV commercials (1) ...... 73 Table 3.7: The analytic sample of Vietnamese beverages TV commercials (2) ...... 74 Table 4.1: Mapping of A DRINK IS A PERSON .................................................... 78 Table 4.2. Mapping of A DRINK IS A FRIEND ..................................................... 79 Table 4.3. Mapping of A DRINK IS A PARTNER ................................................. 80 Table 4.4. Mapping of A DRINK IS A SPORT PARTNER ................................... 80 Table 4.5. Mapping of A DRINK IS A COMPANION ........................................... 81 Table 4.6: Mapping of A DRINK IS A FOOD COMPANION ............................... 83 ix
10. Table 4.7. Mapping of A DRINK IS A SPORTS COMPANION ........................... 83 Table 4.8: Mapping of A DRINK IS A SUPPORTER ............................................ 84 Table 4.9: Mapping of A DRINK IS A BLACK OWNER RESTAURANT SUPPORTER............................................................................................................ 85 Table 4.10: Mapping of A DRINK IS A NATIONAL LOVER .............................. 85 Table 4.11: Mapping of A DRINK IS A CLASSMATE ......................................... 86 Table 4.12: Mapping of A DRINK IS A SERVANT ............................................... 87 Table 4.13. Mapping of A DRINK IS A CONTAINER OF MAGIC ..................... 88 Table 4.14. Mapping of A DRINK IS A CONTAINER OF LUCK ........................ 89 Table 4.15: Mapping of A DRINK IS A FOOD ...................................................... 91 Table 4.16: Mapping of A DRINK IS A MEDICINE ............................................. 93 Table 4.17. Mapping of A DRINK IS A GIFT ........................................................ 94 Table 4.18: Mapping of A DRINK IS A FLAME ................................................... 94 Table 4.19: Mapping of A BRAND IS A SYSTEM ................................................ 95 Table 4.20: Mapping of A SALESMAN IS A SPEAKER ...................................... 95 Table 4.21: Mapping of MAGIC IS LIQUID OF THE DRINK .............................. 96 Table 4.22: Mapping of CHEER IS A LIQUID ....................................................... 97 Table 4.23: Mapping of BEAUTY IS A CONTAINER OF PURENESS ............... 98 Table 4.24: Mapping of HUMAN FEELINGS IS HUMAN ACTION ................. 100 Table 4.25: Mapping of NEIGHBOURLINESS IS GOLD ................................... 101 Table 4.26: Mapping of EMOTION IS HEAT ...................................................... 101 Table 4.27: Mapping of COOLNESS IS AN OBJECT ......................................... 102 Table 4.28: Mapping of PASSION IS A FIRE ...................................................... 102 Table 4.29: Mapping of UNION IS A FOOD ........................................................ 103 Table 4.30: Mapping of MAGIC IS EATING TOGETHER ................................. 103 Table 4.31: Mapping of SPORT IS A RACE ........................................................ 104 Table 4.32: The ratio of target domains in American beverages TV Commercials105 Table 4.33: The ratio of source domains in American beverages TV commercials106 Table 4.33: The combination of modes in the generation of target domains in ..... 107 American beverages TV Commercials ................................................................... 107 x
11. Table 4.34: The combination of modes in the generation of source domains in American beverages TV Commercials ................................................................................... 108 Table 4.35: Relationship of modes in the generation of multimodal metaphors in American beverages TV Commercials ................................................................... 110 Table 4.36: The generation of Target and Source Domains in American beverages TV commercials ............................................................................................................ 112 Table 5.1. Mapping of A DRINK IS A FRIEND ................................................... 117 Table 5.2: Mapping of A DRINK IS A PARTNER ............................................... 118 Table 5.3: Mapping of A DRINK IS A COMPANION ......................................... 119 Table 5.4: Mapping of A DRINK IS A FOOD COMPANION ............................. 120 Table 5.5: Mapping of A DRINK IS AN INTRODUCER .................................... 121 Table 5.6: Table mapping of A DRINK IS A SINGER ......................................... 122 Table 5.7: Mapping of A DRINK IS A CONNECTOR ......................................... 122 Table 5.8: Mapping of A DRINK IS A LOVE MATCHMAKER ........................ 124 Table 5.9: Mapping of A DRINK IS A GOD ........................................................ 125 Table 5.10: Mapping of A DRINK IS A CONTAINER OF HUMAN FEELINGS126 Table 5.11: Mapping of A DRINK IS A CONTAINER OF LUCK ...................... 127 Table 5.12: Mapping of A DRINK IS A CONTAINER OF MAGIC ................... 128 Table 5.13: Mapping of A DRINK IS A CONTAINER OF MUSIC .................... 130 Table 5.14: Mapping of A DRINK IS A CONTAINER OF ENERGY ................ 130 Table 5.15. Mapping of A DRINK IS FOOD ........................................................ 135 Table 5.16: Mapping of A DRINK IS A MEDICINE ........................................... 138 Table 5.17: Mapping of A DRINK IS A MEDICINE FOR LOVE ....................... 138 Table 5.18. Mapping of A DRINK IS A GIFT ...................................................... 140 Table 5.19. Mapping of A DRINK IS A SOURCE OF ENERGY ........................ 142 Table 5.20: Mapping of A DRINK IS AN OBJECT ............................................. 143 Table 5.21: Mapping of A DRINK IS AN UNHAPPY STORIES DISPOSAL MACHINE.............................................................................................................. 144 Table 5.22: Mapping of A DRINK IS A MAGIC .................................................. 144 Table 5.23: Mapping of LIQUID IS A TORNADO .............................................. 145 xi
12. Table 5.24: Mapping of LIQUID IS A SOURCE OF ENERGY ........................... 146 Table 5.25: Mapping of MAGIC IS LIQUID OF THE DRINK ............................ 146 Table 5.26: Mapping of QUALITY OF THE DRINK IS COLOUR ..................... 147 Table 5.27: Mapping of LID OF THE DRINK IS A CONTAINER OF A TRAVEL GIFT ....................................................................................................................... 147 Table 5.28: Mapping of FLAVOUR OF THE DRINK IS A COLOUR ................ 148 Table 5.29: Mapping of VISCOUSNESS AND BLEND OF THE DRINK IS QUANTITY............................................................................................................ 148 Table 5.30: Mapping of THE SLOGAN OF THE DRINK IS A SUN .................. 149 Table 5.31: Mapping of THE PROMOTION OF THE DRINK IS AN ANIMAL 149 Table 5.32: Mapping of A PERSON IS AN ANIMAL ......................................... 151 Table 5.33: Mapping of A WOMAN IN LOVE IS AN OBJECT ......................... 152 Table 5.34: Mapping of HAPPINESS IS HUMAN ACTION ............................... 153 Table 5.35: Mapping of HAPPINESS IS TET ....................................................... 157 Table 5.36: Mapping of HAPPINESS IS LIQUID ................................................ 158 Table 5.37: Mapping of COOLNESS IS A COOL OBJECT ................................ 158 Table 5.38: Mapping of AFFLUENCE IS A NICE HOUSE AND COSTUMES . 159 Table 5.39: Mapping of FORTUNE IS MONEY, TRAVEL AND A PRIZE ....... 159 Table 5.40: Mapping of CREATION IS A SOURCE OF ENERGY .................... 160 Table 5.41: Mapping of TET IS A PERSON ......................................................... 162 Table 5.42: Mapping of TET IS GOLD ................................................................. 162 Table 5.43: Mapping of TET IS A MOVING OBJECT ........................................ 163 Table 5.44: The ratio of target domains in Vietnamese beverages TV Commercials164 Table 5.45: The ratio of source domains in Vietnamese beverages TV Commercials ................................................................................................................................ 165 Table 5.46: Roles of modes in target domains in Vietnamese beverages TV Commercials ................................................................................................................................ 167 Table 5.47: Roles of modes in generation and conceptualization of source domains in Vietnamese beverages TV Commercials................................................................ 169 Table 5.48: Relationship of modes in Vietnamese beverages TV Commercials ... 170 xii
13. Table 5.49: Generation of Target and Source Domains in Vietnamese beverages TV commercials ............................................................................................................ 172 Table 6.1: Similar metaphors in American and Vietnamese beverages TV commercials ................................................................................................................................ 176 Table 6.2: The ratio of the relationship of modes in A DRINK IS A FOOD conceptual metaphors in American and Vietnamese beverages TV commercials ................... 179 Table 6.3: The ratio of the relationship of modes in A DRINK IS A MEDICINE conceptual metaphor in American and Vietnamese beverages TV commercials .. 182 Table 6.4: The ratio of the relationship of modes HUMAN FEELING IS HUMAN ACTION conceptual metaphors in American and Vietnamese beverages TV commercials ............................................................................................................ 185 Table 6.5: Frequency and percentage of target domains in American and Vietnamese beverages TV commercials .................................................................................... 187 Table 6.6: Frequency and percentage of source domains in American and Vietnamese beverages TV commercials .................................................................................... 189 Table 6.7: Combination of modes in the generation of target domains in American and Vietnamese beverages TV Commercials................................................................ 192 Table 6.8: Combination of modes in the generation of source domains in American and Vietnamese beverages TV Commercials................................................................ 196 Table 6.9: Relationship of Modes in American and Vietnamese Beverages TV Commercials ........................................................................................................... 198 Table 6.10: Generation of Domains in American and Vietnamese beverages TV commercials ............................................................................................................ 199 xiii
14. LIST OF FIGURES Figure 2.1: The interactive and compositional dimensions of visual grammar based on Kress .............................................................................................................................. 17 Figure 2.2: The ideational meanings at the intersection of language and image .......... 18 Figure 2.3: Subdivision of modes (Forceville (2007), p.20 .......................................... 26 Figure 2.4: Intersections among modes in the generation of multimodal metaphors ... 29 Figure 2.5: Categories of domains in American beverages TV commercials ............... 31 Figure 2.6: Categories of domains in Vietnamese beverages TV commercials ............ 31 Figure 2.7: The framework of the analysis of multimodal metaphors in American beverages TV commercials. .......................................................................................... 32 Figure 3.1: Research design of the study....................................................................... 59 Figure 3.2: Data collection procedure of the study ....................................................... 66 Figure 3.3: The analysis procedure of multimodal metaphors ...................................... 69 Figure 4.1: The categories of conceptual metaphor A DRINK IS A PERSON ............ 76 Figure 4.2: Screenshot of A25 ....................................................................................... 77 Figure 4.3: Screenshots of A16 ..................................................................................... 77 Figure 4.4: Screenshot of A2 ......................................................................................... 78 Figure 4.5: Screenshot of A1 ......................................................................................... 79 Figure 4.6: Screenshot of A3 ......................................................................................... 79 Figure 4.7: Screenshot of A19 ....................................................................................... 80 Figure 4.8: Screenshot of A18 ...................................................................................... 81 Figure 4.9: Screenshot of A16 ....................................................................................... 81 Figure 4.10: Screenshot of A6 ...................................................................................... 82 Figure 4.11: Screenshot of A17 ..................................................................................... 82 Figure 4.12: Screenshot of A21 ..................................................................................... 82 Figure 4.13: Screenshot of A4 ....................................................................................... 83 Figure 4.14: Screenshot of A18 ................................................................................... 84 Figure 4.15: Screenshot of A23 ..................................................................................... 84 Figure 4.16: Screenshot of A16 ..................................................................................... 85 Figure 4.17: Screenshots of A16 ................................................................................... 86 Figure 4.18: Screenshots of A18 ................................................................................... 87 Figure 4.19: Screenshot of A10 ..................................................................................... 87 Figure 4.20: Screenshot of A12 ..................................................................................... 88 Figure 4.21: Screenshot of A4 ....................................................................................... 89 Figure 4.22: Screenshot of A2 ....................................................................................... 90 xiv
15. Figure 4.23: Screenshot of A24 .................................................................................... 90 Figure 4.24: Screenshot of A14 ..................................................................................... 91 Figure 4.25: Screenshot of A7 ....................................................................................... 92 Figure 4.26: Screenshot of A2 ...................................................................................... 92 Figure 4.27: Screenshot of A23 ..................................................................................... 94 Figure 4.28: Screenshot of A18 ..................................................................................... 94 Figure 4.29: Screenshot of A4 ....................................................................................... 95 Figure 4.30: Screenshot of A19 ..................................................................................... 96 Figure 4.30: The categories of target domains in terms of the representation of potential customers ....................................................................................................................... 97 Figure 4.31: Screenshot of A8 ...................................................................................... 98 Figure 4.32: Screenshot of A5 ....................................................................................... 99 Figure 4.33: Screenshot of A20 ..................................................................................... 99 Figure 4.34: Screenshot of A21 ..................................................................................... 99 Figure 4.35: Screenshot of A17 ................................................................................... 101 Figure 4.36: Screenshot of A19 ................................................................................... 101 Figure 4.37: Screenshot of A6 ..................................................................................... 102 Figure 4.38: Screenshot of A14 ................................................................................... 102 Figure 4.39: Screenshot of A11 ................................................................................... 103 Figure 4.40: Screenshot of A14 ................................................................................... 104 Figure 4.41: Screenshot of A14 ................................................................................... 104 Figure 5.1 The categories of the target domain regarding the product/the drink ........ 115 Figure 5.2: The categories of source domains of A DRINK IS A PERSON .............. 116 Figure 5.3: Screenshot of V17 ..................................................................................... 116 Figure 5.4: Screenshot of V18 ..................................................................................... 117 Figure 5.5: Screenshots of V14 ................................................................................... 118 Figure 5.6: Screenshot of V21 ..................................................................................... 119 Figure 5.7: Screenshot of V15 ..................................................................................... 120 Figure 5.8: Screenshot of V14 ..................................................................................... 121 Figure 5.9: Screenshot of V11 ..................................................................................... 121 Figure 5.10: Screenshot of V8 ..................................................................................... 123 Figure 5.11: Screenshot of V19 ................................................................................... 124 Figure 5.12: Screenshot of V12 ................................................................................... 125 Figure 5.13: Screenshots of V12(2)............................................................................. 125 xv
16. Figure 5.14: Screenshot of V16 ................................................................................... 126 Figure 5.15: Screenshot of V10 ................................................................................... 127 Figure 5.16: Screenshot of V15 ................................................................................... 128 Figure 5.17: Screenshot of V11 ................................................................................... 129 Figure 5.18: Screenshot of V17 ................................................................................... 129 Figure 5.19: Screenshot of V24 .................................................................................. 130 Figure 5.20: Screenshot of V2 ..................................................................................... 131 Figure 5.21: Screenshot of V6 ..................................................................................... 131 Figure 5.22: Screenshot of V7 ..................................................................................... 132 Figure 5.23:SScreenshots of V3 .................................................................................. 132 Figure 5.24: Screenshot of V8 ..................................................................................... 133 Figure 5.25: Screenshots of V24 ................................................................................. 134 Figure 5.25: Screenshots of V4 ................................................................................... 134 Figure 5.27: Screenshots of V25 ................................................................................. 136 Figure 5.28: Screenshot of V5 ..................................................................................... 137 Figure 5.29: Screenshots of V22 ................................................................................. 137 Figure 5.30: Screenshot of V3 ..................................................................................... 138 Figure 5.32: Screenshot of V5 ..................................................................................... 139 Figure 5.33: Screenshot of V18 ................................................................................... 139 Figure 5.34: Screenshot of V19 ................................................................................... 140 Figure 5.35: Screenshot of V9 ..................................................................................... 140 Figure 5.36: Screenshot of V12 .................................................................................. 141 Figure 5.37: Screenshots of V16 ................................................................................. 141 Figure 5.38: Screenshot of V17 ................................................................................... 142 Figure 5.39: Screenshot of V3 ..................................................................................... 143 Figure 5.40: Screenshot of V23(1) .............................................................................. 143 Figure 5.41: Screenshot of V23(2) .............................................................................. 144 Figure 5.42: Screenshot of V4 ..................................................................................... 145 Figure 5.43: Screenshot of V12 ................................................................................... 145 Figure 5.44: Screenshot of V15 ................................................................................... 146 Figure 5.45: Screenshot of V10 ................................................................................... 147 Figure 5.46: Screenshot of V9 ..................................................................................... 147 Figure 5.47: Screenshot of V9 ..................................................................................... 148 Figure 5.48: Screenshot of V8 ..................................................................................... 148 xvi
17. Figure 5.49: Screenshot of V5 ..................................................................................... 149 Figure 5.50: The categories of target domains related to the potential customers ...... 150 Figure 5.51: Screenshots of V4 ................................................................................... 150 Figure 5.52: Screenshots of V21 ................................................................................. 151 Figure 5.53: Screenshot of V11 ................................................................................... 151 Figure 5.54: Screenshots of V15 ................................................................................ 152 Figure 5.55: Screenshot of V2 ..................................................................................... 153 Figure 5.56: Screenshot of V6 .................................................................................... 153 Figure 5.57: Screenshot of V9 ..................................................................................... 154 Figure 5.58: Screenshot of V14 ................................................................................... 154 Figure 5.59: Screenshot of V1 ..................................................................................... 155 Figure 5.60: Screenshots of V4 ................................................................................... 156 Figure 5.61: Screenshot of V24 ................................................................................... 156 Figure 5.62: Screenshot of V20 ................................................................................... 157 Figure 5.63: Screenshots of V24 ................................................................................. 158 Figure 5.64: Screenshot of V24 ................................................................................... 158 Figure 5.65: Screenshot of V5 ..................................................................................... 159 Figure 5.66: Screenshot of V23 .................................................................................. 160 Figure 5.67: Screenshot of V5 ..................................................................................... 161 Figure 5.68: Screenshot of V5 ..................................................................................... 161 Figure 5.69: Screenshot of V18 ................................................................................... 162 Figure 5.70: Screenshot of V5 ..................................................................................... 163 Figure 5.71: Screenshot of V23 ................................................................................... 163 xvii
18. CHAPTER 1. INTRODUCTION This chapter is an opening for research with the overview of the rationale, research questions and methods, scope, implication and structure of this study. 1.1 Rationale During the preceding three decades, research into cognitive metaphors has garnered significant attention from scholars of metaphor, both domestically and internationally; but the majority of previous metaphorical investigations have primarily concentrated on the verbal aspect. Nevertheless, recent studies have indicated that verbal expressions represent merely one facet of cognitive metaphor construction, as the conceptual realms of both target and source metaphors can be conveyed through alternative modalities such as visual, verbal and sonic modes. Metaphors identified across various channels of information (language, visuals, sound, gestures, among others) are referred to as "multimodal metaphors." Research in this domain remains nascent, predominantly drawing upon the seminal studies by Forceville. Meanwhile, these inquiries often focus solely on descriptive analyses without integrating quantitative research methods to validate fundamental theories of multimodal metaphors. Furthermore, multimodal linguists have yet to prioritize investigations into the interrelationships among different channels of information. One of the largest repositories of modes is advertising discourse so each TV commercial is a masterpiece of still and moving images, speeches, written texts, songs, music, and sound effects; thus, the examination of multimodal metaphors through these modes is a natural step to catch up with the blooming of information technology. Therefore, the use of television as a driving force motivates scientists in general, and linguists in particular to adopt a new method that is in step with the current trend because of its vibrant sound, appealing graphics, and logical and short message. It transcends obsolescence in the cue of conceptual metaphor through verbal expressions and elicits an imperative need for the multimodal analysis of conceptual metaphors in television commercials. In another vein, while advertising for food commonly centers around special occasions or novel culinary offerings, commercials for beverages are typically construed as endorsing commonplace consumer goods. Furthermore, regulations concerning televised alcohol beverages advertisements can also influence their frequency. Certain nations enforce stringent policies on television advertising for alcoholic beverages, potentially imposing restrictions or outright prohibitions during specific time slots or within programming aimed at audiences below the age of 18. These factors significantly impact the data collection and interpretation of conceptual metaphors. Therefore, the examination of a multimodal analysis of non-alcoholic beverages television 1
19. commercials presents a promising and fertile land for the discovery. Also, Forceville (2010) stated that advertising discourse consisted of a symbiotic relationship with metaphor. The metaphor is well-suited to the characteristics of advertising because both involve putting two discrete domains into correspondence: in the case of metaphor, the source and target domains; in advertising, the product or service being advertised and the target customers. Thus, the analytic framework of multimodal metaphors and the identification of multimodal metaphors in the discourse of TV commercials still need to be clarified and persuasive enough for multimodality researchers; however, the research on multimodal metaphors in advertising discourse is humble regarding quantity, especially in beverages TV commercials. Additionally, there has been no doctoral-level research on the comparative analysis of multimodal metaphors in American and Vietnamese advertising discourse, typically, two master's theses by Dang Thanh Diem (2021) and Pham Thi Thu Hien (2020), which is inadequate in their contribution to the theoretical and practical implications of multimodal metaphors in the world and in Vietnam. Consequently, there is a pressing necessity for the systematic examination of multimodal metaphors to evaluate the assertions posited under the conceptual metaphor theory of Lakoff and Johnson (1980). For all the above reasons, the study is designed to fill the research gap and promote a deep understanding of the use of multimodal metaphors in non-alcoholic beverages TV commercials by the initial application of the analytic framework of the interaction of three modes. Within the light of Forceville (2007), the ideational meaning of the intersection of images and texts by Unsworth (2006), and the audiovisual relations is based on Cook (1998); along with the complementary examination of images of Kress & Van Leeuwen (2006) and sound effects and music of Graakjaer (2015) are in tightly interwoven integration which serves as the theoretical platform to achieve the objectives of domain choices, types of combination, relationships, and generation among the three modes of multimodal metaphors. It is illustrated that the aim of the study is building more storeys under the base of Forceville’s theoretical backgrounds, of which three modes (visual, verbal, and sonic modes) are three pillars of the linguistic virtual house; and reinforcing cement and steel to increase cohesion among these pillars or modes through the analysis of generation and conceptualization of multimodal metaphors in non-alcoholic beverages TV commercials. 1.2 Aims and Objectives The study concentrates on investigating and contrasting the generation of multimodal metaphors in American and Vietnamese beverages TV commercials. In order to achieve the aims of the study, the following objectives are put forward: 2
20. 1) Identifying the multimodal metaphors in American and Vietnamese non- alcoholic beverages TV commercials. 2) Discovering the similarities and differences in the generation of multimodal metaphors in American and Vietnamese non-alcoholic beverages TV commercials. 1.3 Research Questions The study raises the following research questions based on the two main objectives: 1) What multimodal metaphors are generated in American and Vietnamese non- alcoholic beverages commercials? 1.1 What domains are used in the generation of American and Vietnamese non- alcoholic beverages commercials? 1.2 How are the domains multimodally generated in the American and Vietnamese non-alcoholic beverages commercials? 2) What are the similarities and differences in the generation and conceptualization of multimodal metaphors in American and Vietnamese non-alcoholic beverages commercials? 2.1 How is the generation of multimodal metaphors conceptualized through the representation of the products in beverages commercials in American and Vietnamese non-alcoholic beverages commercials? 2.2 How is the generation of multimodal metaphors conceptualized through the representation of the target customers in non-alcoholic beverages commercials in American and Vietnamese beverages commercials? The first research is to identify the multimodal metaphors through the interpretation of the conceptual metaphors by (i) the identification of the construction of target and source domains and (ii) the examination of the combination of visual, verbal, and sonic modes in the generation and conceptualization of both domains. In research question 2, the generation of multimodal metaphors in American and Vietnamese beverages TV commercials is conducted by comparing and contrasting the generation of similar conceptual metaphors, domain choices, and the roles and relationships of modes. In a word, these research questions are interdependent, with the first laying the groundwork for the subsequent queries to achieve the study's overall objective. 1.4 Scope of the study This part focuses on the scope of kinds of beverages, levels of metaphors, categories of modes, and effects of culture on the generation of multimodal metaphors. 3