Text and Image in News and adver2sing
Andersen, L. P. (2003). Conceptualising Television Adver2sing. In F. Hansen & L. B.
Christensen (Eds.), Branding and Adver2sing (pp. 284-305). Copenhagen:
Copenhagen Business School Press.
Bock, M. A. (2016). Showing versus telling: Comparing online video from newspaper and
television websites. Journalism, 17(4), 493-510.
Dahl, T., & FløZum, K. (2017). Verbal–visual harmony or dissonance? A news values analysis
of mul2modal news texts on climate change. Discourse, context & media, 20, 124-
131.
Kress, G.R., and Van Leeuwen, Theo (2006). Reading Images: The Grammar of Visual Design
(2nd ed.). Chapters 2 and 3. London: Taylor & Francis.
Kuiken, J., Schuth, A., SpiZers, M., & Marx, M. (2017). Effec2ve Headlines of Newspaper
Ar2cles in a Digital Environment. Digital Journalism, 1-15.
doi:10.1080/21670811.2017.1279978
Lagerwerf, L., van Hooijdonk, C. M., & Korenberg, A. (2012). Processing visual rhetoric in
adver2sements: Interpreta2ons determined by verbal anchoring and visual structure.
Journal of Pragma2cs, 44(13), 1836-1852.
Lagerwerf, L., Timmerman, C., & Bosschaert, A. (2016). Incongruity in News Headings:
Readers’ choices and resul2ng cogni2ons. Journalism Prac2ce, 10(6), 782-804.
McIntyre, K., Lough, K., & Manzanares, K. (2018). Solu2ons in the shadows: The effects of
photo and text congruency in solu2ons journalism news stories. Journalism & mass
communica2on quarterly, 95(4), 971-989.
Molek-Kozakowska, K. (2013). Towards a pragma-linguis2c framework for the study of
sensa2onalism in news headlines. Discourse & Communica2on, 7(2), 173-197.
Peterson, M., Wise, K., Ren, Y., Wang, Z., & Yao, J. (2017). Memorable metaphor: How
different elements of visual rhetoric affect resource alloca2on and memory for
adver2sements. Journal of Current Issues & Research in Adver2sing, 38(1), 65-74.
Singh, V. K., Ghosh, I., & Sonagara, D. (2021). Detec2ng fake news stories via mul2modal
analysis. Journal of the Associa2on for Informa2on Science and Technology, 72(1), 3-
17.
Van Enschot, R., & Hoeken, H. (2015). The occurrence and effects of verbal and visual
anchoring of tropes on the perceived comprehensibility and liking of TV commercials.
Journal of Adver2sing, 44(1), 25-36.
,Van Mulken, M., van Hook, A., & Neders2gt, U. (2014). Finding the 2pping point: Visual
metaphor and conceptual complexity in adver2sing. Journal of Adver2sing, 43(4)
Kress, G.R., and Van Leeuwen, Theo (2006). Reading Images: The Grammar of Visual Design
2nd ed.). Chapters 2 and 3. London: Taylor & Francis.
Vector = the contrast between foreground and background
Visual structures are never only formal à they often have an important semantic (symbolic)
dimension
Participants:
- Interactive = the participants in the act of communication à who watch the image
- Represented = the participants who constitute the subject matter of the
communication à who are in the image
In formal art theory participants and processes are defines as:
Participants = volumes and masses with a distinct weight or gravitational pull
Processes = vectors, tensions or dynamic forces
And in functional semiotic theory:
• Actor, goal and recipient
• Transaction = something the actor does to the goal
Analytical structure:
- Carrier and attribute instead of actor and goal
- The way participants fit together to make up a larger whole
- The carrier = represents the whole
- Possessive attributes = represents the parts
Participants in the image:
Conjoined = when the entities are separated
Compounded = welded together, still distinct components of the whole
Fusion = the separate identities of the participants have disappeared
Elongation:
- Vertical = distinction between top (is for the ideal) and bottom (is for real)
- Horizontal what is positioned on the left is presented as ‘given’ = already familiar to
the reader and what is positioned on the right is presented as ‘new’ = information
not yet known to the reader, this is due to the way we read in the western world
Visual processes:
- Narrative:
o When participants are connected by a vector = diagonal line in the image
o Actor (participants) may be fused with the vector
- Conceptual = representing participants in terms of their class, structure or meaning
Narrative processes - Narrative vs. Conceptual Representations: processes are all narrative:
Action processes:
, - Transactional = actor à vector à goal:
• Uni-directional = one participant is actor, the other is the goal
• Bidirectional:
• Each participant playing now the role of actor, now the role of goal
• Not clear if it is simultaneously or in succession
o Non-transactional = actor à vector à no goal
o Event = no actor à vector à goal
o Major process = the big action
o Minor process = the smaller action that is embedded in the major process
Reactional processes:
- Transactional = reacter à vector à phenomenom
- Non-transactional = reacter à vector à non phenomenom
Speech process and mental processes:
• Thought and dialogue balloons in comic strips
• Projective structure = the content or the balloon are not represented directly
Conversion processes:
• Relay:
o Participant who functions both as actor and goal
o Vector à actor à vector à goal à vector à actor
o Common in representations of natural events
Geometrical symbolism: Pictorial or abstract patterns as processes
Circumstances:
• Secondary participants that are related to main participants
• Could be left out without affecting the basic proposition realized by the narrative
pattern
• Sorts of circumstances:
o Locative circumstances:
o Relate other participants to a specific participant (setting)
o Contrast between foreground and background:
o The participants in the foreground overlap and partially obscure the
setting
o The setting is drawn or painted in less detail
o The setting is more muted and desaturated in color
o The setting is darker or lighter than the foreground
• Circumstances of means = no clear vector between tool and user
• Accompaniment = no vector, but the participants clearly form two distinct
participants
Projective = processes that can take a whole visually or verbal proposition as their object
Non-projective = the others
There are two visual representation structures
Andersen, L. P. (2003). Conceptualising Television Adver2sing. In F. Hansen & L. B.
Christensen (Eds.), Branding and Adver2sing (pp. 284-305). Copenhagen:
Copenhagen Business School Press.
Bock, M. A. (2016). Showing versus telling: Comparing online video from newspaper and
television websites. Journalism, 17(4), 493-510.
Dahl, T., & FløZum, K. (2017). Verbal–visual harmony or dissonance? A news values analysis
of mul2modal news texts on climate change. Discourse, context & media, 20, 124-
131.
Kress, G.R., and Van Leeuwen, Theo (2006). Reading Images: The Grammar of Visual Design
(2nd ed.). Chapters 2 and 3. London: Taylor & Francis.
Kuiken, J., Schuth, A., SpiZers, M., & Marx, M. (2017). Effec2ve Headlines of Newspaper
Ar2cles in a Digital Environment. Digital Journalism, 1-15.
doi:10.1080/21670811.2017.1279978
Lagerwerf, L., van Hooijdonk, C. M., & Korenberg, A. (2012). Processing visual rhetoric in
adver2sements: Interpreta2ons determined by verbal anchoring and visual structure.
Journal of Pragma2cs, 44(13), 1836-1852.
Lagerwerf, L., Timmerman, C., & Bosschaert, A. (2016). Incongruity in News Headings:
Readers’ choices and resul2ng cogni2ons. Journalism Prac2ce, 10(6), 782-804.
McIntyre, K., Lough, K., & Manzanares, K. (2018). Solu2ons in the shadows: The effects of
photo and text congruency in solu2ons journalism news stories. Journalism & mass
communica2on quarterly, 95(4), 971-989.
Molek-Kozakowska, K. (2013). Towards a pragma-linguis2c framework for the study of
sensa2onalism in news headlines. Discourse & Communica2on, 7(2), 173-197.
Peterson, M., Wise, K., Ren, Y., Wang, Z., & Yao, J. (2017). Memorable metaphor: How
different elements of visual rhetoric affect resource alloca2on and memory for
adver2sements. Journal of Current Issues & Research in Adver2sing, 38(1), 65-74.
Singh, V. K., Ghosh, I., & Sonagara, D. (2021). Detec2ng fake news stories via mul2modal
analysis. Journal of the Associa2on for Informa2on Science and Technology, 72(1), 3-
17.
Van Enschot, R., & Hoeken, H. (2015). The occurrence and effects of verbal and visual
anchoring of tropes on the perceived comprehensibility and liking of TV commercials.
Journal of Adver2sing, 44(1), 25-36.
,Van Mulken, M., van Hook, A., & Neders2gt, U. (2014). Finding the 2pping point: Visual
metaphor and conceptual complexity in adver2sing. Journal of Adver2sing, 43(4)
Kress, G.R., and Van Leeuwen, Theo (2006). Reading Images: The Grammar of Visual Design
2nd ed.). Chapters 2 and 3. London: Taylor & Francis.
Vector = the contrast between foreground and background
Visual structures are never only formal à they often have an important semantic (symbolic)
dimension
Participants:
- Interactive = the participants in the act of communication à who watch the image
- Represented = the participants who constitute the subject matter of the
communication à who are in the image
In formal art theory participants and processes are defines as:
Participants = volumes and masses with a distinct weight or gravitational pull
Processes = vectors, tensions or dynamic forces
And in functional semiotic theory:
• Actor, goal and recipient
• Transaction = something the actor does to the goal
Analytical structure:
- Carrier and attribute instead of actor and goal
- The way participants fit together to make up a larger whole
- The carrier = represents the whole
- Possessive attributes = represents the parts
Participants in the image:
Conjoined = when the entities are separated
Compounded = welded together, still distinct components of the whole
Fusion = the separate identities of the participants have disappeared
Elongation:
- Vertical = distinction between top (is for the ideal) and bottom (is for real)
- Horizontal what is positioned on the left is presented as ‘given’ = already familiar to
the reader and what is positioned on the right is presented as ‘new’ = information
not yet known to the reader, this is due to the way we read in the western world
Visual processes:
- Narrative:
o When participants are connected by a vector = diagonal line in the image
o Actor (participants) may be fused with the vector
- Conceptual = representing participants in terms of their class, structure or meaning
Narrative processes - Narrative vs. Conceptual Representations: processes are all narrative:
Action processes:
, - Transactional = actor à vector à goal:
• Uni-directional = one participant is actor, the other is the goal
• Bidirectional:
• Each participant playing now the role of actor, now the role of goal
• Not clear if it is simultaneously or in succession
o Non-transactional = actor à vector à no goal
o Event = no actor à vector à goal
o Major process = the big action
o Minor process = the smaller action that is embedded in the major process
Reactional processes:
- Transactional = reacter à vector à phenomenom
- Non-transactional = reacter à vector à non phenomenom
Speech process and mental processes:
• Thought and dialogue balloons in comic strips
• Projective structure = the content or the balloon are not represented directly
Conversion processes:
• Relay:
o Participant who functions both as actor and goal
o Vector à actor à vector à goal à vector à actor
o Common in representations of natural events
Geometrical symbolism: Pictorial or abstract patterns as processes
Circumstances:
• Secondary participants that are related to main participants
• Could be left out without affecting the basic proposition realized by the narrative
pattern
• Sorts of circumstances:
o Locative circumstances:
o Relate other participants to a specific participant (setting)
o Contrast between foreground and background:
o The participants in the foreground overlap and partially obscure the
setting
o The setting is drawn or painted in less detail
o The setting is more muted and desaturated in color
o The setting is darker or lighter than the foreground
• Circumstances of means = no clear vector between tool and user
• Accompaniment = no vector, but the participants clearly form two distinct
participants
Projective = processes that can take a whole visually or verbal proposition as their object
Non-projective = the others
There are two visual representation structures
