As leadership discourses in higher education are increasingly being mediated online, texts previously reserved for staff are now being made available in the public domain. As such, these texts become accessible for study, critique and evaluation. Additionally, discourses previously confined to the written domain are now increasingly multimodal. Thus, an approach is required that is capable of relating detailed, complex multimodal discourse analyses to broader sociocultural perspectives to account for the complex meaning-making practices that operate in online leadership discourses. For (...) this purpose, a digital multimodal discourse approach is proposed and illustrated via a small-scale case study of the online leadership discourse of an Australian university. The analysis of two short video texts demonstrates how a digital multimodal discourse perspective facilitates the identification of key multimodal systems used for meaning-making in online communication, how meaning arises through combinations of semiotic choices, and how the results of multimodal discourse analysis using digital technology can reveal larger sociocultural patterns – in this case, divergent leadership styles and approaches as reflected in online discourse, at a time of immense change within the higher education sector. (shrink)

This article analyses the multimodal representations of public space in Chilean broadcast news reports on the figure of the hooded rioter and its alleged connections with the student movement. We seek to identify how space is constructed as a legitimation strategy in relation to the actors involved and the actions taking place across four different news broadcast pieces in the light of Multimodal Critical Discourse Analysis and Systemic Functional Linguistics. Results show that the multimodal representations of space are crucial to (...) identify and functionalize hooded rioters as belonging to the student movement. Actions are dependent on the spaces in which actors operate, restricting the occupation of certain spaces to specific actors. Thus, transgressive protest actions are to be contained to educational spaces and represented as naturalized vandalism, ignoring the students’/demonstrators’ motivations to recuperate/vindicate the public space. (shrink)

Digital technologies have changed nearly every aspect of our lives over the last two decades. As Warschauer, Zheng, and Park (2013, p. 825) put it, ‘there is little serious writing that is not done...

This study examines the dual discursive articulation in the Instagram posts of the street library community, Literasi Trotoar (LIAR), in Purwakarta, Indonesia. The study focuses on two groups of posts: those directed towards the LIAR community and the general public, and those aimed at the Indonesian government. To analyse the posts, this study adopts ‘Multimodal Critical Discourse Analysis (MCDA),’ which focuses on both the language and visual elements of the posts. The findings reveal the presence of two integrated and inseparable (...) types of articulation within the posts. Firstly, articulation serves as a discursive tool to persuade the public to embrace the ideology of anarchism within the context of in-group power relations. This articulation is strategically employed for positive in-group representation, in-group ideological glorification, subject interpellation, ideological legitimation, and power formation. Secondly, articulation functions as a discursive mechanism to challenge the authority of the government within the context of out-group power relations. This articulation is strategically utilized for negative out-group representation using a narrative model of populism, out-group ideological debasement, subject resistance, ideological delegitimization, and power exertion. This study proposes a model termed ‘dual discursive articulation,’ which integrates two discursive objectives: persuasion and resistance. (shrink)

ABSTRACTIn this paper I critically analyze the work of Shepard Fairey, the street artist better known as OBEY, as a multimodal discourse. After introducing the notion of street art, I analyze Fairey’s aesthetics, inspired in Pop Art and Soviet Constructivism, as well as his accounts on his own art, in order to unveil his ideology. I then discuss a particular case, concerning the pastiche of the Che Guevara’s image. I will show that the seemingly subversive nature of OBEY’s work, is (...) nothing more than marketing. Consequently, by industrially producing and commodifiying dissent, OBEY banalizes and deactivates it. According to the dichotomy between oppositional and emergent discourses, I conclude that OBEY enacts only an oppositional behavior. Moreover, by ‘manufacturing propaganda dissent’, OBEY performs protest, but in doing so he contributes to perpetuating the system he says he fights against. (shrink)

ABSTRACTPayday loans constitute one of the most rapidly expanding and controversial forms of consumer lending today. Payday lending – the selling of high-interest, short-term credit – has thrived following the decline of the traditional high street banking system and the reluctance of many mainstream credit services, following the 2007/2008 Global Financial Crisis, to lend to low-income earners. This study examines the website of the industry leader in the UK, Wonga, a payday lender which recently rebranded and relaunched itself after being (...) embroiled in a series of financial scandals. Our analysis centres on the new Wonga website, the gateway to its financial services, and identifies three inter-related discursive strategies through which the lender, in the wake of its financial misconduct, seeks to present itself as a reputable financial service provider, namely by constructing the empowered and responsible borrower, destigmatising both its service provision and its prospective customers, the payday borrower, and minimising the consequences and risks associated with payday borrowing. Collectively, these strategies constitute an artful response by Wonga to the changing legislative and socioeconomic contexts in which it and other payday lenders now operate, permitting it to continue marketing and selling its high-interest rate financial services. (shrink)

This study focuses on a series of videos aimed at teacher recruitment in Singapore and how they are used as an ideological tool for persuasion. By adopting a multimodal critical discourse analysis approach to focus on affect, it examines how these videos create and promulgate the ideology of an ideal teacher as one who is caring, encouraging and supportive of students. The analysis shows how affect is not only embodied in and performed by the primary protagonists in the video narratives (...) through their action, facial expression, posture and speech. It is also evoked through various secondary meaning-making modes, such as focus, angle, lighting, background music and setting, through which the narratives unfold. More importantly, it demonstrates how affect is used not only as a means to arouse and engage viewers’ sensibilities but also as a persuasive strategy to manufacture and manage particular social and economic realities in contemporary society. (shrink)

From the beginning of the COVID-19 global pandemic, it became clear that the practices of naming the disease, its nature and its handling by the health authorities, the news media and the politicians had social and ideological implications. This article presents a sociosemiotic study of such practices as reflected in a corpus of headlines of eight newspapers of four countries in the early stages of the COVID-19 crisis. After an analysis of the institutional naming choices of the World Health Organization (...) and the International Committee on Taxonomy of Viruses, the study focuses on the changes in newspapers’ naming patterns following the WHO’s announcement of the disease name on 11 February 2020. A subsequent political controversy related to naming in the United States is then examined in reports of The New York Times and The Washington Post as a further illustration of how public discourses and perceptions can rapidly evolve in the context of health crises. (shrink)

ABSTRACTAt the heart of this paper is a desire to queer critical discourse studies a little: jabbing at our norms and wisdoms, poking around our spiritless or dispirited spaces, and perhaps nudging us towards some new possibilities. This impulse is prompted by my collaborative research on elitist discourse and so-called luxury tourism which also serve as the thematic focus of my paper here. Throughout this work, I have struggled to manage the affective, spatial, and embodied nature of status/privilege. For all (...) its fervour, CDS has become a rather cerebral exercise: all very textual and rational. None of which lends itself to the slippery, sensuous ‘new worlds of luxury’ where semiosis and representation are everywhere, but by no means everything. If we are to get our methods and politics right, we must recognize how status anxieties get under our skin as well as into our heads. We must also acknowledge how we are all positioned by the euphoric post-class ideologies of contemporary wealth formation/inequality. To this end, I propose that CDS pay attention to the provocations of queer theory, non-representational theory, im/material ethnographies, and performance studies. As my paper hopefully demonstrates, our scholarship may also benefit from a style of ‘writing’ – of representing our work – that is a little messier and perhaps a little more playful. (shrink)

ABSTRACTOver recent years, an increasing body of research in social and cultural studies has investigated the contemporary processes of social change from the point of view of affective capitalism....

Multimodal Critical Discourse Analysis (MCDA) as a sub-discipline of Critical Discourse Analysis (CDA) emerged from the availability of social semiotic frameworks describing multimodal meaning making. However, weaknesses of these frameworks have raised concerns and prompted recent methodological reflections in MCDA. Inspired by these reflections, this paper critically assesses MCDA research on advertising persuasion and identifies a lack of attention in studies to account for the social and ideological impact of advertising. This shortcoming is argued to be attributable to the weak (...) empirical grounding of social semiotic frameworks which in turn is rooted in a ‘discursive gap’ (Bateman, Citation2019, p. 300) in multimodality as a discipline. The authors then propose methodological solutions involving eye tracking experiments and higher order data analytics which can strengthen the empirical basis of theoretical assumptions made in MCDA research on advertising. Drawing on methodological guidance for empirical multimodal research, the authors discuss specific issues in realizing this proposal, focusing on a strategy addressing operationalization challenges in experimental design and the affordance of a data cluster algorithm that calculates the common viewing path of a group of viewers. (shrink)

This paper discusses the role of reality television in the ongoing transformation of Swedish working-class discourse. This transformation is linked to a neoliberal political project and concerns a shifting relationship between discourses of exclusion and inclusion. The key argument is that working-class people are now portrayed through ‘a moral underclass discourse’ in which the working class is devalued and delegitimized, and given moral blame for their own structural situation. This discussion is based on a multimodal critical discourse analysis of participants (...) who appear to be ‘ordinary’ working-class people in Ullared, a docu-soap that follows the goings-on at, and in the vicinity of a popular, rural low-cost outlet. Hence it puts participants' consumption and consumer behaviour in the foreground, and these activities are ridiculed through a mode of production best described as the ‘middle-class gaze’. Ordinary participants are presented as flawed or pathological consumers and become signifiers of a morally flawed lifestyle. (shrink)

In January 2019, What is Peppa?, a promotional video for a Chinese New Year movie, received widespread attention in China immediately after its release. This paper explains the success of the video from the perspective of visual framing, and employs Systemic Visual Grammar to analyze how visual semiotics are applied to frame prominent topics so as to achieve promotional purposes. The results show that: (i) visual semiotics are used to frame the topic of empty nesters, implying that this issue brings (...) negative consequences and evoking the audience’s empathy and concern; (ii) visuals frame the topic of family love, in which the main protagonist’s actions are highlighted; and (iii) the topic of family reunion is mainly framed and realized by delicate compositional arrangements. Using various visual semiotics at the denotative, stylistic-semantic, connotative, and ideological levels, this video establishes both visual and emotional communication between the main character and the audience, making the promotional purpose more successful. The results highlight and specify the important roles of visual frames in promotional videos, and the integration of Peppa with traditional Chinese culture, love, and family reunion represents a visual approach to glocalization. (shrink)

StyleLikeU is a hugely successful online social media platform that presents itself as a social justice movement related to body acceptance. Presenting moving personal stories, it offers a site for what it calls ‘diverse individuals’ to share their experiences as part of promoting individual self-acceptance in the face of a world that prioritizes one kind of body over another, which take the form of ableism, racism, sexism, homophobia, transphobia, ageism, sizeism and prejudice against disfigurement. Drawing out the discursive script carried (...) across the platform, we show how, beneath the rhetoric of progressiveness, social justice becomes a kind of personal therapy, related to empowerment and transformation, which erases actual differences in personal circumstances and the very forces of injustice. We place StyleLikeU into broader scholarly concerns about the neoliberal colonization of identity politics, diversity and intersectionality in institutions and in branding, drawing attention to how this can form one part of what are now presented as social justice movements. (shrink)

Digital technologies have changed nearly every aspect of our lives over the last two decades. As Warschauer, Zheng, and Park (2013, p. 825) put it, ‘there is little serious writing that is not done...

ABSTRACT When Manchester United Football Club publicly announced the signing of Alexis Sanchez in 2018, it was done through a short video that purported to demonstrate the rich traditions and history of the club, its deep connection with its fanbase, and the strength of its support. However, locating this video within the broader social order where elite football clubs like MUFC essentially operate as for-profit corporations shows how it functions as an instantiation of the market-oriented discourse and rhetoric that has (...) penetrated sport in general. Taking up a Multimodal Critical Discourse Studies perspective, and via an analysis of the semiotics of sound, intertextuality, and the visual, this article shows how MUFC positions itself sympathetically and in so doing conceals its pursuit of profit. It shows how values of solidarity, organicity, and camaraderie are communicated and associated with MUFC and how the viewer is structured into identifying with MUFC instead of supporters as a collective group. Finally, it discusses how these tropes are aestheticized whilst outwardly claiming to deny that very pursuit, thereby masking the reconstrual of club-supporter relations as fundamentally exploitative brand–consumer relations. (shrink)

ABSTRACTWhen Manchester United Football Club publicly announced the signing of Alexis Sanchez in 2018, it was done through a short video that purported to demonstrate the rich traditions and...

Disability has been perceived as a social conditioning phenomenon and a sign system marking the body and mind. Accordingly, photographs of disability could shape our cultural perceptions about disability and disabled persons. In response to this position, we engage in a critical semiotic inquiry into press photographs of disability from The Star, a Malaysian mainstream English newspaper. We adapted Van Leeuwen’s social and visual actor networks to understand the visual techniques employed in depicting disabled actors in these images. The depiction (...) is examined in relation to their absence and/or presence in these published photographs. If absent, the inclusion of non-disabled is analyzed. When present, the social categorizations of roles, grouping and specific/generic depictions are investigated. Findings reveal disabled persons have been symbolically excluded and thus, socially othered. These exclusionary strategies imply disabling journalistic practices which should be cautioned as they could could potentially undermine the advocacy for an inclusive society. (shrink)