Finale Thesis

A Comparative Analysis of Nike and Adidas Commercials
- A Multimodal Approach to Building Brand Strategies
Mads Nrgaard Hansen Dennis Gade Pedersen BA Marketing and Management Communication
Supervisor: Carmen Daniela Maier Department of Language and Business Communication Aarhus School of Business Aarhus University 2010
A Comparative Analysis of Nike and Adidas Commercials

- A Multimodal Approach to Building Brand Strategies
Mads Nrgaard Hansen and Dennis Gade Pedersen
Abstract
Heavy competition in the sports industry has caused organisations like Nike and Adidas to focus on more than just selling sportswear- and equipment. Organisations need to differentiate themselves and focus on both product attributes and brand values when creating brand strategies. Therefore, we have found it interesting to see how Nike and Adidas communicate their branding strategy differently and have set up the following hypothesis and questions: In Nike and Adidas commercials the organisations make use of complex multimodal choices in order to communicate their branding strategies. 1. Which multimodal choices do Nike and Adidas employ in order to communicate their branding strategies? 2. Which personality traits are similar and different in Nike and Adidas product and value commercials? Due to the complexity of our hypothesis, we will employ three frameworks: social semiotics, film theory, and branding. These frameworks will help us to analyse and make meaning of the four commercials: Nikes Master Accuracy. Hit The Target and Is talent all it takes? and Adidas The Spark and Chelsea FC Every Team Needs The 12th Man. In order to answer the first question, we will analyse the four commercials by applying multimodal concepts and film theory. The multimodal analysis derives from social semiotics and M.A.K. Hallidays meaning-making of language, but as more contemporary concepts from Gunther Kress, Theo van Leeuwen, and Rick Iedema have been explored within image and tele-filmic texts, these approaches will be the multimodal foundation for the analysis. Additionally, film theories will add further aspects to the analysis, as Edvin Kaus notion on film editing strategies, Theo van Leeuwens view on soundscape, and Jrgen Stigels concept of voice-over narrator will help explore the multimodal choices applied in the four commercials. In order to answer the second question of the thesis, brand identity perspectives offered by David A. Aaker and Jean-Nol Kapferer will accompany these two frameworks. Most interesting to the empirical data and our thesis is their perspective on brand personality and value propositions, which will help substantiate Nike and Adidas applied branding strategy.
As a result of the structure, the thesis will gradually explore the answers of our hypothesis. The multimodal analysis verifies that Nike and Adidas use a complex set of multimodal choices. In this regard, the analytical findings demonstrate that the four commercials choices correlate and differ. The correlation is established by consistency between the technique used to communicate the two product commercials and the two value commercials. The product commercials emphasise the portrayed supernatural attributes of Nike and Adidas football boots, whereas the value commercials focus on the virtues of the two organisations constructed through involvement and identification with the represented endorsers. On the other hand, the multimodal choices construct the two organisations as having different brand personalities through their value propositions. Both Nike and Adidas express their functional benefits through the supernatural abilities of the boots. However, more importantly, the selfexpressive and emotional benefits construct Nike as having a hardworking, winning mentality, provocative, edgy, and competitive attitude, and a focus on individuality. Contrarily, Adidas self-expressive and emotional benefits portray the organisation as valuing team spirit, dedication, passion, and active participation. The multimodal choices and personality traits reach to the final conclusion that Nike and Adidas differentiate their branding strategy, which provide them with a competitive edge.
Table of Contents
1. Introduction ........................................................................................................ 1
1.1. Purpose and Problem Statement ............................................................................................................. 1 1.2. Delimitations ................................................................................................................................................... 2 1.3. Structure of Thesis ........................................................................................................................................ 2
2. Presentation of Nike and Adidas .................................................................. 4

2.1. Nike ..................................................................................................................................................................... 4 2.2. Adidas ................................................................................................................................................................ 4
3. Background Theory .......................................................................................... 6

3.1. Social Semiotics .............................................................................................................................................. 6 3.1.1. The Metafunctional Perspectives on Communication .............................................................................. 6 3.1.2. Michael Alexander Kirkwood Halliday ........................................................................................................... 7 3.1.3. Multimodality ............................................................................................................................................................ 8
3.1.3.1. Gunther Kress and Theo van Leeuwen ....................................................................................................................... 8 3.1.3.2. Rick Iedema ............................................................................................................................................................................ 9 3.1.3.3. Van Leeuwens Information Linking............................................................................................................................ 9 3.1.3.4. Hartmut Stckls Modes .................................................................................................................................................. 10
3.2. Film Theory.................................................................................................................................................... 10 3.2.1. Edvin Kaus Reflection on Editing .................................................................................................................. 11 3.2.2. Theo van Leeuwens Sound in Perspectives .............................................................................................. 11 3.2.3. Jrgen Stigels Voice-over .................................................................................................................................. 12 3.3. Branding Theory .......................................................................................................................................... 13
4. Methodology ...................................................................................................... 15
4.1. Interdisciplinary Theoretical Approach ............................................................................................. 15 4.2. Transcription and Analysis of Data....................................................................................................... 19 4.3. Strengths ......................................................................................................................................................... 20 4.4. Weaknesses ................................................................................................................................................... 20
5. Multimodal Analysis ....................................................................................... 21

5.1. Product commercials ................................................................................................................................. 21 5.1.1. Nike: Master Accuracy. Hit The Target. ....................................................................................................... 21
5.1.1.1. Representation .................................................................................................................................................................... 21 5.1.1.1.1. Visually .......................................................................................................................................................................... 21 5.1.1.1.2. Musically ....................................................................................................................................................................... 23 5.1.1.1.3. Sound-wise .................................................................................................................................................................. 23 5.1.1.2. Orientation ............................................................................................................................................................................ 24 5.1.1.2.1. Visually .......................................................................................................................................................................... 24 5.1.1.2.2. Sound-wise .................................................................................................................................................................. 25 5.1.1.3. Organisation ......................................................................................................................................................................... 26
5.1.2. Adidas: The Spark F50i ................................................................................................................................... 27

5.1.2.1. Representation .................................................................................................................................................................... 27 5.1.2.1.1. Visually .......................................................................................................................................................................... 27 5.1.2.1.2. Musically ....................................................................................................................................................................... 29 5.1.2.1.3. Sound-wise .................................................................................................................................................................. 29 5.1.2.2. Orientation ............................................................................................................................................................................ 30 5.1.2.2.1. Visually .......................................................................................................................................................................... 30 5.1.2.2.2. Sound-wise .................................................................................................................................................................. 31 5.1.2.3. Organisation ......................................................................................................................................................................... 32
5.2. Value commercials ...................................................................................................................................... 33 5.2.1. Nike: Is talent all it takes? ................................................................................................................................. 33
Representation .................................................................................................................................................................................... 33 Visually.............................................................................................................................................................................................. 33 Verbally ............................................................................................................................................................................................. 34 Musically .......................................................................................................................................................................................... 35 Orientation ............................................................................................................................................................................................ 36 Visually.............................................................................................................................................................................................. 36 Sound-wise ...................................................................................................................................................................................... 37 Organisation ......................................................................................................................................................................................... 38
5.2.2. Adidas: Chelsea FC Every Team Needs The 12th Man ........................................................................ 39
5.2.1.1. Representation .................................................................................................................................................................... 40 5.2.1.1.1. Visually .......................................................................................................................................................................... 40 5.2.1.1.2. Verbally ......................................................................................................................................................................... 40 5.2.1.1.3. Musically ....................................................................................................................................................................... 41 5.2.1.1.4. Sound-wise .................................................................................................................................................................. 41 5.2.1.2. Orientation ............................................................................................................................................................................ 42 5.2.1.2.1. Visually .......................................................................................................................................................................... 42 5.2.1.2.2. Sound-wise .................................................................................................................................................................. 43 5.2.1.3. Organisation ......................................................................................................................................................................... 45
6. Branding ............................................................................................................. 46
6.1. Product vs. Product ..................................................................................................................................... 46 6.2. Value vs. Value .............................................................................................................................................. 48 6.3. Nike vs. Adidas .............................................................................................................................................. 49
7. Conclusion .......................................................................................................... 51 Bibliography .......................................................................................................... 53 Glossary ................................................................................................................... 57 Appendixes
Total number of characters: 98,880
Responsibilities
B = Both, M = Mads Nrgaard Hansen, D = Dennis Gade Pedersen
1. Introduction B
1.1. Purpose and Problem Statement B 1.2. Delimitations B 1.3. Structure of ThesisB 2.1. NikeM 2.2. AdidasD
2. Presentation of Nike and Adidas B
3. Background Theory B
3.1. Social Semiotics D 3.1.1. The Metafunctional Perspectives on CommunicationD 3.1.2. Michael Alexander Kirkwood HallidayD 3.1.3. MultimodalityD
3.1.3.1. Gunther Kress and Theo van LeeuwenB 3.1.3.2. Rick IedemaB 3.1.3.3. Van Leeuwens Information LinkingD 3.1.3.4. Hartmut Stckls ModesM
3.2. Film TheoryB 3.2.1. Edvin Kaus Reflection on EditingD 3.2.2. Theo van Leeuwens Sound in PerspectivesM 3.2.3. Jrgen Stigels Voice-overM 3.3. Branding TheoryB
4. Methodology B
4.1. Interdisciplinary Theoretical ApproachB 4.2. Transcription and Analysis of DataB 4.3. StrengthsB 4.4. WeaknessesB
5. Multimodal Analysis B
5.1. Product commercialsB 5.1.1. Nike: Master Accuracy. Hit The Target D 5.1.2. Adidas: The Spark F50iM 5.2. Value commercialsB 5.2.1. Nike: Is talent all it takes?M 5.2.2. Adidas: Chelsea FC Every Team Needs The 12th Man D
6. Branding B
6.1. Product vs. ProductD 6.2. Value vs. Value M 6.3. Nike vs. AdidasB
7. Conclusion B
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1. Introduction
This chapter will introduce our problem statement for the thesis and the purpose for exploring the subject. Furthermore, the chapter will discuss the delimitations and provide a descriptive structure of the thesis.
1.1. Purpose and Problem Statement

The billion-dollar sports industry has over the years developed into being more than just selling sportswear- and equipment. Today, sport has become a lifestyle that puts more emphasis on the values of the organisation as a tool for advertising. This is caused by the heavy competition that organisations face as new, cheaper products constantly seek to gain market shares. Consequently, the flagships of sports equipment have been compelled to modify their advertising strategies to include strategies that focus on the brands values opposed to only product attributes. Along with the modified strategies, organisations also need to be personal in their branding in order to create a close relationship between organisation and consumer. Over the last decades worldwide sports suppliers Nike and Adidas have become synonym for the sports industry and the organisations that have modified their strategy to focus on personality traits and value propositions. Therefore, we find it interesting to set up the following hypothesis: In Nike and Adidas commercials the organisations make use of complex multimodal choices in order to communicate their branding strategies. The questions we want to answer in order to verify our hypothesis: 1. Which multimodal choices do Nike and Adidas employ in order to communicate their branding strategies? 2. Which personality traits are similar and different in Nike and Adidas product and value commercials? In order to answer the questions we want to analyse in detail Nikes commercials Master Accuracy. Hit The Target that focuses on a product and the value video Is talent all it takes?from the Make The Difference campaign. Adidas product commercial F50i and value
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commercial Chelsea FC Every Team Needs The 12th Man from the Every Team Needs campaign will be the videos from Adidas that we will analyse. Even though advertising has moved from focusing on products to values, it will be interesting to see which aspects the different videos want the organisations to identify with product as well as value attributes. As tools for analysing these commercials, this thesis will take point of departure in a multimodal analysis derived from social semiotics as well as concepts from film theory. Aaker and Kapferers concept of brand personality will also be applied in order to answer our questions. By combining these concepts, we want to prove that Nike and Adidas communicate their branding strategies differently.
1.2. Delimitations
In this thesis we will centre our attention on answering the hypothesis and questions put forward in the introduction. Furthermore, due to the limited number of characters and the time perspective, our empirical data will take point of departure in football alone and not include other Nike and Adidas sports segments. As data for analysis, we will exclusively focus on two videos from each organisation that embrace the essence of Nike and Adidas attributes. This also means that we will only focus on the most relevant features of these four commercials that portray Nike and Adidas branding strategy. Theoretically, despite the interest and relevance of including persuasive concepts, we will only apply theories that can aid our hypothesis and questions.Additionally, it would have been interesting to explore how Nike and Adidas brand themselves as a product, an organisation, and a symbol, but this thesis will only cover brand personality traits due to the use of celebrities as endorsers.Our presentation of Nike and Adidas will only address relevant historical events and values that are appropriate in connection to their branding strategy. With these delimitating remarks, we will elaborate on the structure of the thesis.
1.3. Structure of Thesis

This thesis will be divided into sevenchapters: Chapter 1 will introduce the purpose and problem statement of the thesis, the delimitations, and the structure of the thesis. This will be followed by a presentation of Nike and Adidas and their relevant historical events and valuesin chapter 2. Chapter 3 will present the relevant multimodal theories and the branding concepts
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that will be the groundwork for the analysis, whereas chapter 4 will provide a discussion of which theories are appropriate, their advantages within the field of multimodality and branding and how the different theories are linked. Furthermore, the reasons for transcribing the videos will also be discussed. The multimodal analysis of the four commercials will be dealt with in chapter 5. First, the two product commercials will be analysed followed by the analysis of the two value commercials. Based on the four commercials, chapter 6 will contain an analysis of Nike and Adidas branding strategies. Lastly, chapter 7 will conclude the findings from the thesis.
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2. Presentation of Nike and Adidas

In order to analyse the similarities and differences in Nike and Adidas branding strategy, we need background details about the two organisations to ensure that Nike and Adidas commercials make use of values that are true to their heritage.
2.1. Nike
What started off as a school assignment in the 1960s turned out to be one of the biggest sports brands of our time.Phillip Knights interest within running resulted in a contact with the Japanese shoe producer Onitsuka. Phillip Knight introduced himself as a representative of Blue Ribbon Sportsand ordered his first pair of running shoes. This Japanese journey resulted in what later became Nike. Nikes focus was not only to produce quality shoes for professional athletes the organisation also put great emphasis on the jogging community and everyday use of sports products. This approach resulted in stealing market shares from German giant Adidas, as well as it increased the organisations popularity. As early as 1973 Phillip Knight discovered that endorsement was a great method for promoting the Nike brand. His philosophy was that if he could get sports heroes associated with a Nike product, it would provide a great boost. Nike built new product lines and marketing campaigns around these athletes, forging an attitude that was distinctly Nike: hardworking, competitive, and tough (Frisch 2004: 27). The values and abilities of the celebrity endorsers utilised in the Nike commercials Master Accuracy. Hit The Target and Is talent all it takes? is briefly discussed next in appendix 1.
2.2. Adidas
Shoemaker Adi Dassler founded the German conglomerate Adidas in 1948 in Herzogenaurach. As an amateur athlete, Adi Dassler dedicated his job to craft the best possible shoe for serious athletes. Function First was together with quality, dedication, innovation some of the highest rated values in the beginning of the organisations history, which resulted in a successful organisation (Aaker and Joachimsthaler 2000:166). The organisation failed to focus on the jogger community and the aerobic movement in the 1970s and 80s, which caused a turbulent time, and, with the death of founder Adi Dassler in 1978, the company lost parts of its DNA and the companys brand strategy appeared outdated. This forced Adidas to combine its his-
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torical values with emotional and contemporary feelings necessary for users to identify with the brand. This resulted in a brand identity that focused on creating innovative, quality products that appeal to peoples emotions by emphasising excitement, the thrill of victory and meeting physical challenges. Furthermore, active participation became a corner stone of the company, as performance is about crossing boundaries and, rather than focusing on stars and individuals, emphasis was put on supporting teams at every level (Aaker and Joachimsthaler 2000:186). These values are expressed in Adidas promotion materials, especially in the use of celebrities as trustworthy endorsers. The values and abilities of the celebrity endorsers utilised in the Adidas commercials The Spark and The 12th Man is briefly discussed in appendix 1 to verify that the organisation makes use of endorsers corresponding with the brand identity.
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3. Background Theory
The background theory provides the foundation of the theoretical knowledge applied in the thesis. Due to the complexity of the empirical data, we have created three different frameworks: social semiotics, film theory, and branding. These frameworks will help us answer our hypothesis. We start by exploring the term social semiotics and the development within the metafunctional perspectives on communication.
3.1. Social Semiotics

The term semiotics derives from Greek semeion, which means sign. Signs were considered to be the fundamental aspect of semiotics, but in social semiotics the term resourceis more important as a sign is affected by its use and not simply what it stands for (van Leeuwen 2005:3). In other words, the semiotic resource is affected by the social context in which it exists. Semiotic resource originates from Halliday, who argues that the grammar of a language is not a code, not a set of rules for producing correct sentences, but a resource for making meanings (van Leeuwen 2005:3). Today, semiotic resources not only deal with the language mode, but rather with a wide range of modes. To be more precise, semiotic resources have to do with everything we do or make, whether it is what we say, write or gesticulate etc. in our different cultural and social context. All the actions that we make in the world have meaning potentials, and how these potentials are communicated is the essential activity in social semiotics.
3.1.1. The Metafunctional Perspectives on Communication

The development within contemporary communication has caused a shift in semiotic modes and how communicative strategies can be analysed.Hallidays work in social semiotics in the 1960s and 1970s focused around systemic functional grammar as a mean of understanding language. In his work, he provided a metafunctional framework for analysing texts1 consisting of the ideational, interpersonal, and textual metafunction. During the 1980s and 1990s, Theo van Leeuwen refined the framework of Halliday as he shifted focus from language to visual elements. Just like Halliday, van Leeuwen focuses on the grammar of images, which opposedto Hallidays emphasis on verbs, nouns, and phrases surroundsits attention on repre1
Words in italics are explained in the glossary
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sentational, interpersonal, and textual meanings of images.The need to analyse in more details film and television has caused yet another shift.Rick Iedemas metafunctions for analysis elaborates on the previous work from Halliday and van Leeuwen and modifies it to the telefilmic genre. Iedema proposes the three metafunctions: representational, orientational, and organisational. In the following three sections, the metafunctional concepts from Halliday, Kress and van Leeuwen, and Iedema will be presented to provide a better understanding of the development.
3.1.2. Michael Alexander Kirkwood Halliday

Halliday is a social semiotician who focuses on language. According to Halliday, language does not consists of sentences; it consists of text, or discourse the exchange of meanings in interpersonal contexts of one kind or another (Halliday 1996:89). In other words, language is not a code, which was the norm in the Paris school semiotics (Jewitt and Oyama 2001:134), but a resource for making meanings (Halliday 1978:192). Halliday provides a theoretical framework to analyse the systemic functional grammar of language that will help understand the meaning potentials of language (Jewitt 2009:29). This framework recognizes that linguistic structures simultaneously function to represent experiences of the world, construct social relationships among the participants in discourse, and create text that is internally cohesive and coheres with its context (Stillar 1998:14). The three metafunctions that construct this framework are: ideational, interpersonal, and textual. The ideational metafunction deals with what goes on in the world: Language has to interpret the whole of our experience, reducing the indefinitely varied phenomena of the world around us, and also of the world inside of us, the processes of our own consciousness, to a manageable number of classes of phenomena: types of processes, events and actions, classes of objects, people and institutions, and the like (Halliday 1978:21).The interpersonal metafunction expands to employ the participants of the semiotic resource and how these participants are related: Language has to express our participation, as speakers, in the speech situation; the roles we take on ourselves and impose on others; our wishes, feelings, attitudes, and judgments (Halliday 1978: 21). The ideational and interpersonal meanings need to be organised into texts: The resources of the textual function are used to structure the flow of information, link different parts of the text with one another, and link the text with its context (Stil-
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lar 1998:45).Later on Hallidays linguistic approach has been modified and re-developed by van Leeuwen, who adapts Hallidays textual point of view and offers a framework where meaning functions are realised visually (Jewitt 2009:29).
3.1.3. Multimodality
The development within communication has realised that language alone is no longer the most significant mode of communication. Multimodality assumes that communication draws on the multiplicity of semiotic modes, which means that all interactions are multimodal (Norris 2004a:3). This means that gestures, postures, images, gazes, sounds, music, and verbal information andthe interaction between them contribute to creating meanings of communication (Jewitt 2009:14). Multimodal concepts that address these interactions will be presented in the following sections. 3.1.3.1. Gunther Kress and Theo van Leeuwen As mentioned above, Kress and van Leeuwen have expanded the social semiotic framework that Halliday introduced to include an analysis of visual elements, and hence, developed the multimodal approach to semiotics.Kress and van Leeuwens work on visual communication opened the door for multimodality and laid the groundwork for extending and adapting social semiotics across a range of modes, which has made the concept applicable to visual texts. Like Halliday, Kress and van Leeuwen identify the three metafunctions as ideational, interpersonal, and textual.The ideational metafunction deals with an array of choices, of different ways in which objects, and their relations to other objects and to processes, can be represented (Kress and van Leeuwen 2006:42). The interpersonal metafunction help clarify the interactive elements in images by offering an array of choices for representing different interpersonal relations, some of which will be favoured in one form of visual representation, others in another (Kress and van Leeuwen 2006:42). Lastly, the textual metafunction makes a range of resources available: different compositional arrangements to allow the realization of different textual meanings (Kress and van Leeuwen 2006:43). By applying Kress and van Leeuwens metafunctional framework in image analysis, the hidden meanings can effectively be brought out (Jewitt and Oyama 2001:154) and reshape the semiotic landscape (Kress and van Leeuwen 2006:44). However, in order to analyse tele-filmic texts, Iedemas elaboration on the
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three metafunctions is a vital tool to make meaning of the tele-filmic genre, and therefore relevant in order to answer our hypothesis.
3.1.3.2. Rick Iedema Iedema continues Hallidays, and Kress and van Leeuwens work on social semiotics and metafunctions and takes it to the next level as he focuses his attention on tele-filmictexts. Iedema argues that in all meaning-making text,the three metafunctions can be used as a tool for analysis (Iedema 2001:191). In other words, Iedema embraces the shift in modes that the communicative development has caused and provides a structure for analysis of tele-filmic texts. Iedema renames the three metafunctions:representation substitutes ideational, orientation substitutes interpersonal, and organisation substitutes textual. Representation considers meaning insofar as it tells us about the world in some wayWe talk about what meanings represent visually, verbally, musically or sound-wise (Iedema 2001:191). The representational metafunction distances itself from the ideational, as it not only involves the images, but also the music, sound, and verbal modes. Orientation is to do with how meanings position characters and readers-viewers (Iedema 2001:192). The orientational metafunction draws on Kress and van Leeuwens reader-viewer structure. This leads to the organisational metafunction that concerns withhow meanings are sequenced and integrated into dynamic text (Iedema 2001:192).Van Leeuwen offers a framework of linking devices that help organise texts.
3.1.3.3. Van Leeuwens Information Linking Halliday, Kress and van Leeuwen, and Iedema emphasise the importance of organising the meanings in texts. Van Leeuwen has setup a relevant structure that helps clarify how the verbal, visual, and sound-wise information(meanings) is meaningfully linked (van Leeuwen 2005:219), because information can only be interpreted in the context of other pieces of information and of specific communicative interest and purposes (van Leeuwen 2005:219). In other words, in order to understand the meaning of atext, every piece of information in that text should be organised and linked appropriately (see appendix 2 for Linking Devices). Van Leeuwen provides an overview of verbal linking, visual linking, and visual-verbal linking connective devices. Categories of verbal linking can be made explicitly by means of conjunc-
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tion (van Leeuwen 2005:220). Depending on which conjunctions used in linear and nonlinear texts, each texthas a purpose in the context in which it is placed. What is more interesting in this thesis is the linking devices applied in visual texts. Even though storytelling was, and still is, the dominant use in film medium, flashbacks, flash forwards and simultaneous events have become often-used tools in tele-filmic texts (van Leeuwen 2005:227). There are two types of connections: In the case of elaboration, it repeats or restates information for purposes of clarification. In case of extension, it adds new information, linking it to the existing information in a particular way for example temporally, or logically (van Leeuwen 2005:222). Stckls network of modes will be presented next. 3.1.3.4. Hartmut Stckls Modes In order to clarify the level of multimodal modes, Stckls network of modes provides a framework that emphasises the idea that modes and sub-modes shift or blend (modeoverlapping) (2004:9). The concept of modeoverlapping deals with how modes are interconnected in communication. Stcklsnetwork of modes is neededin multimodal communicationbecause mono-modal text has been an exception while the core practice in communication has essentially been multimodal all along (Stckl 2004:10). Stckls framework involves two sensory channels: visual and auditory. These two categories are divided into four core modes: image, language, sound, and music (Stckl 2004). This network of modes provides a framework that is applicable in multimodal analysis, which will help identify the modes and submodes in tele-filmic textsand therefore a relevant tool in this thesis. Social semiotics only uncovers one part of our thesis. Film theory concepts are also needed in order to gain a higher and more detailed understanding of our empirical data.
3.2. Film Theory

In order to analyse our fourcommercials, relevant film theories will also be applied. This includes Kaus notion on combination, separation, and penetration, van Leeuwens concept of soundscape, and Stigels discussion on voice-over.
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3.2.1. Edvin Kaus Reflection on Editing

Editing is a vital tool when constructing tele-filmic texts. However, according to Kau, editing is nothing. Bits and pieces are combined, but the combining itself is an invisible way, an aesthetic principle. It is this nothing that lets us see what is being combined in a certain way (Kau 1998:1). Despite the fact that Kau presents editing as being nothing, he offers tools for combining the shots and scenes within tele-filmic texts. The three meaning-making concepts that he proposes are separation, combination, and penetration. Separation is fragmentation of a scene into single images in alternation A,B,A,B,A,B, etc. (Sharff 1982:6 in Kau 1998:2). Separation is powerful when the editor wants to create a closer relation between characters (Kau 1998:2). Combination deals with the assembling or making wholes out of the material (Kau 1998:1), whereas penetration binds shots together: actions or things which 'penetrates' from one shot to the other(Kau 1998:5). Opposed to the everyday life, editing can help the editor and the producer to create the exact perfect world that (s)he wants in order to communicate the meanings of the tele-filmic text. Another important mode in the four commercials is sound, which is next to be discussed.
3.2.2. Theo van Leeuwens Sound in Perspectives

An elementary mode in tele-filmic texts is the sound mode. According to van Leeuwen, every semiotic mode can create relations between what is being presented or represented and the receiver, the reader or viewer or listener of the message(van Leeuwen 2006:179). In other words, a social relation can be established through the semiotic mode sound. In order to uncover the sound layers, van Leeuwen proposes three perspectives that categorise the sounds in a hierarchical order: figure is the most important sound, the sound which the listener must identify with, and/or react to and/or act upon, ground is part of the listeners social world, but only in a minor and less involved way, and field is not in the listeners social, but in his or her physical world (van Leeuwen 2006:187-188). It is important to highlight that any sound can appear as figure, ground,or fieldas it all depends on the recipient and his/her perception. Sound can also create social distance, for instance when we are close to people (literally and figuratively) we speak more softly than when we have a more formal relation with them or speak to them in the context of a more formal occasion (van Leeuwen 2006:188). In addition, intimacy in sound can be created through a whisper, signifying that
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the participants areclose. On the contrary, informality can be established through yelling (van Leeuwen 2006:188-189). Another concept that establishes social relation is Stigels notion on voice-over, which will be dealt with next.
3.2.3. Jrgen Stigels Voice-over

Van Leeuwen and Stigels approaches correlate as they both explore the effect of sound in tele-filmic texts. Stigel claims that media-borne communication and advertising have a communication problem (Stigel 2006). According to him in order to communicate, a dialogue must be established in order to not only speak at them, but also speak with them (Stigel 2001: 322). If the recipient is not treated as a participant in the communication, then the media-borne communication is reduced to the level of information (Stigel 2001). Therefore, in order to feel involved in the communication, it is essential for media-borne communication to create a relationship with the recipient, in which the recipient feels like being part of the situation and as a result feels part of the communication. In traditional interpersonal communication, the parties and their physical and social context create a direct space around the conversation (Stigel 2001:322). According to Stigel,media-borne communication has to establish this space virtually in order to provide communication (2001). Voice-over is one method to help establish this virtual space. The voice-over format is characterized by the owner of the voice either being invisible, i.e. solely represented as a voice, or represented in different ways on the screen(Stigel 2001:327). The voice-over serves as anchorage to the visual element, meaning it speaks over and across what we see in the picture, and tries to dictate to us what we see on the picture level (Stigel 2001:340). Through the voice-over a you can be established on the screen. The voice-over can make connection between what is said and the visual representation as well as engage the recipient to take part in the commercials. Besides influencing the recipients perception, the voice-over also serves as a narrator to guide the recipient throughout the communication which establishes communicative coherence.Multimodal and filmic theories cannot stand alone in order to answer our hypothesis. Therefore, branding approaches also need to be included.
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3.3. Branding Theory

Branding originally emerged in the Wild West where cattle breeders marked their cattle by burning their hides in order to separate the affiliation of the cattle (Schultz et al. 2005). As a marketing tool, branding first gained ground in the late nineteenth century because of the rising of the uncontaminated factory-fresh products (Olins in Schultz et al. 2000:52-53). The American Marketing Association first coined the term brand in 1960: A name, term, sign, symbol, or design, or a combination of them, intended to identify the goods or services of one seller or group of sellers and to differentiate them from those of competitors (Keller 2008:2). This definition limits to focus on the tangible associations of an organisation and implies that an organisation constructs its brand, whereas today, a companys brand is equally constructed by its stakeholders (Jill 2009:355). Lately, each expert comes up with his or her own definition, or nuance to the definition (Kapferer 2004:9), which makes it difficult to present a single, precise definition. Jill (2009:355), however, sums up 12 different definitions and gathers their common characteristics into a definition that transcend the original: What these researchers have identified is that brands are a product of the work of managers who attempt to augment their products with values and associations that are recognised by, and are meaningful to, their customers (Jill 2009:355). In other words, branding has developed from being only internally created to acknowledge that external factors influence the brand as well. Just like the notion of branding has experienced a development over the last centuries, organisations have also experienced a need to adapt their branding strategy accordingly. Effective branding has become a necessity for organisations in order to be on the cutting edge of the competitive challenges faced by the companies, because it is becoming more apparent in many organisations, brands unique functional values can soon be understood by competitors, who are capable of not just emulating the functional advantage, but then surpassing it (de Chernatony 2001:5). Differentiation is a vital tool for overcoming these challenges as todays organisations are more focused on branding their values oppose easy-to-copy product attributes. In other words, when communicating a brand, the organisation should not focus solely on product attributes if the brand wants to stand out differently compared to its competitors, because, as Kapferer (2004) states, brands have two legs (p. 61), hereby implying that brands should consider both value and product attributes when building a brand.
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This thesis will explore how Nike and Adidas build their brand strategy through brand personality traits. Both Aakers Brand Identity System and Kapferers Brand Identity Prism (appendix 3) look into the use of brand personality as a dominant building block in organisations brand strategies. A brand personality can be defined as the set of human characteristics associated with a given brand (Aaker 2002:141). The uncovered personal traits will provide value to brands, which will help the brand in building brand-customer relationship: A brands value proposition is a statement of the functional, emotional, and self-expressive benefits delivered by the brand that provide value to the customer. An effective value proposition should lead to brand-customer relationship and drive purchase decisions (Aaker 2002:95). These value propositions will eventually emphasise how Nike and Adidas communicate their brand strategy differently.
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4. Methodology
Chapter 4 will first of all explore and substantiate how the multimodal and branding theories will be applied in the thesis in order to answer our hypothesis and questions. Additionally, we will discuss the relevance and strengths of the theories. Moreover, the reasons for transcribing and analysing the empirical data as well as the strengths and weaknesses with this methodological approach will likewise be discussed.
4.1. Interdisciplinary Theoretical Approach

In order to answer our hypothesis and questions, we need to embrace several theories as no single theory can provide a comprehensive framework for the exploration of our multimodal data. Furthermore, we need to ignore other approaches that cannot provide reliable tools for demonstrating the hypothesis. Therefore, our thesis is two-folded: a multimodality section, which also includes film theory and a branding section.As figure 4.1 visualises, the groundwork of the thesis takes point of departure in social semiotics, more specifically multimodal semiotics. Multimodality gives us the possibility to produce comprehensive account of the semiotic modes as meaning-making systems and their interrelation. Additionally, this multimodal approach will provide us with a common terminology for all the meaning-making resources that we intend to analyse. The multimodal findings will enable us to see the social reality that Nike and Adidas construct and, as a result, reveal new layers of their branding strategy, which is the second part of the thesis. Iedemas analytical method will constitute the framework of the multimodality section. Iedemas multi-layered structure is relevant because it rests on the concepts from Halliday, and Kress and van Leeuwen, but at the same time the framework involves several modes which makes it applicable to tele-filmic texts. The fact that Iedemas three metafunctions embrace visual, verbal, music, and sound elements broadens the scope of the analysis. However, in order to analyse the representational, orientational, and organisational features of Nike and Adidas commercials, other concepts need to be involved to make it comprehensive. Furthermore, due to Iedemas focus on hospital documentaries, the study does not go into details with each mode which is necessary; instead, the method very well serves as an umbrella framework because of its wide scope.
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The representational metafunction deals with what meanings are represented visually, verbally, musically or sound-wise. In order to go into depth with the representational modes and guide our analysis, Stckls (2004:9) detailed network of modes will help visualise how modes and sub-modes shift or blend and mix in TV- and film-media. According to Stckl, much focus has relied on singles modes in texts and not how they interact and are organised in text and discourse (2004:10). Stckls network diagram thereby helps clarify how the different modes overlap, which is very relevant in Nike and Adidas commercials. As a tool for analysing the sound mode of the commercials, van Leeuwens notion on soundscape will help clarify the hierarchical order of sounds, which will determine the role of the different sounds and their importance. Additionally, in order to uncover the hidden layers of the different modes, Kress and van Leeuwen (2006:105) offer symbolic processes where participants and objects signify their symbolic meanings. After having identified what the world is about, we will look into the reader-viewer relation that the orientational metafunction embraces. Kress and van Leeuwens interpersonal metafunction offers a multimodal framework that is suitable for analysing the social realities of the represented participants and viewer. This approach identifies the non-verbal communicative information about the reader-viewer relationship such as the contact, social distance, and attitude(appendix 4). These findings will clarify how Nike and Adidas place themselves in the commercials toward their audience. Opposed to Kress and van Leeuwens focus on readerviewer relation, Kau offers concepts that put emphasis on the relationship between the represented participants in a scene. The concept of separation is applicable to every commercial, especially in Nikes Is Talent All It Takes?, where the ABABAformation structures the commercial and points to an important branding element. In the additional videos, the strategy plays a minor role, but helps construct a relation between the participants involved, which is important in meaning-making.The penetration concept will also be applied in Is talent all it takes?. The two value commercials contain voice-over, which is asignificant feature in creating reader-viewer relationship. The power of voice-over is that it creates an atmosphere of familiarity, intimacy, and mediation which acts as a connecting link between screen event and screen viewer (Stigel 2001:337). By exploring the voice-over format in the analysis, we gain an in-
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sight into the reader-viewer relation. Another theory that examines the role of sound and the reader-viewer relation is van Leeuwens notion of soundscape. By introducing this theory, the sound is characterised through two other concepts: perspective and social distance. Through the perspectives on sounds, the sound elements enter a hierarchy and analyses the sounds that are interesting to the viewer and the context. The social distance categorises the different degrees of formality the volume of the voice defines the intimacy that the commercials create. The representational and orientational findings need to be organised into a cohesive text. Van Leeuwen discusses the arrangement of information in tele-filmic texts and offers a framework of connective devices that are applied in commercials to link shots/scenes and voices in a cohesive manner. Another rhythmic feature that is relevant in the two value commercials is the use of a narrator (Stigel 2001). This narrator functions as a cohesive guide throughout the commercials, which in this way organises and structures the text. Moreover, Kaus concept of separation is very relevant to apply in Nikes Is talent all it takes?, as it organises the commercial. The discussion on the relevant multimodal and tele-filmic theories provides the foundation for answering our first question: Which multimodal choices do Nike and Adidas employ in order to communicate their branding strategies? In order to analyse the second question: Which personality traits are similar and different in Nike and Adidas product and value commercials?, concepts of branding need to be discussed. The second part of the thesis will concentrate on how Nike and Adidas build a brand strategy through the four commercials. Aaker (2002) and Kapferer (2004) propose two similar perspectives on how to accomplish this: Aakers Branding Identity System and Kapferers Brand Identity Prism. These two perspectives bring together a broad framework that is very relevant when a brand is to build a brand identity. The empirical data accentuate that brand personality is the most important building block in Nike and Adidas branding strategy, which means that the organisations brand identity will solely be based on personality traits in this thesis, despite the fact thatAaker (2002:78) and Kapferer (2004:111)argue that every perspective should be considered.
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The strength of brand personality is that it can help brand strategists by enriching their understanding of peoples perceptions of and attitudes toward the brand, contributing to a differentiating brand identity, guiding the communication effort, and creating brand equity (Aaker 2002:150). Brand personality contributes to differentiated brand identities and will therefore function as a method of comparison between Nike and Adidas. In order to analyse the personality of Nike and Adidas, a tool for measuring the brand personality is needed: the same vocabulary used to describe a person can be used to describe a brand personality. In particular, a brand can be described by demographics (), lifestyle () or human personality traits () (Aaker 2002:142). Providing values to the customers is an effective and necessary way to establish brandcustomer relationship and drive purchase decisions (Aaker 2002:95). Aaker (2002:95-102) offers three value propositions that help create this relationship: the functional, emotional, and self-expressive benefits. The empirical data indicates that every value proposition should be applied, as the commercials are respectively value and product oriented. The functional benefit is based on a product attribute that provides functional utility to the customer (Aaker 2002:95). As noted before, this benefit often fails to differentiate a brand, Therefore, Nike and Adidas put even greater emphasis on the emotional and self-expressive benefits. Emotional benefit is when the purchase or use of a particular brand gives the customer a positive feeling (Aaker 2002:97), whereas self-expressive benefits provide a way for a person to communicate his or her self-image (Aaker 2002:99). The combination of the multimodal approaches and branding concepts will be the foundation for answering our hypothesis and questions.
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4.2. Transcription and Analysis of Data

The theoretical framework discussed does not alone answer our hypothesis empirical data need to be integrated as well. In our search for empirical data, our attention has surrounded the respective websites of Nike and Adidas and both websites offer the most contemporary data that the two organisations have produced. As we intuitively have realised that there is a complex interplay of various persuasive strategies in the four commercials which seem to differ according to main focus product or values, the multimodal framework help us divide the four commercials into scenes and shots. This approach will help create an in-depth analysis of every shot of the commercials, which will provide us with the best possible foundation for analysing Nike and Adidas branding strategy. This is supported by the fact that the professional producers of the four commercials leave nothing to coincidences, which establishes multimodality as a powerful analytical tool.
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4.3. Strengths
Although multimodality offers a powerful analytical tool for analysing texts, it could not stand alone in this thesis. Therefore, a powerful strength of this methodology is the complexity of theories. By combining multimodality, film theory, and branding, we are able not only to demonstrate the choices in the four commercials, but also to interpret them. This will eventually help us answer of hypothesis.
4.4. Weaknesses
As mentioned in the delimitations, this thesis focuses solely on the four football commercials. For this reason, Nike and Adidas brand strategy does not represent the entire organisation, but only the four commercials. Moreover, the combination of multimodality and branding is undiscovered, as not much work has been done within this territory.
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5. Multimodal Analysis
In order to explore how Nike and Adidas promote their branding strategy differently through product and value commercials, we will analyse four commercials that, through their complex multimodal choices, express their brand strategy. The two product commercials are Nikes Master Accuracy. Hit The Target and Adidas The Spark,and the two value commercials are Is talent all it takes? by Nike and Adidas Chelsea FC Every Team Needs The 12th Man. As also stated in the delimitations, the analysis will only highlight the multimodal choices that are relevant in order to answers our hypothesis and questions.
5.1. Product commercials

Firstly, we will analyse the different multimodal choices applied in Nikes Master Accuracy. Hit The Target and Adidas The Spark.
5.1.1. Nike: Master Accuracy. Hit The Target2.

The commercial first broke on the English TV program Soccer AM on 16 January 2010 (Wieden + Kennedy 2010). As a part of the campaign, Nike launched a competition in NikeTown London where fans and shoppers had the possibility to imitate Wayne Rooneys (Rooney) accuracy. For these reasons, the target audience are sports enthusiasts in the UK, who would consider buying Nike football boots. 5.1.1.1. Representation We start by analysing the representational metafunction dealing with the meanings represented visually, verbally, musically or sound-wise. 5.1.1.1.1. Visually The commercial includes two characters: Rooney and Fernando Torres (Torres), who represent different cultures, abilities, and lifestyles, which attract a wide target audience. Rooney is known for his will to win, determination, and his temperament, whereas Spanish born Torres is a cultural, flamboyant footballer(appendix 1). These deadly strikers know better than anybody else that accuracy is needed in order to score goals and do their job.
2
Appendix 5: Transcription of Master Accuracy. Hit The Target.
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The first scene establishes Rooneys role as being the chosen one for the job due to the lightning and his position in the centre of the hit the target logo. It also emphasises that Rooney is the primary actor of the commercial. Besides his role as an actor, the target, the ball, and the darkness offer a scene that connotes being on a shooting range, hence Rooney is here to hit the target accurately. This visual intertextual blend between spatial dimensions of the shooting rangeand the football game creates a new, unreal environment, in which this commercial takes place.In this new reality, deadly lasers have replaced the goalkeeper. As Rooney realises that accuracy is needed to pass the virtual goalkeeper, several camera shots focus respectively on hitting the football and the sensory reactions from Rooney. This emphasises that focus is not solely on the product in use, but also that concentration, balance, and technique are needed in order to elegantly hit the target with accuracy. The lightning technique used on Rooneys lower body, the matching green colours (boot, grass, laser) connote the futuristic attributes of the boot, which makes the product the most salient object. Another dimension to the product is established through the animated shots showing Rooney, whichimply that the football boots are not only useful for hitting a target, but they also provide flexibility and lightness to a footballer. Throughout the commercial, a relation between Rooney and the target is created. The shot of Rooney kicking the ball is followed by a shot of the target. This penetration editing strategy establishes a close relationemphasising the challenging, futuristic atmosphere and the battle between men and machine. This corresponds very well with the competitive toughness that Rooney expresses when facing the virtual goalkeeper. Concurrently with Rooney hitting the ever-harder targets, a hooded figure (Torres) is introduced. Due to his clothes, elevated position, and role as a DJ it becomes clear that a new scene and reality is created in which Torres dominates. Again, a visual intertextual blend between a nightclub and a football environment creates a futuristic, edgy, and trendy environment. As Rooney avoids Torres obstacles, Torres not only recognises and acknowledges Rooneys ability (scene 12:shot 1), he is also surprised by his flair and technique (scene 14:shot 1). At the end, a green trance-like aura surrounds Rooney (scene 19:shot 2, 3), which depicts him as the chosen one fully focused on the target. The dominating music plays a vital role in the commercial, which will be analysed subsequently.
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5.1.1.1.2. Musically The commercial makes use of the contemporary popular nightclub genre dubstep, which originated in London in 1999 (Suite101 2009).16bits Jump dominates this commercials audio track. The non-diegetic fast, edgy, and trendy music constantly changes between being positioned as figure and ground, but as the commercial continues, the music is positioned in figure except when the camera focuses on the lasers (e.g. scene 1:shot 25, 31). The genre of the background music, the tempo of the music, and the positioning of it in the commercial establish the scenes in which the commercial takes place: a futuristic, trendy, edgy, and pulsating nightclub atmosphere. In addition to the music, the diegetic and non-diegetic sounds help express the electronic nightclub atmosphere. 5.1.1.1.3. Sound-wise As just argued, the music dominates the audio track. However, several non-diegetic and diegetic sounds appear as figure, ground, and field throughout the commercial. The elevating nondiegetic sound in scene 1:shot 2 emphasises the isolated and dark reality in which Rooney is situated. In other words, the electronic, machine-like, emptiness sounds in the beginning create this uplifted, empty reality where machines seem to set the agenda. This is further supported by the diegetic laser sounds that are positioned as figure every time the lasers appear in close-up shots and the diegetic empty, expectancy sound is positioned as figure or field. The diegetic sounds enhance the reality, just like they serve to underline the action elements of the video. The lasers play a vital role sound-wise as the sound connotes passing the goalkeeper and overcoming the challenges that this elevated reality has set up for Rooney. The lack of other sounds during the music implies that the lasers are the only obstacles Rooney has to overcome in order to succeed. It therefore comes down to the tough battle between men vs. machine/electronics and striker vs. goalkeeper. The representational findings emphasise the unreal, futuristic, nightclub atmosphere of the Master Accuracy. Hit The Target commercial. The commercial distinguishes between human attributes and product attributes. Rooney expresses a calm, concentrated state of mind that is needed in order to hit the ever-harder targets, whereas Torres flamboyant attitude serves to challenge Rooney to do his absolute best. Because it is a product commercial, techniques such
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as lightning and colour similarities enhance the product supernaturally as the most salient aspect. Next will the relationship between viewer and participants be analysed. 5.1.1.2. Orientation Secondly, the orientational metafunction helps us analyse how meanings position characters and readers-viewers. 5.1.1.2.1. Visually The involving and challenging attitude is evidently one of the most dominating features of this commercial. This has also been applied in the aftermath of the campaign where Nike involved and challenged people to enter the accuracy competition in NikeTown. Evidence that supports this attitude is the use of camera angles in the video. In the beginning, an unfocused Rooney kicks the ball like any other footballer (frontal angle and no eye contact scene 1:shot 9, 10), but as he realises that concentration and technique are needed in order to overcome the obstacle, the viewer becomes less involved and observes Rooneys reality because the viewer is currently not wearing the football boots and can therefore not perform like Rooney (e.g. scene 1:shot 20, 24, 29). Additionally, his concentration emphasise his determination and winning mentality. This high level of detachment is also utilised in the shots focusing on Rooneys lower body however, as mentioned in the representational metafunction, the lightning technique makes the product stand out saliently. The salient football boots create awareness in the viewers mind, which elevates the level of involvement and therefore also the level of promotional aspect of this product commercial. A detached Rooney continues to pass the virtual goalkeeper as the viewer realises that Torres controls Rooneys reality. When dragged into Torres reality in scene 4, the oblique camera angles on Torres continue connoting that the viewer is not in charge of Rooneys obstacles Torres is, just like in real life (See appendix 1). In addition to this Torres domination and the challenging element of the commercial, the use of separation editing visualises the relationship between Rooney and Torres. The shifting focus creates a close relationship between the two characters; however, the viewer is still involved in Torres reality due to the frontal angle, close-up shot of Torres and the oblique angle of Rooney. The relationship is also emphasised through the horizontal angle. The low camera
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angle gives Torres power, whereas Rooney is positioned as an object of insignificance. The exchange of gaze and the facial expressions between the characters emphasise the playful, provocative, challenging atmosphere that the video creates, which has been a dominating part of previous Nike campaigns such as Cage (Youtube 27 August 2005) and Men vs. Women (Youtube 18 March 2009). The viewer becomes part of Rooneys reality again in the end (scene 19). In this reality Rooney is going to overcome the new, tougher, almost impossible challenge and, because he is positioned frontally and almost in an intimate relationship with the viewer, the viewer is highly involved and encouraged to act on this challenge - the viewer just needs to purchase the football boots. Rooney succeeds in overcoming the impossible challenge, which provides the football boot with supernatural power. An important element that supports the low level of involvement is the lack of eye contact between the viewer and the two characters. By creating no identification between viewer and characters positions Rooney and Torres as objects of contemplation. In other words, the two deadly strikers are positioned as being in a focused, meditative state of mind. This is consistent with the greater emphasis on the characters focus on their targets rather than focus on the insusceptiblesurroundings such as the teammates, the opponents, and the chanting crowd (scene 1:shot 9, 15, 24, scene 3:shot 2, 6, 8 etc.). Because the viewer closely witnesses how the two characters focus on their job, (s)heestablishes an intimate bond with Rooney and Torres. One dimension of the commercial that does create a high level of involvement is the context in which the footballers are situated. The inclusion of football in a futuristic, pulsating nightclub atmosphere creates together with Rooney and Torres casual clothes a familiar, recognisable environment that the target audience can relate to. This also makes it easy for the target audience to relate to the product and in the end consider purchasing the football boots. Sound can also be used to create viewer-participant relationship. 5.1.1.2.2. Sound-wise The lack of voice-over puts great emphasis on the music and sound elements of the commercial. As mentioned previously, the music genre dubstep creates this pulsating nightclub environment that the target audience can easily identify with due to their demographical and psy-
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chological attitudes. Not only the genre establishes this close recognisable relation the musics domination and position as figure also creates identification that is needed in order for the target audience to act on the commercial. At times throughout the commercial, the sound of lasers replaces the musics position as figure, which then becomes ground. This shift of focus makes the lasers stand out as even more important than the music. The penetrating, explosive laser sounds are easily identifiable for the target audience, as craving for danger and challenging their boundaries are seen as part of the target audiences DNA. In connection to the laser sounds, the machine sounds in scene 1 create a futuristic setting for Rooney and Torres, which goes well together with the nightclub environment. These orientational findings construct a discourse that the target audience can easily identify with. Even though the viewer is mostly detached from the realities constructed, the intimate camera shots and the emphasis on Rooneys state of mind create a mental bond between viewer and character. The shift between high and low level of involvement creates a powerful persuasive commercial, which corresponds well with the fact that Nike wants to sell a product. This mental bond created between the viewer and Rooney expands the relation between product and characters, which creates a high level of product personification that is easy for the target audience to relate to. How the representational and orientational findings are organised will be analysed in the following metafunction. 5.1.1.3. Organisation Thirdly, we will analyse how meanings are sequenced and integrated into a dynamic text. Extensive linking devicesare primarily utilised toorganiseand create a dynamic commercial. Each shot cuts to the next event, which, in the end, creates a narrative structure that provides cohesion (e.g. scene 1:shot 22 to scene 2). The music supports the narrative structure as it guides the viewer throughout the commercial, only interrupted by a silent period. After the fairly silent beginning, the fast editing and the paced diegetic sounds release the music and rise of tempo concurrently with Rooneys kick. The intensification not only turns up the tempo and rhythm, it also establishes the challenging atmosphere. As the commercial continues, the editing seems to be adapted precisely to this piece of music. In the situations where the bass dominates the music, the targets movement creates a feeling of hitting jackpot (scene 1:shot 26, 32, scene 3:shot 5), and when the music slows down, the editing slows down as
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well. This shifting rhythm underlines that in order to succeed focus, technique, and balance are required. Special effects are even added to the music when Torres draws a line on the touch screen and the animation of Rooney. By applying this effect, it becomes evident that the interplay between the music and the visual mode engages in the creation of a narrative, rhythmic commercial. In other words, the two modes complement each other making the commercial an example of relay. In order to explore the similarities between the two organisations product commercials, Adidas The Spark will be analysed next.
5.1.2. Adidas: The Spark F50i3

The F50i campaign was launched on the greatest football scene of all, namely the Uefa Champions league final 2009. It was afterwards launched in a variety of channels, including TV, across all regions from June the 6th onwards. The Spark commercial was part of a series of films connecting the F50i shoe campaign with the campaign Every Team Needs (Adidas 2009). Adidas primarily wanted to promote their football boots in this commercial, which makes the target audience football aficionados, who are interested in buying football boots from Adidas. 5.1.2.1. Representation The point of departure in the analysis of The Spark commercial will be the representational metafunction, involving meanings that are represented visually, verbally, musically or soundwise. 5.1.2.1.1. Visually The Spark involves two main characters:Lionel Messi (Messi) and Zinedine Zidane(Zidane). Messi is a small footballer with deadly flair, speed, and team spirit, whereas Zidane is a respected football icon, who, in his playing days, represented a team oriented midfielder with a sublime first touch and technique (appendix 1). The first scenes establish the location, namely Buenos Aires and the whole setup to the commercial. The setup uses traditional values, such as people in the streets celebrating their team
Appendix 6: Transcription of The Spark
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before the match. Furthermore smoke, saturated colours, and aspects of film noir are applied to emphasise these values.The last part of the setup uses the stadium as a depicted battle ground, connoting similarities with the movie Gladiator (Scott 2000) and the coliseum with the crowds in the stands, chanting for Messi to enter the arena.Messi stands in the dark player tunnel underneath the chanting crowd, but as the light is turned on, Messi is depicted as the chosen one (scene 4 and 5), which signifies the comparison between Messi and a gladiatorpreparing for battle. The introduction of the lighter and Messi is similar as both appear in the dark and as the lighter ignites,a connection between the lighter empowered by Zidane and Messi is created. Following this link is an introduction to Messi, who is first represented in a distance, but then zoomed in upon. It is clear that he is in a calm, focused state of mind as he prepares himself for the match with closed eyes. The last shot (scene 5:shot 5) sets up the next part in the commercial namely the dream. Messi is so excited about the upcoming battlethat the viewer is invited into his dream, visualised by the blurry intro to the next shot (scene 6:shot 5). Messis dream visualises how he will play/fight against his opponents only interrupted by shots of Zidane. First Zidane is seen from behind in the stands looking down on the football field followed by a shot looking up at Zidane in the gate of the stadium.Zidanes position supports the interplay between the gladiator Maximus (Messi) and Julius Caesar (Zidane), connoting that Zidane is in charge of selecting the spark for his dream team, hence the Every Team Needs campaign. Afterwards, the focus returns to Messi on the football field. The touch of the ball when he dribbles ignites the lighter in the following shot, which creates a belonging between Messi and the lighter. Every time the lighter ignites, Messi gains even more speed and flair and performs better as a result (scene 9, 10). In connection with this interplay, Zidane is depicted asJulius Caesar in the dark with his face lit up twice and a smoke ring appearing from the lighter (scene 19).The lighter is outside the visual frame, which signifies that Zidane has control over the lighter and therefore control over Messi. Throughout the dream, Messis dribbles are connected with the moves of the gladiator and the F50i boots are his weapon, which gets him through the battlefield and conquers the empire. At last, Messi awakes and walks away with the F50i boots crushing the floor, signifying Messis excitement and that this boot does not only have
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supernatural qualities in the dream, but also in real life. An element that assists the supernatural dream, is the music applied in the commercial. 5.1.2.1.2. Musically In the commercial, the non-diegeticmusic is used as a mood setting element. The mood setting music is first presented when Messimentally prepares himself and continues in the dream. The music helps consolidate the focused state of mind of Messibefore and during the dream by positioning the music infigure. The music constantly switches position with the diegetic sounds betweenfigure and ground, which enhances the realism of the commercial and becomes a persuasive element. During the dream, the camera turns back to Messi in the player tunnel and the music is once again positioned as figure (scene 15:shot 1), signifying the connection between the dream and Messis mental preparation. The music fuses the dream and Messis preparation stage. This connotes that Messis abilities are almost reachable, at least if you buy the F50i boots. In connection to the realism of the commercial, the diegetic sounds are of high importance. 5.1.2.1.3. Sound-wise Diegetic sounds dominate this commercial, which enhance the realism of the The Spark. The diegetic sounds of the fans cheering before Messi enters the field support the traditional gladiator theme (scene 3:shot 5, scene 5:shot 1). Another important diegetic sound is the sound from the lighter. When the lighter ignites, it is positioned asfigure, leaving all other sounds out. The sound from the lighter also includes non-diegetic sound effects. The ignition creates sword and explosion sounds, which is connected with Messis sharp blade dribbles and his explosive speed. The interplay between the diegetic and non-diegetic sounds makes the lighter very salient and supernatural and, due to the belonging between the lighter and Messi, Messis abilities also appear supernatural. During the dream, the diegetic sounds (dribbling, tackles and cheering) enhance the realism of first of all Messi abilities, but also the scene even though it is a dream. This supports the realism of the F50is qualities. Overall the representational findings draw upon traditional elements, such as the stadium/arena, and the fans cheering for the gladiator/Messi. The mood setting non-diegetic music fuses thesupernatural dream stage withMessis subverting preparation stage, which en-
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hances the realism of the commercial as a powerful persuasive tool. In addition, the diegetic sounds support the realistic qualities of Messi and the football boots. Furthermore, Messi is depicted as a main character with the camera always catching his movements when fighting his way through his opponents, which provide the boots with supernatural abilities. The relationships in the commercial will be expanded in the following section. 5.1.2.2. Orientation The orientational metafunction will help clarify the relationship between the characters and the viewer. The commercial uses well known faces inside the world of football, and by doing so the commercial has a clear connection to its target audience. 5.1.2.2.1. Visually The high level of involvement and dynamic are two of the central elements of the commercial providing the commercial with persuasive elements. When Messi stands frontally in the player tunnel, the high level of involvementestablishes Messi as part of our reality (scene 5).This high level of involvement clarifies that Adidas wants the viewer to be involved with Messi, since Messi is the carrier of Adidas message and product. As Messistands in the player tunnel(scene 5), the commercial uses a wide variety of shots to create social distance, moving from a long shot, to medium shot, to a close-up shot, and back to a medium shot. The first part of the scene moves from a long shot closer to a close-up shot of Messi. This part creates intimacy and personification as the viewer can almost touch Messi and his face becomes tactile. This personification is supported by the eye level angle of the shot signifying equality between Messi and the viewer. Hereby, the viewer is invited into Messis world, and Messi moves away from his normal untouchable status as a football star. The lack of eye contact with Messi establisheshim as an object of contemplation, meaning that the viewer witnesses Messis mental preparation and the transition to his dream. This shift of involvement does not only make Messi more reachable, it is also a powerful persuasive strategy that involves the viewer to act on the commercial. The second character Zidane is towards the end of the commercial presented in a frontal angle(scene 19), which creates involvement between the viewer and Zidane. Furthermore, the low anglemakes him powerful and imposing, which results in positioning Zidane as the man in
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charge. The last element of this shot is the absence of gaze making Zidane an object of contemplation. The shot connotes that we should be involved with Zidane, but we are not at the same level as him (scene 7:shot 1-2, scene 19) because he is looking for talents to his team (Every Team Needs) emphasising the team spirit aspect. A large contribution of involvement is also provided by the use of the dream, as a dream is normally personal. Therefore, being part of a Messis dream connects a strong tie between Messi and the viewer. The viewer is positioned so close to Messi that we see his dream in details.Because the product is part of his dream and the way it has been made salient, the product therefore appears special. The connection between the boot and Messi personifies the product and the viewer is persuaded to act on this product personification. This dream-like flash-forward seems supernatural because the viewer is involved in the fundamentally impossible dream, which corresponds very well with Adidas slogan Impossible is nothing. Another form of involvement and dynamic is the handheld camera utilised in parts of the commercial. The handheld camera often follows the rhythm of the opponent defenders as they are tricked by Messis stunning technique. This type of camera technique gives the sense of the viewer being present on the field. It is especially noticeable in the dream, when Messi dribbles down the field, that the camera usesclose-up shots of Messis body, legs, as well as the product to add action. The interplay between Messi and the product is closely followed and focused upon (scene 8, 10, 12, 14 etc.) making the product an irreplaceable component for Messis ability to fight his way throughhis opponents. This is also supported in the last part (scene 21:shot 2) as Messi walks onto the field, where the entire focus is on the f50i boots, which again emphasises the importance of the supernatural product. Generally, this high level of involvement gives the viewer the interpretation of actively participating. Another way of establishing relationship is through the sound mode. 5.1.2.2.2. Sound-wise The absence of voice-over places much emphasis on the non-diegetic music and thediegetic sounds. The music is as described used to launch as well as add dimension to the dream. The music is first positioned in figure, but during the dream it moves between the role of figure and ground, which makes the commercial persuasive. Additionally, by positioning the music in figure, the music involves the viewer intoMessis dream. The diegeticsounds create a sense
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of reality in the commercial, for examplethe atmosphere created by the fans cheering. Next, the mix of non-diegetic and diegetic soundsof the lighter points toits significance and the fact that it is salient. When the sound from the lighter is launched, it positions itself in figure leaving all other sounds out. In addition, the diegetic sounds in Messis dream (dribbling, tackles, and cheering) also enhance the realism of the commercial. These diegetic sounds help position the viewer in Messis dream reality, which creates a high level of involvement for the viewer. Overall, a high involvement relationship between Messi and the viewer is established.Firstly, Messi is humanised through the frontal, close-up shots and the fact that the viewer is involved in Messis personal dream. Secondly, the diegetic sounds of the fans, touching of the ball and the lighter that are made most salient to the viewer, create a sense of realism that are easily identifiable for the target audience.The high involvement and the handheld camera position the viewer on the football field, which encourage the target audience to actively participate. How the representational and orientational findings are organised will be analysed in the following metafunction. 5.1.2.3. Organisation The organisational metafunction will help us analyse how meanings are sequenced and integrated into the commercial. The structure of the commercial is formed by extensive devices, where a shot is cut from one shot to the next event (scene 6-16, 18-22), which creates a narrative cohesive structure linking the commercial together as a cohesive unit. A normal narrative structure would have a straight and linear time structure, but in this commercial flashforward is used to represent future events. Messis visualisation of the game emphasises his excitement of playing football, which the viewer can involve and identify with. The viewer thereby realises that even international footballers feel excited and are dedicated to every game and every move. In addition to the involvement, the shots of the dream constantly change between including sounds, slow motion, pace, flexibility, and the lighters presence, which create a captivated, persuading, dynamic dream for the viewer to engage in. A cohesivedevice is the light blue colour of the Argentinean shirt, the boots, and the football,which are represented through Messi in the commercial. As these products are produced by Adidas, Messis world-class abilities mirror Adidas brand. Lastly, the music helps the
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viewer to involve in the dream until Messi awakes and walks out. In this way the music and sounds function as means of relay contributing to the images of the commercial. In order to contribute to Nike and Adidas branding strategy and ensure that they stand on both legs, value commercials also need to be included in the analysis.
5.2. Value commercials

The second dimension of our multimodal analysis includes the value commercials: Nikes Is talent all it takes? and Adidas the 12th Man.
5.2.1. Nike: Is talent all it takes?4

This viral marketingcommercial Is talent all it takes?was launched by Nike in 2009 to promote their values. The video was launched on YouTube, Facebook, as well as on major sports blogs and news websites worldwide, generating tens of thousands of views and creating debate on the topic of talent (Boondoggle cited 2010). The Is talent all it takes? commercial was launched as part of the MAKE THE DIFFERENCE campaign to support and provide focus towards the Nike Football Elite Training Program, where the user of Nikes product can go to their website and get inspired by training drills performed by worldwide known football stars. In that sense, Nike encourages people to GET SERIOUS. GET TO WORK. The target audience of the commercial are football enthusiasts, as well as people passionate for Nike. Representation The point of departure of the analysis will be the representational metafunction, involving meanings that are represented visually, verbally, musically or sound-wise. Visually Two characters dominate the commercial, namely Vincent Kompany (Kompany) and Moussa Dembl (Dembl). The two characters have the common ground of both being young talented Belgian international football players. Their values as players are slightly different as Kompany is a powerful defender and Dembl is a flamboyant forward (appendix 1). Nevertheless, the commercial depicts both players to have the shared value of hard work.
4
Appendix 7: Transcription of Is talent all it takes?
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As viewers we are first presented to Kompany and Dembl, who are situated in two separate locker rooms. Connecting these two players is the interplay between shots, for instance, as Kompany breathes in, Dembl breathes out (scene 1,2). This interplay is used in general throughout the commercial, for example if Dembl runs right, Kompany runs left. This interplay connects the two participants as being in the same hardworking situation. This technique underlines that Kompany and Dembl represent hard work and toughness but at the same time, the interplay generates an individual, competitive atmosphere. The commercial uses a training ground as a platform for the commercial, hereby showing the backside of the coin, namely that hard work is needed before a footballer can enter the flashy stadiums around the world. The centre of attention is especially placed upon the individual struggle and the strenuous exercises that they perform, implying that talent is not enough ahardworking mentality exuded by the two characters is needed to reach a higher level. To support this, the two characters are depicted alone as if their teammates have already finished for the day. The two players individual strenuous extra effort is visualised by close-up shots of Kompany and Dembls faces (scene 5,6), signifying that in order to be a professional football player, one must give a 110%. Throughout the commercial a football goal is depicted symbolising that football goes beyond scoring goals. The football goal is usedby Kompany as part of a training drill (scene 9:shot 2) and removes it from its normal context, signifying that he has found a new purpose for it. The representational visual findings connote the overall message: talent is not enough one must be hardworking and tough to succeed. Next, the use of verbal information in the commercial will be taken into analysis. Verbally A male voice-over narrator is used to guide the viewer through the visual elements of the commercial. However this is not an ordinary voice-over as it subverts the visual images.The voice-over is left out in the first part of the commercial, which gives the viewer time to interpret the hardworking charactersvisual representation before the voice-over creates this subverted interpretation. For instance, the first statement: If you have got talent, you can just sit
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back and relax, connoting that one does not need to work hard. Hereby, the voice-over contradicts all the visual elements of the hard work that is behind the success of Kompany and Dembl. Another, good example of the subversion between visual and verbal is the verbal information: You dont have to sweat, contradicted by the visual images of Dembl and Kompany sweating (scene 14, 15). The contradiction of the two modes is used whenever they are launched simultaneously. Furthermore, the provocative, edgy contradiction arouses attention and persuades the target audience to relate to the commercial. Generally, the voice is a non-diegetic passionate empathetic male voice-over. The voice talks provocatively about the subject with authority and trustworthiness. When the voice-over is utilised, it is positioned as figure which makes it the most salient aspect in the sound mode, leaving the position of ground to the music. Overall the voice-over is used as an ironic, provocative element, putting even more emphasis on Kompany and Dembls strenuous exercises described in the visual findings. The contradiction of the voice-over and the visual mode corresponds with the contradiction between what is said and Nikes values. In that sense, Nikes values appear more salient. Another element of the sound mode is music, which will be analysed next. Musically The music is created by Sonicville, who records music for radio- and TV-commercials. Hans Helewaut has composed the classical piece of music which primarily contains a piano and creates an intimate space. In the beginning, the music is positioned as figure, but when the voiceover speaks, the music is positioned as ground. The music builds up the suspense when the voice-over is about to be introduced, and in the end of the commercial, violins support the piano, which enhance the visual message. In addition, the music increases and intensifies during the commercial, which supports Kompany and Dembls harder, more exhausting exercises. The representational level of the commercial takes point of departurein the title Is talent all it takes?. The visual findings connote that talent is not enough a professional footballer must work hard and be tough to succeed. The subverting voice-over is used as an ironic and provocative element, which contradicts the strenuous exercises of Kompany and Dem-
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bl.This creates even more focus on the tough and hardworking values of Nike. Lastly the music adds intensity and intimacy to the commercial, which together with the other modes, inspire the viewer. This leads to the relationship established between the two characters and the viewer. Orientation The orientational metafunction will help elucidate the relationship between the two characters, Kompany and Dembl, and the viewer. Visually The Nike commercial is, as stated in the beginning, launched to promote the companys values. Therefore, the focus is not on a specific product. Instead, the emphasis is on the two characters symbolising Nikes values of for example hard work and toughness. The two characters, Kompany and Dembl, are the main participants, meaning that it is through these two that the relationship to the reader is established. Throughout the commercial, the viewer is positioned as an observer, as the two participants are focussed on performing their exercises, disregarding the camera. This is also supported by the absence of gaze from the participants, which leads to the connotation that the participants are objects of study, meaning that they focus on performing their strenuous exercises. The commercial makes use of ABABA formation creating a synchronous two-sided story, as well as it establishesan intimate relation between Kompany and Dembl. The formation is used to depict the two characters in different shots varying from close, to medium, to long shot, hereby functioning as a persuasive aspect. Close-upshots (scene 5:shot 2, scene 6, 8) have been used to create a high level of involvement, which causes identification between viewer and the two participants. This identificationhelps the viewer familiarise with the strenuous training exercises that are required in order to become a successful footballer. Throughout the commercial, mostly close and medium shotsare utilised, which correspond to the high level of involvement. The long shotsdepict the two characters (scene 7, 9:shot 2, 11) alone onempty training grounds implying that they are willing to sacrifice their spare time to train day and night toimprove as footballers.
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Involvement is also utilised through the frontalshots. Occasionally, these shots construct the feeling of the viewer being involved in the strenuous exercises and being an invisible training partner (scene 3, 5:shot 2, 9,12). For example, when Kompany doessit-ups the viewer is placed frontally as if we were holding his feet (scene 3).In addition, involvement is established by the equal eye levelshots. These shotsare used through the entire commercial, connoting the equality that Nike tries to establish between the Kompany and Dembl, and the viewer. The equality signifies that the viewer must work hard in order to achieve his/her goals no matter how much talent you have got. Similarly, the equality and the high level of involvement create expectance of the viewer that (s)he already has this hardworking mentality (s)he just needs to GET SERIOUS. GET TO WORK.The visuals create a relationship between the characters and the viewer, where the viewer can recognise the values expressed and feel encouraged to act. The hardworking mentality signified visually is subverted by the voice-over, which will be taken into analysis next. Sound-wise As mentioned in the representational level, the voice-over completely contradicts the perception of hard work. The voice-over is a non-diegetic male voice, describing his provocative and edgy perception of Is talent all it takes?. The pronoun You involves the viewer and creates identification, but also connects Kompany and Dembl with the voice-over, which bonds his negative perception of footballers life to the two hardworking characters.As the visuals neglect his perception, the voice-over appears ironic and provocative. Additionally, the voiceover supports the tabloids perspective,whichconsider professional footballers as spoiled and focused on worldly goods (The Sun 2009). This perspective can influence the viewer and place the reality of five training sessions a week and matches on Sundays in the background. By stating the opposite, the subverting voice-over and the interplay of visuals realise that it takes more than the congenital talentto be successful. The subversion also serves as a powerful persuasive strategy, connoting that the viewer has to make sacrifices in order to be successful and accomplish greatness. At the same time, persons, who do not have talent enough to become a professional footballer, will still feel that hard work and toughness can get them somewhere(GET SERIOUS. GET TO WORK). When the voice-over is left out, the music is positioned as figure making it the most salient. The lack of diegetic sounds highlights the music. This lack serves to identify the viewer with
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the music and involve the viewer in the commercial. The music gradually increases and intensifies and addresses the viewers emotions by establishing harmony between the contrasting elegant piano and the rough physical exercises. Because the music addresses our emotions, we feel intimate with the two characters and obliged to motivate ourselves to work harder in order to accomplish our goals. Furthermore, the music makes Kompany and Dembl appear focused and in a calm state of mind, which supports the visual findings of the high level of involvement. The orientational findings support the representational level, as it establishes an environment of involvement between viewer and characters, which is expressed by the use of frontal and eye level angles and secondly the voice-overs use of you. You can also be interpreted as representing Kompany and Dembl. Besides getting involved, the pronoun and the camera technique also serve to motivate the viewer to act due to the intimacy and emotional appeal created. Lastly, the visual and verbal modes subvert each other, but are lastly linked by the overall statement: GET SERIOUS. GET TO WORK. This establishes a full level of involvement, because the statement requests the viewer to take action.The organisation of the commercial will be clarified next. Organisation After the analysis of the viewer-character relationship, the organisational element of how meanings are sequenced and integrated into the commercial will be analysed. The commercial is structured in a chronological framework. To explain the chronological structure, Kaus ABABA formation will be applied. The commercial has two simultaneously ongoing stories/training sessions A and B Kompanyrepresenting story A and Dembl representing story B. The two stories have been separated into several scenes, creating a coherent chronological whole. If the two stories would have been told subsequently, A first and B afterwards, the effect would not have been the same because the persuasive, close, competitive relationship between the characters would not have been established. The effect of the ABABA formation creates parallel training stories of Kompany and Dembl, allowing Nike to compare their two endorsers training exercises and emphasise Nikes values of hard work, toughness, and competitiveness.
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Another concept of Kau that has been applied is penetration as action penetrates from one shot to another connecting the characters. This can be seen when Kompany runs left the action is followed by Demble running right, and Kompany running left again. This penetration creates a closer bond between the two players, connecting their hard work with succeeding in the world of football. In addition, the technique also generates coherence and continuity, which is used as a persuasive strategy. The most evident linking devices are those of extensive linking and extensive logical contrast. Extensive linking devices are primarily utilised to organise and create a dynamic commercial. Each shot cuts to a simultaneous event, which helps create a narrative structure that provides cohesion. These links produce coherence between the different training parts and unite them into a coherent whole. Moreover, the extensive logical contrast is created between the image and verbal modes, as the visual elements of the hard work is counterpointed by the passionate, provocative tone, and direct words of the voice-over. The counterpoint provides the commercial with persuasion, as the visual, as a result, is positioned stronger in the mind of the viewer due to the verbal contradictive information. Hereby, the values of Nike: hard work and toughness are visually emphasised and focussed upon by the use of the logical contrast supporting the last message GET SERIOUS. GET TO WORK. In connection to this, the concept of relay has been used, as the verbal and musicalperspective complementsthe meanings of thevisual elements, which creates a dynamic and cohesive commercial. In order to explore the similarities between the two organisations values commercials, Adidas 12th Man will be analysed next.
5.2.2. Adidas: Chelsea FC Every Team Needs The 12th Man5

The Chelsea FCs 12th Manviral marketing commercialis part of the 12th Man contest that followed up on Adidas Every Team Needs campaign launched in spring 2009. After Zidane had found the players for his team, Adidas wanted to take the search to a new level they wanted to find the spirit behind every team: the fan. Adidas launched worldwide contests after the campaign to find a clubs best 12th man (Media 2009 and The Original Winger 2009). The target group for this commercial is the worldwide fan culture, however, Chelsea fans will
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Appendix 8: Transcription of Chelsea FC Every Team Needs The 12th Man
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feel a higher level of involvement. Adidas do not wish to sell products in this commercial; the organisation rather strives to promote its values. 5.2.1.1. Representation Firstly, the representational metafunction will deal with the meanings represented visually, verbally, musically or sound-wise. 5.2.1.1.1. Visually Two characters dominate the 12th Man commercial: Michael Ballack(Ballack) and an ordinary Chelsea fan. The two are obviously very different: they represent different status, backgrounds, and values. However, they have one thing in common: passion for football and Chelsea FC. Their passion brings Ballack and the fan together into an unusual, joint reality that does normally not exist due to their status. Ballack starts by arrogantly ignoring the fan, but when the fan hands him the bike and helmet and demands him to get to work, the scene changes radically, from the first scene, and Ballack reacts uncomprehendingly to the fans informal application and is surprised by how this surreal situation can take place. In addition, he is surprised that the fan wants him to keep training now that he has just finished for the day. Even though the fan does not know that Ballack just went through a relaxed training session (editing strategy in scene 1:shot 2 to scene 2:shot 1), he takes the Chelsea managers conducting baton and commands Ballack to improve his fitness. The fan speaks to Ballacks subconscious and reminds him that he has not done what is required of an international footballer. The fan wants the best from his players. Ballack represents Germany, German sports, Adidas, and Chelsea and some of the values that these stand for include a hardworking, powerful mentality, team spirit, will to win, and world-class performance(appendix 1). Ballack needs to find these inner virtues and exert them in order to improve his fitness, and, as the fan reminds him of his powerful virtues, Ballack pushes the pedal to the metal and accelerates away from the Audi in which the fan is. Lastly, the static sideline shot implies that the 12th man supports Ballack till the finish line and beyond. 5.2.1.1.2. Verbally The commercial contains two voice-over narrators: a non-diegetic invisible voice and a diegetic visible voice. The voice of the male non-diegetic narrator is very pleasant and professional.
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Even though the voice-over is positioned as figure, he speaks variedly in a low tone documenting everything that happens on the screen oppose to enthusiastically promoting the brand. The professional voice-over also highlights Ballacks professional, international mentality. Lastly, the non-diegetic narrator presents the diegetic voice-over in form of the Chelsea fan. The fans use of slang breaks down the social status between the two participants and makes the voice-over more personal and informal than the other narrator, which helps underline Ballacks obscure reaction to the fans demand. In addition, the diegetic voice-over represents a typical English supporter, who will do whatever it takes for his team to perform at the highest level. The informal voice-over therefore represents a passionate, hardworking, determined mentality that English football stands for (Hargrave 2007:245). The two very different types of voice-over stress the clash of the professional Ballack and the casual Chelsea fan, which we elaborated on in the visual meanings. Lastly, the text on screen: EVERY TEAM NEEDS THE 12TH MAN represents the role of the Chelsea fan. The music of the 12th Man supports the high level of realism that the casual voice-over brings to the commercial. The musical mode will be dealt with next. 5.2.1.1.3. Musically The strong realistic associations that the voice-over implies concur with the fact that the music is not the predominated mode of the commercial actually it is only applied in a few shots. Because the music is mainly guitar play and primarily positioned in ground, it creates an informal, relaxed restaurant-like scene. This relaxed environment complements the lack of intensity in Ballacks training. As Ballack walks to his car, the music fades out implying that the everyday world takes over from Michael Ballacks relaxed training. This everyday world will be further elaborated on. 5.2.1.1.4. Sound-wise The high level of diegetic sounds supports the realistic settings of the 12th Man. Firstly, the non-diegetic sounds applied in the commercial are the music and the voice-over when Ballack is at training. To make the training ground realistic, diegetic small talk and noise from the other players are positioned in field. The realism of the commercial dominates scene 2 when Ballack has left the training ground. The realistic sounds from the traffic, car getting unlocked,
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footsteps, and talking subvert the surreal, visual interaction between the Chelsea fan and Ballack. The diegetic sounds therefore serve to break down the status barrier of the two participants, which, in the end, implies that Ballack needs dedication and focus on what his job is all about improving his fitness to help satisfy Chelsea fans. The representational choices highlight the surrealistic turn of event, which occurs when Ballack leaves the training ground. Despite the subverting backgrounds of the two characters, the findings emphasise that both participants rely on each other, which then establishes a realistic strong, passionate bond between the two. The fans supporting, determined attitude makes Ballack realise that he needs to find his hardworking, powerful German, and Adidas virtues to reach his full potential, and the Chelsea fan becomes the spokesperson of these inner virtues. Adidas values are expressed through the passionate, supporting fans attitude, which blends very well with the hardworking, strenuous Ballack. Next, we will argue for the two characters relation to the viewer. 5.2.1.2. Orientation The subverting characters position and relation to the viewer will be analysed in the orientational metafunction. 5.2.1.2.1. Visually As mentioned in the introduction to this commercial, Adidas does not wish to promote a specific product. Instead, the focus is on promoting the organisations values. Therefore, we expect to identify with and feel involved in the actions from the Chelsea fan and Ballack, as they are the carriers of Adidas values. On the training ground, Ballack is positioned in a detached, impersonal relationship with the viewer. This positions the viewer as an observer to Ballacks life as a professional footballer, which is the exact role of an ordinary fan. Ballacks relaxing attitude on the training ground is not only manifested by his lack of concentration in the kicking process, the ABABAformation (scene 1:shot 3 to scene 2:shot 1) also positions Ballack as finishing up for the day. The unknown Chelsea players who continue training subvert Ballacks relaxing attitude. The last shot in scene 1 highlights that Ballack is soon to become part of the viewers reality due to the almost frontalshot and the fact that he walks towards the camera.
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When Ballack leaves the training ground, and the Chelsea fan shouts at him, the level of involvement increases. The camera does not only pan (spectator feeling), it is also handheld. By using a handheld camera, the viewer gets a feeling of realistically being in the scene. First of all, this implies that outside Chelseas facilities, Ballack is not unreachable but merely an ordinary person the fans behaviour towards Ballack supports this breakdown of personal status. The handheld camera furthermore gives the expression of being a Chelsea fan. When the Chelsea fan rounds the corner, the target audience will feel awaken and feel a high level of identification with the fan. This is further supported by the frontalshot of the Chelsea fan. As the fan exchanges Ballacks car keys for the helmet, the target audience will ironically feel a high level of involvement because the target audience is positioned to have power over Ballack, which is a surreal scenario for every fan. In addition to the fan culture that the target audience represents, it is every fans dream to be in charge of his/her favourite team, and in this commercial the dream comes true. The almost humorous high level of identification with the Chelsea fan and the unusual power relation between the two characters encourage the viewer to find his/her determined, supportive attitude when a fan is involved in Chelsea this attitude has encouraged fans to actively participate in the contests. When Ballack and the Chelsea fan leave the training ground, the continuous handheld camera creates a high level of viewer involvement. However, the panning technique applied provides the viewer with the spectator feeling that dominated the beginning. This shifting camera movement functions as a persuasive strategy that speaks to the inner football fan of the viewer. The viewer thereby realises that despite identifying with the fan, (s)he is still observing the surreal actions that take place in the commercial. The medium and close-up shots of Ballack riding the bike create a high level of identification and recognition between viewer and footballer because we witness the challenges that Ballack needs to overcome in order to improve his fitness - he needs to find his virtues in order to not disappoint the clubs fans. The high level of involvement and identification is supported by the sounds of the commercial. This will be elaborated on in the following section. 5.2.1.2.2. Sound-wise
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As we pointed out above, despite being positioned as a spectator to Ballacks training, the viewer acquires a feeling of being involved in the commercial. The visual findings are supported by the sound elements. The male, invisible voice-overs calm, pleasant tone creates a professional distance between voice-over and viewer. In addition to this, the voice-over does not speak directly at the viewer, which again does not establish identification. The narrator only serves to inform the viewer of Ballacks reality, which corresponds with the visual positioning of Ballack as detached from the viewers reality. As Stigel (2001) argues, communication that only serves to inform does not create any form of involvement. However, viewer involvement is created through the diegetic voice-over that replaces the pleasant narrator when the Chelsea fan enters the scene. The situation changes radically in the sense that an informal, everyday scenario replaces the professional atmosphere. The use of slang phrases emphasise the casual, informal tone that any member of the target audience can identify with, which we also discussed in the visual interaction between characters and viewer. As we clarified previously, the fan functions as the teams manager by visually commanding and encouraging Ballack to get down to work. This is supported by verbal evidence as the Chelsea fan uses imperative phrases such as here you go, hold up!, come on!, and use your legs! when addressing Ballack. Football fans often use such passionate and dedicating phrases because they want their players to exude hard work when being on the football field. In other words, the actively participate in everything that goes on. The diegetic sounds applied further emphasise the involving aspect of the 12th Man. As already discussed, the diegetic sounds bring a high level of realism to the commercial, which makes it easily identifiable. The noise from traffic, footsteps, and talking is easily recognisable for the target audience, who is, obviously, used to hear such sounds. In other words, the diegetic sounds normalise the visual, surreal situation and brings it down to earth. The orientational findings highlight techniques such as handheld camera, diegetic sounds, and verbal informality that normalise the commercial and makes it identifiable for the target audience it appears realistic. Because these techniques create a surreal, but realistic situation, it also simplifies the realisation of the two characters values. This high level of simplicity makes the determined, supportive, managerial values of the fan and Ballacks hardworking,
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powerful attitude and world-class performance recognisable and identifiable for the target audience. The target audience thereby realises the values that Adidas holds closest to their heart. 5.2.1.3. Organisation Lastly, we will analyse how the different meanings are sequenced and integrated into the commercial. As argued throughout the analysis, the commercial consists of two subverting parts: (A) Ballack training relaxed at the training ground and (B) the fans interference in Ballacks professional reality. This subversion is best realised when the professional non-diegetic narrator introduces the Chelsea fan with a but (scene 2:shot 1, 2). But is an adversative verbal linking device which, in this commercial, clarifies the contrast between 1) the two characters status, 2) the two characters conviction of how a professional footballer performs at training, and 3) the two scenes. Therefore, the word but and the Chelsea fan not only changes Ballacks attitude, it also turns the entire situation upside down. A contrasting editing strategy is utilised in scene 1:shot 3 to scene 2:shot 1. The ABABAformation highlights that Ballack contrasts the other Chelsea players by not necessarily needing to practice due to his status as an international star. The narrative structure of the first scene is supported by Ballacks actions and the voice-over, which serves to illustrate what Ballack is doing. In addition, the camera panning focused on Ballack emphasises that he is the object of interest and that we will follow him throughout this commercial. The characters movements and the slow editing between each shot, which cuts to the next event, create a real-life narrative structure. Because of this, the viewer relates easily to the commercial, and (s)he will feel that the passionate, hardworking, supporting attitude is vital for both the two characters and Adidas. This constant change in camera movements throughout the commercial does not only connote a realistic setting that requires involvement, it also creates dynamism and becomes an important persuasive tool applied in this commercial. Moreover, the commercial is an example of relay, as the sound perspective complements the visuals and vice versa.
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6. Branding
The analytical conclusions will provide the foundation for answering the second question: Which personality traits are similar and different in Nike and Adidas product and value commercials? As noted in the methodology and delimitations, we will only discuss how Nike and Adidas brand themselves as persons and which value propositions they employ in the four commercials. Firstly, we will compare the two product commercials, secondly, the two value commercials will be combined, and lastly, a comparison of Nike and Adidas branding strategy will be discussed. Additional to Nike and Adidass branding strategy, a remark on celebrity endorsers can found in appendix 1.
6.1. Product vs. Product

The multimodal analysis emphasised that Master Accuracy. Hit the Target and The Spark are product commercials due to their specific focus on the football boot and its qualities. In Nikes commercial, the cameras constant focus on the football boot associates the product with functional traits and benefits such as quality, flexibility, technique, lightness, and innovation, and together with the unreal football game environment the football boot stands out as having supernatural power. These supernatural qualities complement very well with Rooney and Torres role. Rooney and Torres are the ultimate strikers in todays English football and are known for their world-class accuracy and flair on the football field. In that way, Rooney and Torres match the qualities of the product because they wear and represent the boot, which becomes a trustworthy, persuasive element of the commercial and thereby Nikes branding strategy. The two players exude self-expressive values such as cynicism, control, provocation, and a winner mentality in a challenging atmosphere. These benefits establish the seriousness of the endorsers and the Nike brand, but the playful, competitive environment that exists in sports weighs equally importantly. Rooney, Torres, and Nike have the cynicism and winner mentality to become the best, but in order to be the best you have to defeat your competitors. The emotional values should encourage the target audience to associate with Rooney, Torres, and Nike in order to gain the competitive, winning mentality, the football boots abilities, and the feeling of being supernatural. As a result of Rooneys calm, concentrated, balanced, and deter-
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mined state of mind, the target audience builds an intimate relationship with Rooney, which eventually serves to arouse and involve the target audience and his/her emotions in the commercial, the two characters, and the Nike brand. Therefore, the use of involvement operates as a powerful, persuasive strategy, which is essential when Nike wants to promote and sell products. In comparison, Adidas The Spark draws on both similar and different traits. Firstly, accuracy is not in focus flair, speed, control, and technique are important. Similar to Nikes commercial, Messi and the boots appear to have supernatural abilities, but again, emotional appeal brings the boot within reach. The intimacy with Messi, the use of handheld camera and the target audiences involvement in Messis personal dream help the target audience identify with Messi and the abilities of the boots, which results in active participation from the target audience. In that way the two organisations differ, as Nike exudes winning mentality whereas Adidas simply wants its target audience to participate. By merely participating, Adidas put greater emphasis on supporting teams and individuals at every level, just like the excitement of participating is more important than winning. This is supported by Zidanes role and the campaign Every Team Needs, where emphasis is put on team spirit and constructing the most balanced team. Self-expressive benefits are also applied in connection to Messi and Adidas, as Messis world-class way of playing is elegant, supernatural, and sparkling. To sum up, Nike and Adidas try to differentiate their branding strategy by employing functional, self-expressive, and emotional values in their product commercials. On one hand, Nike emphasises the supernatural qualities of the football boot and the endorsers, the winning mentality of Nike and its consumers, the challenges that need to be defeated in order to be the best and the high level of involvement that encourages and persuades the target audience to act on the commercial. Adidas, on the other hand, also underlines Messi and the supernatural abilities of the boots, but opposed of being a brand that is all about winning, Adidas wants to exude through involvement that feeling excited when actively participating is more important than becoming the best. Moreover, the organisations heritage is also differently presented. Adidas older image is drawn on its long traditional history by employing the gladiator theme that underlines the endurance and strengths of the brand. Oppositely, Nike employs futuristic elements such as the dubstep music, lasers, special effects,and the nightclub atmosphere, which correspond with Nikes younger image due to the emphasis on becoming the best
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through a provocative, cynical, winning mentality. This differentiation supports that Adidas draws on its long tradition when creating todays football boots, whereas Nike utilises the latest technology to build the best product. We will now conclude on the two value commercials use of personality traits.
6.2. Value vs. Value

The lack of salient products in Nikes Is talent all it takes? and Adidas 12 th Man highlights that the two organisations want to express their values and not promote a product. As a result, the two commercials do not promote functional benefits, but rather self-expressive and emotional benefits. Nikes Is talent all it takes? first of all appeals to the target audiences emotions by stressing the determinate and strenuous willpower of Kompany and Dembl. The target audience witnesses their battle for becoming the best, even if they are required to work day and night. These emotional appeals emphasise the high level of involvement that encourages and persuades the target audience to find similar values in order to stress that talent alone does not make you the best. Additionally, the appealing and persuading music leaves everything out and encourages the target audience to find his/her values. In that sense, the music generates the self-expressive benefits of hard work, toughness, and focus, but still serves to engender peoples emotions. The self-expressive benefit in form of the provocative voice-over also serves to appeal to our emotions. Due to the contradiction between the visual mode and voice-over, it provokes and demands the target audience to prove the voice-over wrong and perform like Kompany and Dembl. The commanding statement GET SERIOUS. GET TO WORK therefore encourages and persuades people to MAKE THE DIFFERENCE, which is the name of the campaign. Lastly, the ABABA formation generates the competitive and battling attitude of the two endorsers and the Nike brand. Just like the product commercials both had similarities and differences, so is the case in the two value commercials. The inclusion of the Chelsea fan in Ballacks reality emphasises the importance of passion and support from stakeholders otherwise the professional athletes do not have the settings for improving his/her game. Furthermore, the Chelsea fan serves to
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involve the target audience and promote active participation, which are heavy, emotional appeals to the fan culture. In addition, the diegetic sounds, handheld camera, and the interference of the ordinary Chelsea fan create a humorous, surreal scenariothat emphasises the realness of Adidas values, but also the realism of fans having influence on athletes performance. In that way, the exuded team spirit also benefits the target audiences emotions. Ballack expresses his image through enduring, hardworking, and dedicated self-expressive benefits, which the target audiences also feel obliged to identify with due to their status as fans. Conclusively, Nike and Adidas try to differentiate their brand strategy by employing a complex set of emotional and self-expressive benefits. Nike encourages the target audience to familiarise with the focused, hardworking, winning mentality of Kompany and Dembl through identification. Moreover, the ABABA formation addresses the competitive mentality of Kompany, Demble, and Nike, who all aim for becoming the best in their field. The voiceoversprovocative attitude generates a feeling within the target audience of wanting to act and showing that talent is not enough. Adidas, on the other hand, focuses on team spirit as an important element for finding inner virtues and improving abilities. In that sense, the Chelsea fan engenders active participation as more important than competing oppositions other than your own. A comparison between Nike and Adidas will beconducted next.
6.3. Nike vs. Adidas

The multimodal findings highlight that Nike and Adidas differentiate their branding strategy by using a complex set of personality traits that reflect their values. The common personality traits that dominate the two brands commercials will clarify how Nike and Adidas build their brand strategy. Nike emphasises in both Master Accuracy. Hit The Target and Is talent all it takes? the tough, hardworking, winning mentality of the four individual depicted participants, but to an even greater extent the values of the Nike brand. Another value that is close to Nikes heart is the competitive atmosphere, as beating your rivals is essential in order to become the best. This Nike value is highlighted in both commercials and the campaign MAKE THE DIFFERENCE. Additionally, Nikes provocative attitude is expressed through the challenging inter-
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play between Rooney and Torres, whereas the voice-over provokes and challenges the viewer to take a stance. The imperative statements GET SERIOUS. GET TO WORK and MAKE THE DIFFERENCE complement the edgy image of Nike and its well-known slogan Just do it, and thereby provokes and encourages the target audience to involve. The camera technique used in both commercials highlights this involvement. In the two commercials Nike makes use of implicit persuasion, as all the personality traits are expressed implicitly. However, in the end, the imperative statements, as well as Nikes logo are expressed explicitly, which connects the Nikes brand with the personality traits. Adidas centralises its personality traits around dedication, team spirit, the excitement of challenges, and active participation in The Spark and 12th Man. Every participant in the two commercial dedicates his work to improve his abilities, his team, and the Adidas brand for the better. This dedication works along with the handheld camera as an invitation for the target audience to engage in the Adidas brand, which then stands out as a genuine team player. The team player values are expressed through the campaign Every Team Needs that besides creating a powerful team also want to find the spirit behind every team: the fan. The fourparticipants represent different team aspects, but, at the same time, they are all a part of something bigger: a team that improves through support. Adidas is not only a dedicating, supporting team player, but also a brand that embraces diversity and supports teams at every level. The excitement of challenges is expressed through the fans support that encourages Ballack to challenge himself and find his true values, whereas Messi expresses his excitement, as he appears so thrilled that he plays the game before he actually does. Messi and Ballack therefore play football for the thrill of it and winning becomes the reward. The viewers strong link ofinvolvement with Messis dream and the supporting fan, as well as the use of handheld camera encourages the viewer to actively participate, as performance is about crossing boundaries and challenging personal limitations. Similarly to Nike, Adidas make use of implicit persuasion in order to express their personality traits through the actions of the participants. In order to connect the implicit traits Adidas expresses explicitly the statements Every Team Needs The 12th Man and Impossible Is Nothing, as well as visualising their logo, hereby making the connection between the personality traits and the Adidas brand.
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7. Conclusion
The sports industry has developed into being more than just selling sportswear- and equipment. Due to heavy competition, organisations need to differentiate themselves and focus on both product attributes and brand values when creating brand strategies. Therefore, as already mentioned in the introduction, we have found it interesting to set up the following hypothesis and questions: In Nike and Adidas commercials the organisations make use of complex multimodal choices in order to communicate their branding strategies. 1. Which multimodal choices do Nike and Adidas employ in order to communicate their branding strategies? 2. Which personality traits are similar and different in Nike and Adidas product and value commercials? In order to answer the first question, four commercials were analysed Nikes Master Accuracy. Hit The Target (product oriented) and Is talent all it takes? (value oriented), and Adidas The Spark (product oriented), and Chelsea FC Every Team Needs The 12th Man (value oriented). Based on social semiotics and film theory, the multimodal analysis of the commercials was divided in two sections: two product focused commercials and two value focused commercials. The four analyses generated several interesting findings. First of all, both product commercials used salient techniques such as camera focus and continuous colour similarities to make the football boots appear supernatural. Moreover, the camera angles, power relations, and social distances highlighted Rooney and Messis focusing, meditating attitude when preparing for their challenges, which generated involvement with the two endorsers and products. The narrative structure of the Nike commercial utilises linking devices. However, The Spark interrupts the linear organisation through the dream. Whereas the product commercials involved the attributes of football boots in several modes, the value commercials excluded these attributes and focused on the endorsers values instead. The strenuous work of Kompany, Dembl, and Ballack was expressed by the camera angles, social distance, diegetic sounds (Adidas), and music (Nike). A high level of involvement was
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created through the provocative, subverting voice-over and the equal eye level in Is talent all it takes?, whereas the handheld camera and the identification with the football fan in the 12th Man demanded active participation. The use of linking devices were somewhat different as the ABABA formation in the Nike commercial created an enhanced, competitive relationship between the two participants. Oppositely, the participants actions and the camera movements in the 12th Man built a narrative, cohesive structure. With our multimodal analysis in mind, implicit personality traits were used to clarify Nike and Adidas personality and thereby their brand strategy. This helped us answer our second question. Nike expressed primarily self-expressive and emotional benefits through their hardworking, winning mentality, their provocative statements in form of the voice-over and imperative slogans, individualism, and competitive atmosphere. Adidas made use of a similar branding strategy by stressing the self-expressive and emotional benefits as well. However, Adidas expressed their team spirit mentality, their dedication and passion to the game, and the thrill of active participating. Despite the different personality traits, the functional benefits of the product are quite similar, as both commercials depict the football boots as having supernatural power. Therefore, we can finally conclude that both Nike and Adidas brand themselves through personality traits and value propositions. However, the self-expressive, emotional, and functional benefits of the brands are somewhat diverse as they brand themselves through different personalities and therefore have different brand strategies. The results of our four detailed analyses highlight the necessity of an interdisciplinary theoretical framework when dealing with such complex multimodal texts. This thesis emphasises that such detailed work could not only help organisations to better brand their personality, but also be utilised to gain a competitive edge by analysing both their own as well as competitors commercials. Moreover, the qualitative approach could have been supported by quantitative research, which could add even further dimensions to such an analysis.
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Bibliography
Aaker, D. A. (2002): Building Strong Brands, first edition, Simon & Schuster UK Ltd. Aaker, D.A. and Joachimsthaler, E. (2000): Brand Leadership The Free Press, Simon & Schuster, Inc. Adidas (25 May 2009): EVERY TEAM NEEDS THE SPARK - Zidane unveils the Messi Legend. Cited from (1 May 2010) http://www.press.adidas.com/desktopdefault.aspx/tabid11/16_read-10421/ Expertfootball: Zinedine Zidane. Cited from (1 May 2010) http://www.expertfootball.com/players/zidane/ Bordwell, D. and Thompson, K. (2000): Film Art An Introduction, sixth edition, McGraw Hill Education. Boondoggle: Nike Is talent all it takes. Cited from (1 May 2010) http://www.boondoggle.eu/#/case/21 Chernatony, L. d. (2001): From Brand Vision to Brand Evaluation Strategically Building and Sustaining Brands, first edition, Lineacre House, Oxford. Chernatony, L. d. and McDonald, M. (2003): Creating Powerful Brands, third edition, Elsevier/Butterworth-Heinemann, Lineacre House, Oxford. Frisch, A. (2004): The Story of Nike, first edition, Smart Apple Media. F.C. Barcelona: Lionel Andrs Messi. Cited from (1 May 2010) http://www.fcbarcelona.com/web/english/futbol/temporada_0910/plantilla/jugadors/messi.html Fernando9torres: FT Profile. Cited from (1 May 2010) http://www.fernando9torres.com/index.php?s=fichaft Halliday, M.A.K. (1978): Language as Social Semiotic: The Social Interpretation of Language and Meaning, second edition, Baltimore: University Park Press, 1978; London: Edward Arnold. Halliday, M.A.K. (1996): Ck. 6: Introduction. Language as Social Semiotic. The Social Interpretation of Language and Meaning, in The Communication Theory Reader edited by Cobley, P., first edition, Routledge. Hargrave, R. (2007): Football Fans and Football History: A Review Essay, Routledge.
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Helm, S. (2000): Viral Marketing Establishing Customer Relationships by Word-of-mouse, Electronic Markets, Routledge, 10:3, 158-161. Iedema, R. (2001): Ch. 9: Analysing Film and Television: A Social Semiotic Account of Hospital: an Unhealthy Business in Handbook of Visual Analysis by Leeuwen, T.V. and Jewitt, C., first edition, Sage. IMScouting (21 May 2009): The Best Player in Eresdivisie 2008/2009. Cited from (1 may 2010) http://www.imscouting.com/global-news-article/the-best-player-in-the-eredivisie2008-2009/3910/ Jewitt, C. ed. (2009): The Routledge Handbook of Multimodal Analysis, London: Routledge. Jewitt, C. and Oyama, R. (2001): Ch. 7: Visual Meaning: a Social Semiotic Approach in Handbook of Visual Analysis by Leeuwen, T.V. and Jewitt, C., first edition, Sage. Jill, C. (2009): Marketing Communications Interactivity, Communities and Content, fifth edition, Prentice Hall. Kapferer, J. N. (2004): The New Strategic Brand Management Creating and Sustaining Brand Equity Long Term, third edition, Kogan Page Limited. Kapferer, J. N. (2008): The New Strategic Brand Management Creating and Sustaining Brand Equity Long Term, fourth edition, Kogan Page Limited. Kau, E. (1998): Separation or Combination of Fragment? Reflections of Editing in P.O.V. Filmtidsskrift a Danish Journal of Film Studies, Issue 6, December. Cited from (1 May 2010) http://pov.imv.au.dk/Issue_06/section_1/artc5A.html Keller, K. L. (2008): Strategic Brand Management Building, Measuring, and Managing Brand Equity, third edition, Pearson International Edition. Kress, G. and Leeuwen, T.V. (2006): Reading Images The Grammar of Visual Design, second edition, Routledge. Leeuwen, T.V. (2005): Ch. 11: Information Linking in Introducing Social Semiotics, first edition, Routledge. Leeuwen, T.V. (2005): Introducing Social Semiotics, first edition, Routledge. Leeuwen, T.V. (2006): Ch. 12: Sound in Perspective in The Discourse Reader by Jaworski, A. and Coupland, N., second edition, Routledge. Manchester City: Vincent Kompany. Cited from (1 May 2010) http://www.mcfc.co.uk/Players/Midfielders/Vincent-Kompany
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McCracken, G. (1989): Who is the Celebrity Endorser? Cultural Foundations of the Endorsement Process, The Journal of Consumer Research, Vol. 16, No. 3, pp. 310-321 Published by: The University of Chicago Press. Media (23 September 2009) adidas | Every Team Needs The 12th Man | Southeast Asia. Cited from (1 May 2010) http://www.media.asia/DigitalMedia/The-DigitalWorkarticle/2009_09/adidas--Every-Team-Needs-The-12th-Man--Southeast-Asia/37225 Norris, S. (2004a): Multimodal Discourse Analysis: A Conceptual Framework, In P. Levine and R. Scollon (eds) Georgetown University Round Table on Languages and Linguistics 2002: Discourse and Technology: Multimodal Discourse Analysis, Washington, DC: Georgetown University Press. Ohanian, R. (1990): Construction and Validation of a Scale to Measure Celebrity Endorsers Perceived Expertise, Journal of Advertising, 19(3): 3952. Roy, S. (2006): An Exploratory Study in Celebrity Endorsements, Journal of Creative Communications, Sage Publications. Schultz et al. (2005): Towards the Second Wave of Corporate Branding Purpose/People/Process, first edition, Copenhagen Business School Press. Schultz et al. (2000): The Expressive Organization Linking Identity, Reputation, and the Corporate Brand, first edition, Oxford University Press. Scott, R. (2000): Gladiator, Dreamworks Pictures and Universal Pictures. Sharff, S. (1982): The Elements of Cinema. Toward a Theory of Cinesthetic Impact New York: Columbia University Press. Soccernet: Michael Ballack. Cited from (1 May 2010) http://soccernet.espn.go.com/players/profile?id=12641&cc=5739 Stigel, J. (2001): Ch. 10: TV Advertising Virtually Speaking: The Invisible Voice Elaborating on the Space between Screen and Viewer in The Aesthetics of Television by Agger, G. and Jensen, J.F., first edition, Aalborg University Press. Stckl,H. (2004): Ch. 1: In between Modes: Language and Image in Printed Media in Perspectives on Multimodality edited by Ventola, E, Charles, C, and Kaltenbacher, M., John Benjamins. Suite101 (28 July 2009): What is Dubstep? The UK Based Electronic Dance Music. Cited from (1 May 2010) http://dancetechnomusic.suite101.com/article.cfm/what_is_dubstep Talkfootball: Zinedine Zidane. Cited from (1 May 2010) http://www.talkfootball.co.uk/guides/football_legends_zinedine_zidane.html
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The Original Winger (15 June 2009): What Makes You Chelseas 12th Man Contest. Cited from (1 May 2010) http://theoriginalwinger.com/2009-06-15-what-makes-you-chelseas12th-man-contest The Sun (13 November 2009): Arsenal 1 Palace 1. Cited from (1 May 2010) http://www.thesun.co.uk/sol/homepage/news/2727818/Arsenals-Nicklas-Bendtner-dates400m-royal-Baroness-Caroline-Luel-Brockdorff.html Youtube (27 August 2005): Nike Cage. Cited from (1 May 2010) http://www.youtube.com/watch?v=e0MBxEAv-30 Youtube (18 March 2009): Nike+ Men vs. Women TV Ad Featuring Paula Radcliffe & Fernando Torres. Cited from (1 May 2010) http://www.youtube.com/watch?v=wLyFlDAikac Wayne Rooney HQ: Wayne Rooney Biography. Cited from (1 May 2010) http://www.waynerooneyhq.com/biography.php Wieden + Kennedy (27 January 2010): New Nike Spot 'Hit The Target' Breaks. Cited from (1 May 2010) http://www.wklondon.com/latestNews/250new_nike_spot_'hit_the_target'_breaks
Link to the commercials: Youtube (18 January 2010): Nike Rooney Hit the Target. Cited from (1 May 2010) http://www.youtube.com/watch?v=gHgZ1nao7Ss Youtube (8 September 2009): adidas F50i (Spot 4/6) - the spark / der Funke mit Lional Messi. Cited from (1 May 2010) http://www.youtube.com/watch?v=hq_tLmJ7z0E Youtube (11 December 2009): Is Talent All It Takes?. Cited from (1 May 2010) http://www.youtube.com/watch?v=UExh2jO6rrE Youtube (8 May 2009): Chelsea FCs 12th man. Cited from (1May 2010) http://www.youtube.com/watch?v=AX8uF2uQyts
The videos and appendixes have been included on a CD attached to the thesis.
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Glossary
Anchorage A notion by Roland Barthes, which indicates that a written or verbal mode elaborates or specifies meaning to the visual mode Close-up shot A shot, where the participant/object is depicted in short distance. A human figure will be from the shoulders and up, allowing great detail of the participant. Diegetic The term diegetic is used when elements of the sound mode, such as a voice-over narrator, sound effects or music appear as coming from a source inside the story-space. Eye contact The notion of eye contact can be two things demand or offer. Demand is when the participants look directly and the viewer, hereby demanding the viewer to take action. Offer is on the contrary when the participants avoid eye contact, hereby making them objects of contemplation. Eye level A shot, where the character appears in eye level with the receiver, hereby equality is established between the receiver and the character. Field If a sound or group of sounds is positioned as Field, it is thereby treated as existing, not inthe listeners social, but in his or her physical world(Van Leeuwen 2006:188). Figure If a sound or group of sounds is positioned as Figure, it is thereby treated as the most important sound, the sound which the listener must identify with, and/or react to and/or act upon(Van Leeuwen 2006: 187). Film Noir Dark film a term applied by French critics to a type of American film, usually in the detective or thriller genres, with low-key lighting and a somber mood (Bordwell and Thompson 2000:430) Frontal angle A shot, where the depicted elements are placed frontal to the camera
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Ground If a sound or group of sounds is positioned as Ground, it is thereby treated as still partof the listeners social world, but only in a minor and less involved way () as a context we takefor granted and only notice when it is not there any longer(Van Leeuwen 2006:188). Long shot A shot, where the object is depicted in long distance. This type of shot shows the whole human figure as well as it permits the receiver to see the background. Low angle A shot, where the camera is placed low on the vertical axis, thus angled upwards, which makes the depicted elements look imposing and awesome(Kress & van Leeuwen 2006: 140). Media-borne Communication transferred through different media Medium shot A shot, where the object is depicted in middle distance. This type of shots visualisation of a human figure will typically be from the waist and up, and the receiver is permitted to see some of the background. Non-diegetic: The term non-diegetic is used when elements of the sound mode, such as a voice-over narrator, sound effects or music appear as coming from a source outside the storyspace. Oblique angle A shot, where the depicted elements are placed oblique to the camera. Panning (pan) A camera movement where the camera turns to the right or left, scanning the horizontal space. (Bordwell and Thompson 2000:433) Participants: A notion used to describe the objects and elements in the visual mode. Relay A Notion by Roland Barthes, which indicates that a written or verbal mode complements the meaning in the visual mode.
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Scene A segment in a narrative film that takes place in one time and space or that uses crosscutting to show two or more simultaneous actions (Bordwell and Thompson 2000:433). Shot: one interrupted image with a single static or mobile framing (Bordwell and Thompson 2000:433) Social distance The term social distance, can be established both through the visual and sound mode. Visually the social distance depends on the size of frame from close to long shot, signifying the scale from intimate to impersonal social distance. The sound mode is based on the notion on figure, ground and field, establishing a scale from intimate to impersonal social distance. Static shot A shot, where there is no camera movement. Symbolic meanings: draws on Kress & van Leeuwens symbolic processes, which are concerned with what participant means or is (2006:105). Tele-filmic: moving and dynamic images Text:Any context, being image, document, video, figure etc, in which meanings are exchanged. Viral Marketing Viral marketing can be understood as a communication and distribution concept that relies on customers to transmit digital products via electronic mail, Facebook, blogs, and other social networks to other potential customers in their social sphere and to animate these contacts to also transmit the products (Helm 2000:160).
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A Comparative Analysis of Nike and Adidas Commercials

- A Multimodal Approach to Building Brand Strategies

A Comparative Analysis of Nike and Adidas Commercials

Mads Nrgaard Hansen and Dennis Gade Pedersen

2. Presentation of Nike and Adidas .................................................................. 4

3. Background Theory .......................................................................................... 6

5. Multimodal Analysis ....................................................................................... 21

5.1.2. Adidas: The Spark F50i ................................................................................................................................... 27

Total number of characters: 98,880

2. Presentation of Nike and Adidas B

Mads Nrgaard Hansen and Dennis Gade Pedersen

1.1. Purpose and Problem Statement

Mads Nrgaard Hansen and Dennis Gade Pedersen

1.3. Structure of Thesis

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

2. Presentation of Nike and Adidas

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

3.1. Social Semiotics

3.1.1. The Metafunctional Perspectives on Communication

Words in italics are explained in the glossary

Mads Nrgaard Hansen and Dennis Gade Pedersen

3.1.2. Michael Alexander Kirkwood Halliday

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

3.2. Film Theory

Mads Nrgaard Hansen and Dennis Gade Pedersen

3.2.1. Edvin Kaus Reflection on Editing

3.2.2. Theo van Leeuwens Sound in Perspectives

Mads Nrgaard Hansen and Dennis Gade Pedersen

3.2.3. Jrgen Stigels Voice-over

Mads Nrgaard Hansen and Dennis Gade Pedersen

3.3. Branding Theory

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

4.1. Interdisciplinary Theoretical Approach

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

4.2. Transcription and Analysis of Data

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

5.1. Product commercials

5.1.1. Nike: Master Accuracy. Hit The Target2.

Appendix 5: Transcription of Master Accuracy. Hit The Target.

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

5.1.2. Adidas: The Spark F50i3

Appendix 6: Transcription of The Spark

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen

Mads Nrgaard Hansen and Dennis Gade Pedersen