The Discursive Construction of Economic Inequality: CADS Approaches to the British Media by Eva M. Gomez-Jimenez & Michael Toolan

Author:Eva M. Gomez-Jimenez & Michael Toolan [Gomez-Jimenez, Eva M. & Toolan, Michael]
Language: eng
Format: epub
Tags: Language Arts & Disciplines, Linguistics, Historical & Comparative, Sociolinguistics, Computers, Artificial Intelligence, Natural Language Processing
ISBN: 9781350111301
Google: gC3kDwAAQBAJ
Publisher: Bloomsbury Publishing
Published: 2020-06-25T20:23:52.020423+00:00

Figure 6.1 Visual tropes used to achieve humour and evaluative health warnings in the C4L campaign.

In this way humour is used to soften quite serious and alarming messages about disease risk. In fact, the mood and visual modality of the adverts is phased, reflecting the content of the message.

6.5.2.2 Move structure

Each advert has four main moves, three of which are typically narrated by one or more of the child characters. The first move involves a confession about an unhealthy lifestyle (‘we love pop’; ‘mum gives me enough to feed a horse’; ‘we’re always hunting down the sweet stuff’). Simple present tense and progressives with time adverbials (underlined) convey the idea that these are entrenched, habitual behaviours.

The second move introduces bioscientific discourse to evaluate this behaviour as out of control and posing serious health risks (‘too much food gets stored as fat in the body’; ‘that could mean heart disease, cancer, or type 2 diabetes’; ‘9 out of 10 kids growing up with dangerous levels of fat in their bodies’; ‘every ten minutes a kid like me has a tooth removed in hospital’). The shift in register is framed using reported speech (‘my teacher says …’; ‘mum says …’). It is in this section that we also see the greatest use of inscribed evaluation, realized through a combination of adult-like scientific discourse (‘dangerous levels of fat’) and childlike reactions (‘yuk!’, ‘Nasty!’, ‘Terrible!’) which add affective meanings to these warnings. Visually, the mood changes to darker, sombre colours as metaphor and technical modality are used to emotively translate these rather esoteric messages. In some adverts the visual modality also changes from low to high: children receive a warning about sugar content of drinks in a much more realistic-looking kitchen setting, and later adverts include a real boy brought face to face with his own annual sugar and snack food consumption (Figure 6.2).5

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