THE WOMEN REPRESENTATION IN DETERGENT PRODUCT PACKAGING DESIGNS : Visual Analysis of Detergent Product Packaging Design.

TABLE OF CONTENTS

Page

PAGE OF APPROVAL

STATEMENT OF AUTHORIZATION

PREFACE ... i

ACKNOWLEDGMENTS ... ii

ABSTRACT ... iv

TABLE OF CONTENTS ... v

LIST OF FIGURES ... vii

LIST OF TABLES ... viii

CHAPTER I INTRODUCTION ... 1

1.1Background of the Study ... 1

1.2Statement of Problems ... 6

1.3Aims of Study ... 6

1.4Research Methodology ...7

1.4.1 Research Design ... 7

1.4.2 Research Procedures ... 7

1.5Clarification of Terms ... 8

1.6Organization of Paper ... 10

CHAPTER II LITERATURE REVIEW ... 11

2.1 Representation ... 11

2.2 Gender ... 12

2.2.1 Gender Stereotype ... 14

2.2.2 Gender Representation in Discourse ... 16

2.3 Ideology and Discourse ... 19

2.4 Social Semiotics of Multimodality ... 21

2.5 Systemic Functional Linguistics (SFL) ... 27

2.6 Reading Images: the Grammar of Visual Design ... 30

2.6.1 Representational Meaning ... 31

2.6.2 Interactive Meaning ... 33

2.6.3 Compositional Meaning ... 35

2.7 Syntagmatic and Paradigmatic Structure in Image (Spatial Relation) ... 38

2.8 Barthes’ Signification Order ... 39

2.9 Marketing ... 41

2.9.1 Product ... 42

2.9.2 Product Packaging ... 43

2.9.3 Product Packaging Design ... 44

2.10 Detergent Product ... 45

CHAPTER III RESEARCH METHODOLOGY ... 51

3.1 Research Method ... 51

3.2 Research Procedures ... 52

3.2.1 Data Collection ... 52

3.2.2 Data Analysis ... 54

3.2.3 Data Presentation ... 56

3.2.3.1 Representational Meaning Analysis ... 57

3.2.3.2 Denotative and Connotative Meaning Analysis ... 58

CHAPTER IV FINDINGS AND DISCUSSIONS ... 60

4.1 Findings and Analysis of Data ... 60

4.1.1 The Woman Representation in Detergent Product Packaging Design ... 60

4.1.2 The Ideology behind Visual Representation ... 84

4.2 Discussions ... 90

4.2.1 The Way of the Women Represented ... 90

4.2.1.1 Representational Meaning Analysis ... 91

4.2.1.2 Interactive Meaning Analysis ... 97

4.2.2 The Femininity Ideology behind Visual Representations ... 99

4.2.2.1 Findings and Discussions ... 100

CHAPTER V CONCLUSSIONS AND SUGGESTIONS ... 108

5.1 Conclussions ... 108

5.2 Suggestions ... 111

REFERENCES ... 112 APPENDICES

LIST OF FIGURES Figures:

Figure 2.1 Position of Woman ... 18

Figure 2.2 Position of Man ... 19

Figure 2.3 Saussure’s Model of the Sign ... 23

Figure 2.4 Semiotic Triangle ... 23

Figure 2.5 Representational Structure ... 32

Figure 2.6 Interactive Structure ... 34

Figure 2.7 Compositional Structure ... 36

Figure 2.8 Kress and van Leeuwen’s Spatial Map ... 37

Figure 2.9 Barthes’ Signification Order ... 40

Figure 3.1 Stages of Analysis of Miles and Huberman (1994) ... 54

Figure 3.2 Barthes’ Signification Order ... 55

Figure 4.1 Visual Representation of Attack Softener Packaging Design ... 85

Figure 4.2 Visual Representation of Attack Clean-Max Packaging Design ... 86

Figure 4.3 Visual Representation of Attack Color Packaging Design ... 88

LIST OF TABLES Tables:

Table 2.1 Attributes of Male and Female Character ... 17

Table 2.2 Realizations of Interactive Meanings ... 35

Table 2.3 Visual Space in Western Semiotics ... 37

Table 3.1 The List of Data ... 52

Table 3.2 Example of Visual Illustration of Attack Easy Packaging Design ... 56

Table 3.3 Example of Symbolical Process ... 58

Table 3.4 Example of Barthes’ Signification Order Analysis ... 59

Table 4.1 Visual Illustration of Attack Softener Packaging Design ... 61

Table 4.2 Symbolical Process of Attack Softener Packaging Design ... 63

Table 4.3 Interactive Meaning of Attack Softener Visual Image ... 67

Table 4.4 Visual Illustration of Attack Clean-Maximizer Packaging Design ... 68

Table 4.5 Symbolical Process of Attack Clean-Maximizer Packaging Design ... 70

Table 4.6 Interactive Meaning of Attack Clean-Maximizer Visual Image ……... 73

Table 4.7 Visual Illustration of Attack Color Packaging Design ... 74

Table 4.8 Symbolical Process of Attack Color Packaging Design ... 75

Table 4.9 Interactive meaning of Attack Color Visual Image ... 78

Table 4.10 Visual Ilustration of Attack Easy Packaging Design ... 79

Table 4.11 Symbolical Process of Attack Easy Packaging Design ... 81

Table 4.12 Interactive Meaning of Attack Easy Visual Image ... 84

Table 4.13 Signification Order of Attack Softener ... 85

Table 4.14 Signification Order of Attack Clean-Maximizer …………... 86

Table 4.15 Signification Order of Attack Color …………... 88

Table 4.16 Signification Order of Attack Easy …………... 89

Table 4.17 Percentage of Actions Processes ... 92

Table 4.18 Percentage of Symbolical Processes ... 96

Table 4.19 Syntagmatic Structure of Attack Packaging Designs ... 100

CHAPTER I INTRODUCTION

The section introduces the present study. It contains introduction of background of the present study, statement of problems, aims of the study, research method and organization of the paper.

1.1Background of the Study

In competition of marketing industries, every company competes to dominate the marketplace to achieve profit as much as possible. It can be seen that there are many products with different brands sold in markets such as toys products, beauty products and household products. A product is defined as anything offered to a market to be used or consumed and it can satisfy consumers’ wants and needs (Kotler, Wong, Saunders & Armstrong, 2005: 539). Products can be physical things, services, people, places, organizations, ideas or a combination of those entities (Kotler, Wong, Saunders & Armstrong, 2005). From the various products sold, the physical products displayed in markets are usually packaged.

The concept of packaging is crucial in the area of marketing industry. It is a part of physical product. Stadnik (2009: p.8) states that packaging is an external wrapper of the product that functions to protect the product inside against damage. Thus, packaging cannot be separated from the physical product, since it extremely functions to protect the product inside to prevent the damage of the product. Meanwhile, O’Shaughnessy (1995; cited Gutierrez, 2001: p.2) argues that in the modern era, packaging plays role as marketing tool to promote the product and to provide informations to consumers. Kotler (2005: 550) also states that packaging

recently functions to attract consumers, to describe and to sell the products. It can be understood that besides its function as protecting the product inside, packaging also functions as a media of communication, for it can communicate messages, give informations (e.g. what and how the product inside) and make it saleable. According to Dobson and Yadav (2012), packaging communicates messages to consumers through visual designs in the form of logos, graphics, colors, images and so on. Moreover, Gutierrez (2001: p.2) mentions that packaging’s communication function can be viewed through several ways including designs and colors. It means that design of product packaging has important role in conveying or communicating messages to consumers.

Kotler (2005: 550) states that “Packaging is the activities of designing and producing [...]”. Thus, design is a part of product packaging. Design of product packaging can be simple or aesthetic. The aesthetic designs may consist of elements including a combination of verbal structures (linguistic) and non-verbal structures (pictorial). Butkeviciene et al (2008; cited in Dobson & Yadav, 2012: 12) investigated verbal messages include name of product, brand, producer, informations, special offers, instruction of usage, whereas non-verbal messages include form, colors, size, imageries, graphics, materials and smell. Meanwhile, Hine (cited in Honkaniemi, 2009: p.4) assumes that design of packaging has two basic components; graphics and structures. Ampuero and Vila (2007; cited in Kuvykaite, Dovaliene & Navickiene, 2009: 442) investigated the elements of product packaging consist of graphic elements including typography, colors, image and shaped used and structural elements including form, materials used and

size of container. Those elements are combined in one entity to carry meaning to be shared and communicated to others.

Roxburgh (2010) asserts that “Design is described as reproducing ideology and identities”. He also mentions that “The art of designs is reliant on Myth of Creativity” (Roxburgh, 2010). It means that behind visual representation of product packaging design, there is hidden ideology to be conveyed. On the other words, the producers of marketing business cooperating with graphic designers do not only sell the product, but also they sell ideas or ideology through visual representations on the product packaging design. Ideology is viewed as “A basis of social representations shared by members of a group” (van Dijk, 1998: p.8).

In this case, gender representation in the visual image of several product packaging designs is an issue of the present study. According to Duveen (1993), gender is viewed as one of social representations which is constructed by culture and society. Gender representations in media or discourse often involve stereotypes. Doring (2006: 173) argues that the depiction of men and women in media often portrays traditional gender stereotypes. According to Amancio (1993), “Gender stereotypes are seen as social representations or collective ideologies defining model of behavior”. It can be understood that gender stereotype refers to what male and female should behave in society as social and cultural construction.

Based on the matters, the present study aims to investigate women representation in detergent product packaging designs and to reveal the ideology behind visual representations. Detergent is a kind of cleaning product. The topic

was chosen because there are several packaging designs of detergent products which have had a brand image (e.g. well-known by consumers) represent woman as model illustrated in its visualization. The present study is limited to analyze four selected packages of detergent product of PT. Kao.

Theoretical foundation applied is Social Semiotics theory on Reading Images: the Grammar of Visual Design proposed by Kress and van Leeuwen (2006). Social Semiotics is an appropriate approach, since it is a theory of representation. Kress and van Leeuwen (2006: p.6) state that “Visual representation is set within the theoretical framework of Social Semiotics”. In Social Semiotics, representation is viewed as a process of sign-makers to make representation of things (Kress & van Leeuwen, 2006: p.7). Social Semiotics focuses on meaning-making resources as social contexts and social practices in all types of Semiotics works including visual, verbal and aural in modes of communication (Thibault, 1991: p.6). Hence, the theory of Social Semiotics on the Grammar of Visual Design proposed by Kress and van Leeuwen (2006) is appropriate because the present study aims to understand meaning of visual representations that is constructed as social contexts in the visual image as a means of communication.

The model of Reading Images: the Grammar of Visual Design proposed by Kress and van Leeuwen (2006) is utilized as a tool of analysis because the present study focuses on analyzing and investigating elements of visual design. At the work of the Grammar of Visual Design, Kress and van Leeuwen develop framework of Halliday’s three metafunctions of Systemic Functional Linguistics (SFL) in term of visual image analysis. Kress and van Leeuwen state that

“Halliday’s model with its three functions is a starting point for our account of images, not because the model works well for language […], but because it works well as a source for thinking about all modes of representation” (Kress & van Leeuwen, 2006: 20; cited in Laursen, 2010: pg.9-10). Following the theory, the present study focuses on investigating how elements including people, places and things which are depicted and combined each other in the visual image construct meaning and communicate messages. Meanwhile, Barthes’ theory of signification order is also utilized to support the analysis of the present study to reveal the ideology behind visual representations of detergent product packaging designs focusing on investigating denotative and connotative meanings.

The analysis of women representation and ideology has been conducted by several researchers. One of them is Zakaria (2009) who investigated representation of women in Nike print advertisements and underlying the ideology behind its representations. Nike advertisement is categorized as a kind of sport advertisement which represents women as models illustrated (Zakaria, 2009). In the research, he/she utilized the frameworks of Critical Discourse Analysis (CDA) of Fairclough and Visual theory of Mood and Modality of Gunther and van Leeuwen. Following the theory, he/she investigated women representation both verbally and visually. He/she analyzed verbal texts regarding transitivity, inclusions and exclusion of social events elements, and concreteness or abstraction of representation of social events. Then, he/she analyzed visual texts regarding mood, subjectivity, social distance and modality analyses. In verbal analysis, the result of his/her research show that the women models of Nike print

advertisements are represented as active, strong, masculine and persistent. While, the women models of Nike print advertisement are represented visually as active women who have confidence, strong attitude, independence, individual, feminine and masculine characteristics. The researcher discovered two ideologies underlying representations; ideology of equality based on the material processes of the actions performed by the women models and masculine-oriented ideology.

Meanwhile, the present study also aims to investigate women representation and ideology behind representations. However, analysis would focus on representational and interactive meaning analysis following the theory of Reading Images of Kress and van Leeuwen (2006). The ideology underlying representations would be revealed by applying Barthes’ signification order which focuses on investigating denotative and connotative meanings.

1.2Statement of Problems

The problems of the present study are formulated into two questions as follow: 1. How are the women represented in detergent product packaging designs of

PT. Kao?

2. What is the ideology behind visual representations?

1.3Aims of Study

The present study aims to reveal the women represented in detergent product packaging designs and to reveal the ideology behind visual representations.

1.4Research Methodology 1.4.1 Research Design

Based on the description of the present study and its research questions that have been stated earlier, the present study uses a qualitative-descriptive method. Denzin and Lincoln (2005) state that qualitative research involves a set of interpretive, natural setting attempting to make sense and to interpret phenomenon in terms of meaning of human’s live. Thus, the qualitative-descriptive method is appropriate to use because the present study focuses on describing, interpreting and exploring the meaning of participants, processes and phenomenon within the visual images of detergent product packaging designs.

1.4.2 Research Procedures a. Data Collecting Procedures

The data collections used to analyze are detergent product packaging. The collected data is four selected packages of detergent product of PT. Kao with the smallest size of 23 g. Those are Attack Softener, Attack Clean-Maximizer, Attack Color and Attack Easy. There are some steps to obtain the data as follow:

- First, choosing and selecting the data on amount of detergent products focusing on its product packaging designs which represent woman as model illustrated on its visualization

- Second, selecting the data which is relevant to analyze. Then, collecting the data which has been chosen and selected to be a compiled data.

The literature study will be conducted by reading, learning and analyzing the data through books, internet, library researches, and reading and learning other previous studies related to the topic of the present study to support the analysis.

b. Data Analysis Procedures

In term of data analysis, following the theory of Social Semiotics on Reading Images: the Grammar of Visual Design proposed by Kress and van Leeuwen (2006), there are some steps which are conducted for analysis of the present study. First, answering the first question; to investigate the women representation by focusing on representational and interactive meaning analysis. Second, answering the second question; to reveal the ideology behind visual representations of the detergent product packaging designs by investigating denotative and connotative meaning following Barthes’ signification order.

1.5Clarification of Terms

1. Marketing: A kind of human’s activity which covers planning, pricing, promoting and distributing goods and services to satisfy customers’ wants and needs (Stanton, 1964; cited in Gana, 2008)

2. Product: Anything including physical things, services, people, places, organizations, ideas or a combination of those all entities which is offered to markets to satisfy people’s a want and need (Kotler, 2005)

3. Detergent Product: A kind of cleaning product which is categorized as household product

4. Product Packaging: A wrapper of the product which functions to protect and to prevent the product against damage, detereorization and contamination (Stadnik, 2009: p.8)

5. Design: “Design is concerned with imagining and imaging the world we’d like to experience and the experiences we’d like of the world” (Roxburgh, 2010). Process of imagining refers to reproduction, whereas process of imaging refers to representation (Roxburgh, 2010)

6. Representation: “The production of meaning of the concepts in our minds through language” (Hall, 1997: p.17)

7. Ideology: “A basis of the social representations shared by members of a group” (van Dijk, 1998: p.8). Social representations refer to social beliefs, knowledge and attitudes (van Dijk, 2003)

8. Denotative meaning: Denotative meaning is concerned with the meaning of a word based on dictionary or it refers to literal meaning of a word associated with its referent (Chandler, 2002; Berger, 2005)

9. Connotative meaning: Connotative meaning refers to cultural meaning or it is concerned with the meaning of a word associated with somebody’s culture (Chandler, 2002; Berger, 2005)

10.Social Semiotics: Social Semiotics is a branch of Semiotics that explains how meaning is constructed or created and interpreted by people as social contexts in all modes of communication (van Leeuwen, 2005)

1.6Organization of Paper

The paper is organized into five chapters as follows:

CHAPTER I Introduction: The section introduces the present study including introduction of the background, statement of problems, aims of the study, the research method and organization of the paper.

CHAPTER II Literature Review: The section contains literature review including some theories and previous studies which are related to the problems of the present study to investigate.

CHAPTER III Research Methodology: It contains research method of the present study covering research method and research procedures of the present study, data analysis and data presentation of the study.

CHAPTER IV Findings and Discussions: The section contains findings and discussions of the present study in investigating and analyzing the problem of the present study.

CHAPTER V Conclusions and Suggestions: It contains the conclusions of the present study, the interpretation of the writer toward the results of the study and some suggestions for the further studies.

CHAPTER III

RESEARCH METHODOLOGY

The section focuses on some aspects of research methodology of the present study. It covers research method, research procedures including data collection, data analysis and data presentation.

3.1Research Method

Since the present study aims to reveal the hidden messages and meanings particularly women representation in the visual images and the ideology behind its representations, thus a qualitative descriptive is used as a method of analysis. The qualitative descriptive method is used because the present study focuses on analyzing the data collected in the form of visual image. Bogdan and Biklen (2003) state that in a qualitative research, the data collected is in the form of words or pictures rather than numbers. Thus, the qualitative method is appropriate to use because the present study does not aim to account the data by numbers rather the present study focuses on analyzing and interpreting the meaning of visual representations of detergent product packaging designs.

According to Williams (2007), a qualitative research aims to describe, explain and interpret the collected data. Meanwhile, Denzin and Lincoln (2005) mention that qualitative research involves a set of interpretive, natural setting attempting to make sense and to interpret phenomenon in terms of meaning of human’s live. They also state that “The Qualitative implies an emphasis on the qualities of entities and on process and meanings that are not experimentally examined [...] in terms of quantity, amount, intensity or frequency”. Hence, the qualitative research

is used, since the present study aims to describe the processes and phenomenon and to understand the meaning of visual representations of detergent product packaging designs. The qualitative descriptive method is also appropriate because the present study focuses on describing, interpreting and exploring the meaning of participants, processes and phenomenon within the visual images of detergent product packaging designs.

3.2Research Procedures

There are some research procedures to conduct the present study. Those are data collection, data analysis and data presentation.

3.2.1 Data Collection

The data collections selected to be analyzed are detergent product packaging. The collected data chosen and taken is detergent product packaging of PT. Kao with the smallest size of 23 g. There are four selected packages of detergent product of PT. Kao with size of 23 g to be analyzed. The data are presented by the following table, below:

Visual Images Brand Names

Visual Images Brand Names Attack Clean-Maximizer

Attack Color

Attack Easy

Table 3.1 (The List of Data)

From the table 3.1, there are four selected packages of detergent product of PT. Kao which represent figure of woman as model illustrated in its visual design. Those are Attack Softener, Attack Clean-Maximizer, Attack Color and Attack Easy. The analysis focuses on its visual representations to answer the research problems; women representation and ideology behind its visual representations. There are some steps to obtain the data as follows:

1. To choose and to select the data on amount of detergent products focusing on its product packaging design which represents woman as model illustrated on its visualization

2. To select the data which is relevant to analyze and to collect the data that has been chosen and selected to be a compiled data

The literature study will be conducted by reading, learning and analyzing the data through books, internet, library research, and reading and learning other previous studies related to the topic of the present study to support the analysis.

3.2.2 Data Analysis

Based on Miles and Huberman (1992; cited in Bernatta, 2011), data analysis consists of a flow of three concurrent activities including data reduction, data display and conclusion drawing/verification. The three processes of activities are represented by the following figure, below:

Figure 3.1 Stages of Analysis of Miles and Huberman (1994) Adopted from: http://www.palgrave-adopted

In the process of data reduction, the data which appear in written-up field notes or transcription is to be selected, focused, simplified and transformed. Meanwhile, data display is conducted after the data is collected and organized into a compiled data. Data display permits drawing and actions including analyzing and interpreting the data to achieve the aims of the present study; women

representation and ideology behind its representations. Then, the conclusions would be drawn and verified.

Furthermore, the analysis of data is based on Social Semiotics theory on Reading Images: the Grammar of Visual Design proposed by Kress and van Leeuwen, in which the present study aims to interpret and to understand the meaning of visual representations which is constructed as social contexts and social interactions. Following the theory, the analysis focuses on representational meaning analysis regarding narrative structure analysis such as participants, actions processes, circumstances and phenomenon within the visual image and conceptual structure analysis such as symbolical and analytical processes that will be identified. Then, interactive meaning analysis focuses on analyzing contact, camera distance and camera angle. Those steps aim to reveal how women are represented in the visual image. Meanwhile, Barthes’ signification order is used as a tool of analysis of data to reveal the hidden messages and ideology behind its representations by investigating denotative and connotative meanings. Barthes’ signification order is represented by the following figure, below:

Figure 3.2 Barthes’ Signification Order (1957) Adopted from:

The figure 3.2 shows Barthes’ signification order that is to reveal the hidden ideology behind visual representations of detergent product packaging designs. Following the theory, the first step to do is to investigate denotative sign which refers to literal meaning in the first order of signification. The next step to do is to investigate connotative sign which refers to cultural meaning in the second order of signification. Then, in the third order of signification, the hidden ideology will be revealed.

3.2.3 Data Presentation

To investigate women representation, there are some steps following the theory of Reading Images of Kress and van Leeuwen (2006). First, investigating and analyzing representational meaning regarding narrative structure (investigating women’s actions and identifying processes of the actions) and conceptual structure (investigating symbolical processes and analytical processes). Second, analyzing interactive meaning by investigating contact, camera disctance and camera angle. Those steps aim to reveal how women are represented. Data presentation is presented as follows:

Table 3.2 Example of Visual Illustration of Attack Easy Packaging Design Visual Image Visual Illustration

Attack Easy Packaging

The woman is washing clothes. Behind the woman, the man is looking at the woman with the wide opened-eyes and opened-mouth. The man is holding a single-red rose. The color of the woman’s clothes is salmon red (yellow-based red), while the color of the man’s clothes is white. The setting place of the picture taken is in the grass yard. The packaging is dominated by the color of green.

3.2.3.1Representational Meaning Analysis a. Narrative Structure

Narrative structure analysis aims to reveal how women are represented in the visual image based on the actions of the women and to be compared with other participants’ actions. In this step, processes of doing are identified. The examples of narrative structure analysis are presented by the following examples [3.1 & 3.2], below:

The woman Is washing Clothes Actor Process: Material Goal The man Is looking at The woman Behaver Process: Behavioral Range

b. Conceptual Structure

In conceptual structure analysis, the present study focuses on symbolical processes and analytical processes. Symbolical process is analyzed to reveal the meaning of participants in the visual image. Symbolical process refers to “what a participant means or is” (Kress & van Leeuwen, 2006: 105). There are two symbolical processes; symbolic attribute and symbolic suggestive. Symbolic attribute can be interpreted as analytical process, whereas symbolic suggestive cannot be (Kress & van Leeuwen, 2006: 105-106). The example of symbolical processes analysis is presented by table [3.3] as follows:

Table 3.3 Example of Symbolical Process Symbolical Analysis

Attack Easy Packaging

Carrier(s): the woman and the man

Symbolic attribute(s): long and blowing hair of the woman, short hair of the man

The table 3.3 above shows that there are some symbolic attributes of the participants (woman and the man). Those symbolic attributes carry meaning of the participants (the woman and the man). Then, those symbolic attributes of the woman and the man can be interpreted and identified as analytical processes. The examples of analytical processes are presented as follows [3.3 & 3.4]:

Examples of Analytical Processes as follow [3.3 & 3.4]:

The woman Has Long and blowing hair

Carrier Process: Attributive (Possessive) Attribute

The man Has Short hair

Carrier Process: Attributive (Possessive) Attribute

3.2.3.2Denotative and Connotative Meaning Analysis

Next, to reveal the ideology behind visual representations of detergent product packaging designs, the present study focuses on investigating denotative and connotative meanings by applying the framework of Barthes’ signification order. The example of Barthes’ framework is presented by the following table:

Table 3.4 Example of Barthes’ Signification Order Analysis A woman is washing clothes with

expression of smile and she is gazing at the camera. The woman’s hair is blown as if by the wind. Behind the woman, a man is looking at her with opened-mouth and he is holding a single-red rose (Denotative Signifier)

The man is charmed by the woman (Denotative Signified)

Clothes (Denotative Sign)

Clothes (Connotative Signifier) Attractive (Connotative Signified) Femininity (Connotative Sign)

The table 3.4 above demonstrates example of Barthes signification order to reveal hidden message and ideology behind visual representation of Attack Easy detergent product packaging design. The first order signification explains what is being represented in the visual image. It refers to literal meaning (denotative). Meanwhile, the second order signification explains how it is represented. It refers to cultural meaning (connotative). Then, the third order signification represents the ideology.

CHAPTER V

CONCLUSIONS AND SUGGESTIONS

The section is divided into two parts. The first one is conclusions of the present study as the result of findings and discussions in the previous section. The second one is some suggestions offered for the further study.

5.1 Conclusions

By applying Social Semiotics theory on Reading Images: the Grammar of Visual design proposed by Kress and van Leeuwen (2006), the present study

investigated ‘grammar in visual design’. In this case, the present study investigated how the women are represented in the visual images of detergent product packaging designs by focusing on representational and interactive meaning analyses. While, Barthes’ signification order is applied to reveal what the ideology behind visual representations of detergent product packaging designs is.

After investigating, analyzing and interpreting the data, the formulated problems stated in the previous sections have been answered. In the context of women representation, it concludes that the women’s figures in four visual images of Attack detergent product packaging designs are represented in different ways.

The representations of the women’s figures can be seen through two sides; actions

processes and attributes of the women illustrated.

Having investigated and analyzed the participants, actions, processes, circumstances and phenomenon within the visual images of Attack packaging designs, there are only two processes found; material and behavioral processes. Based on findings, the behavioral processes are found as dominant actions

processes of the participants’ actions particularly the women’s actions with the existence as much as eight with the percentage 57%. While, the existence of material process is only six with the percentage of 43%. The behavioral processes are found in the actions of ‘staring at’, ‘smiling at’, ‘lying’ ‘laughing’, ‘looking’ and ‘watching’. While, material processes are found in the actions of ‘touching’,

‘hugging’, ‘carrying’, ‘holding’ and ‘washing’. Based on findings, it concludes

that the women’s figures illustrated do actions involving physiological and psychological behavior. It explains that the women’s figures use feeling, cognitive

or mental consciousness in doing the actions. To conclude, the women’s figures in the visual images are represented as being emotional women’s figures because the women do actions involving emotions of feeling and mental consciousness.

Meanwhile, analysis of symbolical and analytical processes concludes that the symbolic attributes of the participants influence the meaning of the represented participants particularly the women. Those symbolic attributes reveal how women are represented in the visual images. Based on findings, the women’s figures are represented as feminine, tender, caring, loving, motherhood, independent, mature, warm, happy, friendly, beautiful and attractive. Those representations can be seen through symbolical attributes of the women’s figures such as long hair of the women, the colors of the women’ clothes, make-up,

accessories of brown belt and expression of smile of the women’s figures

illustrated. Those construct the identity of the women as feminine female.

Interactive meaning analysis shows that all the women’s figures illustrated

low angle. Medium shot explains that the figures of women are focused only particular parts of body; head, breast and shoulder. It implies that the beauty of the women and the expression of smile of the women as being happy are more to be focused by the camera. Meanwhile, the low angle is to demonstrate how the women look awesome by the camera to be focused from below. It also implies that the represented participants have more power than the interactive participants.

In the context of ideology, femininity ideology is revealed. It is conveyed by sign-maker through several ways. By applying Barthes’ framework, the

ideology of femininity is conveyed through the women’s actions illustrated in the visual images. The women’s actions illustrated in the visual images imply stereotypical images of woman which refer to gender roles in society including

‘taking care of the children’, ‘paying attention to the family’ or ‘protecting the family’ from bacteria and/or ‘doing households’. The ideology of femininity is also conveyed and demonstrated through syntagmatic and paradigmatic structures. Syntagmatic analysis shows that the figures of women are represented as more salience and being important figures as the first figure in doing actions.

Mass media codes also construct the idea of femininity. Based on findings, mass media codes such as fashion, color and non-verbal codes show the sense of

femininity. Fashion codes which are applied on the woman’s figure such as

wearing aesthetic dress and accessories, bright color of dress and make-up which emerge the sense of femininity. Colors’ choices which support the sense of femininity such as the colors of pink, salmon red, white, yellow, green, light celery green and blue.

In conclusions, producer of marketing of Attack detergent products does not only sell the product offered, but the producer also conveys the ideas or ideology through visual representations in the visual image. In this case, femininity ideology is conveyed. It is proved by findings that a feminine female should be a woman who is feminine, caring, loving, tender, motherhood, beautiful, attractive, warm, friendly and happy.

5.2 Suggestions

The present study analyzed ‘grammar’ in visual designs. It can make the

audience to be ‘critical’ in seeing image representation and the audience might be

interested in discovering the ideology behind discourse. However, to analyze grammar in visual design is a bit difficult in ‘reading image’ when dealing with

‘vectors’ because if nothing have knowledge, it can be wrong interpretation. There

are some suggestions offered for the further study so that it gets better for the further study. Applying Social Semiotics theory on Reading Images the Grammar of Visual Design in multimodality texts such as packaging product, it is better to investigate visual images which not only display visual representations on the packaging but also it can attract consumers to buy the product. Additionally, it is better to investigate the visual representations of frontage of the packaging product because the frontage of packaging product is seen at first time by consumers rather than behind part of the packaging product.

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Aiello, G. (2006). Theoretical Advances in Critical Visual Analysis: Perception, Ideology, Mythologies, and Social Semiotics. Journal of Visual Literacy, vol. 26, no.2, pg 89-102 Al-Adaileh, B. A. (2012). The Connotations of Arabic Colour Terms. Published online available: http://www.phil.muni.cable: http://www.phil.muni.cz/linguistica/art/al-adaileh/ada-001.pdf

Amancio, L. (1993). Stereotypes as Ideologies. The Case of Gender Categories. ISSN: 0213-4748, vol.8(2), pg 163-170

Aristotle. (2000). Cambridge Texts in the History of Philosophy. Nicomachean Ethics, translated and edited: Roger Crisp. USA: Cambridge University Press

Barker, C. (2005). Cultural Studies: Theory and Practice. Singapore: SAGE Publication Berger, A. A. (2005). Media Analysis Techniques. Semiotic Analysis, Chapter 1. Fourth Edition. London: SAGE Publication

Berger, K. R. (2002). A Brief History of Packaging. Doc. ABE321, Ori [Dec, 2005], reviewed by B. Welt [Dec, 2005]. University of Florida: IFAS

Bernatta, R. (2011). The Ideology of “AXE CHOCOLATE” Advertisement. Skripsi. Bandung: FPBS UPI

Betty, N. (2011). Topic: the Effect of Packaging on Consumption Levels of Customers. A Case Study of Fresh Diary Uganda Ltd. Marker University: Faculty of Economic

Bogdan, R.C & Biklen, S.K. (2003). Qualitative Research for Education: An Introduction to Theories and Method. Fourth Edition. New York: Pearson Education Group

Bortoli, M.D & Maroto, J. (2001). Colours Across Cultures: Translating Colours in Interactive Marketing Communications. Translating Colours in Web Site Localisation [published: 2001], ISBN: 0-9541774-0-1, pg 1-27

Brannon, L. (2004). Gender: Psychological Perspectives (paperback). Gender Stereotypes: Masculinity and Femininity. Headline, Chapter 7 [Retrieved: 6 November, 2000]

Brooks, D.E & Hebert, L.P. (2006). Gender, Race and Media Representation, 16-Dow-4973.qxd, pg 297-318

Chandler, D. (1999). Semiotics for Beginners. Greek Language Translation Online: Prof. Maria Constantopoulou at http://www.dominicpetrillo.com/ed/Semiotics_for_Beginners.pdf Chandler, D. (2002). Semiotics: the Basics. USA and Canada: Routledge

Dandapat & Kumar, A. (2012). Women and Gender Stereotyping in Higher Education: A Case Study of Vidyasagar University Post-Graduates. International Journal of Research Studies in Education, vol.2, no.1 [retrieved: January, 2012], pg 75-90

Danesi, M. (2008). The Medium is the Sign: was McLuhan a Semiotician?. Media Tropes ejournal, vol.1 [2008], ISSN: 1913-6005, pg 113-126

Denzin, N.K & Lincoln, Y. S. (2005). The Sage Handbook of Qualitative Research. Third Edition. London: SAGE Publication

Dimopoulos, K., Koulaidis, V and Sklaveniti, S. (2003). Towards an Analysis of Visual Images in School Science Textbooks and Press Articles about Science and Technology. Research in Science Education 33: 189-216, 2003. Netherlands: Klawer Academic Publishers Dobson, P & Yadav, A (2012). Packaging in a Market Economy: the Economic and Commercial Role of Packaging Communication. British: University of East Anglia

Doring, N & Sandra. P. (2006). Images of Men and Women in Mobile Phone Advertisements: A Content Analysis of Advertisements for Mobile Communication Systems in Selected Popular Magazines. 55, pg 173-185. Published online: Springer Science - Business Media [Received: November, 16]

Duncum, P. (2008). Holding Aesthetic and Ideology in Television. A Journal of Issues and Research, vol.2, No.49, 122-135 [Received: 2008], pg 122-135

Duveen, G. (1993). The Development of Social Representations of Gender. Paper on Social Representations, vol 2(3), pg 1-177 [received: 1993]

Eggins, S. (2004). An Introduction to Systemic Functional Linguistics. London: Continuum International Publishing Group

Fairclough, N. (2003). Analysing Discourse: Textual Analysis for Social Research. USA: Routledge

Gana, M. A. (2008). BHM 206 Principle of Marketing. Course Guide. Nigeria: National Open University of Nigeria

Gerot, L & Wignell, P. (1995). Making Sense of Functional Grammar. Australia: Gerd Stabler

Gilman, C. P. (2002). The Dress of Women: A Critical Introduction to the Symbolism and Sociology of Clothing. Edited, with an Introduction by Michael R. Hill and Mary Jo Deegan. London: Greenwood Press

Goodman, L. (1996). Literature and Gender: Approaching Literature. USA: Routledge HajiMohammadi, A. (2011). Critical Analysis of Women’s Representation in TV Advertisements form a Cultural Studies Perspective. International Journal of Women‟s Research, 1, pg 107-122. Published: Online [Received: January, 15]

Hall, S. (1985). Significations, Representation, Ideology: Althusser and the Post-Structuralist Debates. Critical Studies in Mass Communication, Vol.2, No.2 (June, 1985), pg 91-114. Published: EBSCO [Received: 2003]

Hall, S. (1997). Representation: Cultural Representation and Signifying Practices. New Delhi: SAGE Publication

Henderson, E. (2004). Ralph Lauren Ads for Men and Women: A Semiotic Analysis. Student Essay. Published online available: http//www.aber.ac.uk/media/students/elh0101.doc

Holmes, M. (2007). What is Gender? Sociological Approaches. Singapore: SAGE Publication

Honkaniemi, S. (2009). Out of the Box: Communicating with Consumers through Package Desig. Nordcode Seminar and Workshop Kolding [May, 27-25 2009]

Hsiu-Hui, S & Chen. I.F. (2010). The Female Images in the Print Advertisements during the Japanese Colonial Period in Taiwan: A Pictorial Semiotic Analysis. 10, pg 27-47. Published: online

Johns, N & Clarke, V. (2001). Mythological Analysis of Boating Tourism. Annals of Tourism Research, pg 334-359. Barthes’ Signification Order (1957). Published available:

http://www.sciencedirect.com/science/article/pii/S0160738300000633

Koller, V. (2008). ‘Not Just a Colour’: Pink as a Gender and Sexuality Marker in Visual Communication. Visual Communication, Vol. 7 (4), pg 395-423

Kotler, P, Veronika. W, John. S and Gary. A. (2005). Principles of Marketing. European: Prentice Hall

Kress, G & Theo V.L. (2006). Reading Images: the Grammar of Visual Design. USA and Canada: Routledge

Kress, G. (2010). Multimodality: A Social Semiotic Approach to Contemporary Communication. USA and Canada: Routledge

Kuruc, K. (2008). Fashion as Communication: A Semiotic Analysis of Fashion on „Sex and the City‟. Semiotica 171-1/4 (2008), DOI 10.1515/SEMI. 2008.074, pg 193-214

Kuvykaite, R., Dovaliene, A., and Navickiene, L. (2009). Impact of Package Elements on Consumer’s Purchase Decision. Economics & Management, ISSN 1882-6515 [2009.14], pg.441-447

Lai, A. W. (1995). "Consumer Values, Product Benefits and Customer Value: A Consumption Behavior Approach". In Advances in Consumer Research, vol.22, eds. Frank R. Kardes and Mita Sujan, Advances in Consumer Research Vol.22 : Association for Consumer Research, Pg.381-388

Lamb, C. W & Dunne, P. M. (1980). Theoretical Development in Marketing. American Marketing Association: Marketing Classics Press

Laursen, S. (2010). A Multimodal Analysis of Scientology‟s Persuasive Strategies. Theses in Marketing and Management Communication. Published: online

Leeuwen, T.V. (2005). Introducing Social Semiotics. USA and Canada: Routledge

Lin, M. (2008). The Representation of the Orient in Western Women Perfume Advertisements: A Semiotic Analysis. Intercultural Communication Studies, XVII, 1, pp 44-53

Louw, A & Michelle. K. --- . The Power of Packaging. UK: The Customer Equity Company

Mellamphy, D. (2009). The Paradox of Transvestism in TIM Burton’s ED Wood. Journal

title: wide screen, vol 1, issue 1 [received: 2009], ISSN 1757-3920, pg.1-12

Mike. (2001). Symbolism: Colors. Mike’s Anime Open Published: online available http://www.three-musketeers.net/mike/colors.html

Miles & Huberman. (1994). The Stages of Analysis. Adopted from: http://www.palgrave-adopted

Mills, A. L. (1998). Running head: Sex, Gender, and Gender Identity in Sport. The Inaugral Wendy Ey Women in Sport Essay Prize 1998: Exploring Perceptions of Sex, Gender and Gender Identity in Australian Sport. Australia: University of Southern Queensland

Morton, J. (1997). A Guide to Color Symbolism. Published: COLORCOM

Najafian, M. (2011). Social Semiotic Representation: A Critical Approach. International Journal of Industrial Marketing, Volume 1, No.1, ISSN 2162-3066 [Received: 2011], pg 63-78

Nayyar, E. V. (2012). Packaging-An Innovative Source of Impulsive and Abrupt Buying Action. International Journal of Management & Information Technology, vol. 1, no.1 [May, 2012], pg 13-16

Neff, K. D., Cooper, C. E., and Woodruff, A. L. (2007). Children‟s and Adolescents‟ Developing Perceptions of Gender Inequality. USA: Blackwell Publishing

Parsa, A. F. (2004). Visual History: Image as a Weapon. 2nD International Symposium of Interactive Media Design, [January, 05-07, 2004]. Turkey: University Faculty of Communications

Priserman, R. (2010). White Box. Retrieved: October 11, 2010.

Pazarzi, E.N & M. Tsangaris. (2008). Constructing Women's Image in TV Commercials : The Greek Case. Indian Journal of Gender Studies, 15 (1), pp 29-50. London: SAGE Publication

Pooke, G & Newall, D. (2008). The Basics: Art History. USA and Canada: Routledge

Prentice, D. A & Carranza, E. (2002). What Women and Men Should be, Shouldn’t be, are allowed to be, and don’t have to be: the Contents of Prescriptive Gender Stereotypes. Psychology of Women Quarterly, 26 [2002], 269-251. USA: Blackwell Publishing

Roxburgh, M. (2010). Design and the Aesthetic of Reseach. Journal of Visual Communication, DOI: 10.1177/1470357210385616 [2010 9: 425]. Published: SAGE

Sekouri, C. (2011). The Hidden Meanings in Lipstick Colours. Published: online available http://suite101.com/article/the-hidden-meanings-in-lipstick-colours-a388297

Singh, R. (2006). Gender Representation in Tobacco and Alcohol Advertising. Published online available: http://www.rsingh.net/gender/

Slovenia, B. (2008). Slovenian Presidency Conference “Elimination of Gender Stereotypes: Mission (Im) Possible?” Paper Presented by the European Women’s Lobby, [Retrieved: January, 2008]

Smith, K. (2012). Sensational Color. Article. Published online available: http://www.sensationalcolor.com

Spade, Z. J & Valentine, C. G. (2011). The Kaleidoscope of Gender Prisms, Patterns, and Possibilities. London: SAGE Publication

Stadnik, A. K. (2009). Innovative Management Journal, ISSN 1899-3656. Poznan: University College of Bussiness and Foreign Languages.

Teo, P. (2004). Ideological Dissonances in Singapore’s National Campaign Posters: a semiotic deconstruction. Visual Communication, vol. 3 (2), pg 189-212. London: SAGE Publication

Thibault, P. J. (1991). Social Semiotics as Praxis: Text, Social Meaning Making and Nabokov‟s Ada. USA: The University of Minnesota

Van Dijk, T.A. (1998). Ideology: A Multidisciplinary Approach. London: SAGE Publication Van Dijk, T.A. (2003). Ideology and Discourse: A Multidisciplinary Introduction. Barcelona: Pompeu Fabra University

Veenhoven, R. (2006). How Do We Assess How Happy We Are? Tenet, Implications and Tenability of Three Theories. Paper Presented at Conference on „New direction in the Study of Happiness: United States and International Perspectives‟ [October 22-24, 2006]. USA: University of Notre Dame

Walker, A. (2003). Stereotype Beliefs, Contextual Age, and Knowledge of Aging in the Elderly. Theses. Dissertations and Capstones. Paper 190. Published online available: http://mds.marshall.edu/etd//190

Welter, B. (1996). The Cult of True Womanhood: 1820-1860. American Quarterly, vol.18, no.2, part 1 [summer, 1966], pg 151-174

Widaningsih, W. (2011). Representation of Oppression Against Youth in a Mild Television Advertisements. Skripsi. Bandung: FPBS UPI

Wierzbicka, A. (1996). Semantics: Primes and Universals. New York: Oxford University Press

Williams, C. (2007). Research Method. Journal of Business & Economic Research, Volume 5, No. 3 [March, 2007]. Published: Grand Canyon University

Wood, W & Eagly, A. H. (2009). Gender, chapter 17 [Received: 12/08/09]. Published: Online

Wright, J & Forrest, G. (2007). A Social Semiotic Analysis of Knowledge Construction and Games Centred Approaches to Teaching. Australia: University of Wollongong

Zakaria, Y. (2009). Verbal and Visual Representation of Women in Advertisements: A Critical Analysis of Nike Prints Commercials. Skripsi. Bandung: FPBS UPI

---. (2010). Advertising Standard Authority: Advertising Codes of Practice [Received: August, 2010]. Published: Advertising Standard Authority available at www.asa.co.nz

---. (2012). Dixons Taekwondo: Student Handbook. Published online available: www.dixonstkd.com

The Meaning of the Brown Belt (3rd – 1st Kyu) Sensei Post in Training notes, [08August2006]. Published: online available http://karatetraining.org/weblog/2006/08/the-meaning-of-the-brown-belt-3rd-1st-kyu/

REFERENCES

Abolaji, L. A. (2011). Gender Ideology and Social Crises in Ifeoma Okoye‟s behind the

Clouds and Men without Ears. Thesis. Nigeria: Faculty of Arts, University of Illorin

Aiello, G. (2006). Theoretical Advances in Critical Visual Analysis: Perception, Ideology, Mythologies, and Social Semiotics. Journal of Visual Literacy, vol. 26, no.2, pg 89-102 Al-Adaileh, B. A. (2012). The Connotations of Arabic Colour Terms. Published online available: http://www.phil.muni.cable: http://www.phil.muni.cz/linguistica/art/al-adaileh/ada-001.pdf

Amancio, L. (1993). Stereotypes as Ideologies. The Case of Gender Categories. ISSN: 0213-4748, vol.8(2), pg 163-170

Aristotle. (2000). Cambridge Texts in the History of Philosophy. Nicomachean Ethics, translated and edited: Roger Crisp. USA: Cambridge University Press

Barker, C. (2005). Cultural Studies: Theory and Practice. Singapore: SAGE Publication Berger, A. A. (2005). Media Analysis Techniques. Semiotic Analysis, Chapter 1. Fourth Edition. London: SAGE Publication

Berger, K. R. (2002). A Brief History of Packaging. Doc. ABE321, Ori [Dec, 2005], reviewed by B. Welt [Dec, 2005]. University of Florida: IFAS

Bernatta, R. (2011). The Ideology of “AXE CHOCOLATE” Advertisement. Skripsi. Bandung: FPBS UPI

Betty, N. (2011). Topic: the Effect of Packaging on Consumption Levels of Customers. A Case Study of Fresh Diary Uganda Ltd. Marker University: Faculty of Economic

Bogdan, R.C & Biklen, S.K. (2003). Qualitative Research for Education: An Introduction to Theories and Method. Fourth Edition. New York: Pearson Education Group

Bortoli, M.D & Maroto, J. (2001). Colours Across Cultures: Translating Colours in Interactive Marketing Communications. Translating Colours in Web Site Localisation [published: 2001], ISBN: 0-9541774-0-1, pg 1-27

Brannon, L. (2004). Gender: Psychological Perspectives (paperback). Gender Stereotypes: Masculinity and Femininity. Headline, Chapter 7 [Retrieved: 6 November, 2000]

Brooks, D.E & Hebert, L.P. (2006). Gender, Race and Media Representation, 16-Dow-4973.qxd, pg 297-318

Chandler, D. (1999). Semiotics for Beginners. Greek Language Translation Online: Prof. Maria Constantopoulou at http://www.dominicpetrillo.com/ed/Semiotics_for_Beginners.pdf Chandler, D. (2002). Semiotics: the Basics. USA and Canada: Routledge

Dandapat & Kumar, A. (2012). Women and Gender Stereotyping in Higher Education: A Case Study of Vidyasagar University Post-Graduates. International Journal of Research

Danesi, M. (2008). The Medium is the Sign: was McLuhan a Semiotician?. Media Tropes ejournal, vol.1 [2008], ISSN: 1913-6005, pg 113-126

Denzin, N.K & Lincoln, Y. S. (2005). The Sage Handbook of Qualitative Research. Third Edition. London: SAGE Publication

Dimopoulos, K., Koulaidis, V and Sklaveniti, S. (2003). Towards an Analysis of Visual Images in School Science Textbooks and Press Articles about Science and Technology.

Research in Science Education 33: 189-216, 2003. Netherlands: Klawer Academic Publishers Dobson, P & Yadav, A (2012). Packaging in a Market Economy: the Economic and Commercial Role of Packaging Communication. British: University of East Anglia

Doring, N & Sandra. P. (2006). Images of Men and Women in Mobile Phone Advertisements: A Content Analysis of Advertisements for Mobile Communication Systems in Selected Popular Magazines. 55, pg 173-185. Published online: Springer Science - Business Media [Received: November, 16]

Duncum, P. (2008). Holding Aesthetic and Ideology in Television. A Journal of Issues and Research, vol.2, No.49, 122-135 [Received: 2008], pg 122-135

Duveen, G. (1993). The Development of Social Representations of Gender. Paper on Social Representations, vol 2(3), pg 1-177 [received: 1993]

Eggins, S. (2004). An Introduction to Systemic Functional Linguistics. London: Continuum International Publishing Group

Fairclough, N. (2003). Analysing Discourse: Textual Analysis for Social Research. USA: Routledge

Gana, M. A. (2008). BHM 206 Principle of Marketing. Course Guide. Nigeria: National Open University of Nigeria

Gerot, L & Wignell, P. (1995). Making Sense of Functional Grammar. Australia: Gerd Stabler

Gilman, C. P. (2002). The Dress of Women: A Critical Introduction to the Symbolism and Sociology of Clothing. Edited, with an Introduction by Michael R. Hill and Mary Jo Deegan. London: Greenwood Press

Goodman, L. (1996). Literature and Gender: Approaching Literature. USA: Routledge HajiMohammadi, A. (2011). Critical Analysis of Women’s Representation in TV Advertisements form a Cultural Studies Perspective. International Journal of Women‟s

Research, 1, pg 107-122. Published: Online [Received: January, 15]

Hall, S. (1985). Significations, Representation, Ideology: Althusser and the Post-Structuralist Debates. Critical Studies in Mass Communication, Vol.2, No.2 (June, 1985), pg 91-114. Published: EBSCO [Received: 2003]

Hall, S. (1997). Representation: Cultural Representation and Signifying Practices. New Delhi: SAGE Publication

Henderson, E. (2004). Ralph Lauren Ads for Men and Women: A Semiotic Analysis. Student Essay. Published online available: http//www.aber.ac.uk/media/students/elh0101.doc

Holmes, M. (2007). What is Gender? Sociological Approaches. Singapore: SAGE Publication

Honkaniemi, S. (2009). Out of the Box: Communicating with Consumers through Package Desig. Nordcode Seminar and Workshop Kolding [May, 27-25 2009]

Hsiu-Hui, S & Chen. I.F. (2010). The Female Images in the Print Advertisements during the Japanese Colonial Period in Taiwan: A Pictorial Semiotic Analysis. 10, pg 27-47. Published: online

Johns, N & Clarke, V. (2001). Mythological Analysis of Boating Tourism. Annals of Tourism Research, pg 334-359. Barthes’ Signification Order (1957). Published available:

http://www.sciencedirect.com/science/article/pii/S0160738300000633

Koller, V. (2008). ‘Not Just a Colour’: Pink as a Gender and Sexuality Marker in Visual Communication. Visual Communication, Vol. 7 (4), pg 395-423

Kotler, P, Veronika. W, John. S and Gary. A. (2005). Principles of Marketing. European: Prentice Hall

Kress, G & Theo V.L. (2006). Reading Images: the Grammar of Visual Design. USA and Canada: Routledge

Kress, G. (2010). Multimodality: A Social Semiotic Approach to Contemporary Communication. USA and Canada: Routledge

Kuruc, K. (2008). Fashion as Communication: A Semiotic Analysis of Fashion on „Sex and the City‟. Semiotica 171-1/4 (2008), DOI 10.1515/SEMI. 2008.074, pg 193-214

Kuvykaite, R., Dovaliene, A., and Navickiene, L. (2009). Impact of Package Elements on Consumer’s Purchase Decision. Economics & Management, ISSN 1882-6515 [2009.14], pg.441-447

Lai, A. W. (1995). "Consumer Values, Product Benefits and Customer Value: A Consumption Behavior Approach". In Advances in Consumer Research, vol.22, eds. Frank R. Kardes and Mita Sujan, Advances in Consumer Research Vol.22 : Association for Consumer Research, Pg.381-388

Lamb, C. W & Dunne, P. M. (1980). Theoretical Development in Marketing. American Marketing Association: Marketing Classics Press

Laursen, S. (2010). A Multimodal Analysis of Scientology‟s Persuasive Strategies. Theses in Marketing and Management Communication. Published: online

Leeuwen, T.V. (2005). Introducing Social Semiotics. USA and Canada: Routledge

Lin, M. (2008). The Representation of the Orient in Western Women Perfume Advertisements: A Semiotic Analysis. Intercultural Communication Studies, XVII, 1, pp 44-53

Louw, A & Michelle. K. --- . The Power of Packaging. UK: The Customer Equity Company

Mellamphy, D. (2009). The Paradox of Transvestism in TIM Burton’s ED Wood. Journal title: wide screen, vol 1, issue 1 [received: 2009], ISSN 1757-3920, pg.1-12

Mike. (2001). Symbolism: Colors. Mike’s Anime Open Published: online available http://www.three-musketeers.net/mike/colors.html

Miles & Huberman. (1994). The Stages of Analysis. Adopted from: http://www.palgrave-adopted

Mills, A. L. (1998). Running head: Sex, Gender, and Gender Identity in Sport. The Inaugral Wendy Ey Women in Sport Essay Prize 1998: Exploring Perceptions of Sex, Gender and Gender Identity in Australian Sport. Australia: University of Southern Queensland

Morton, J. (1997). A Guide to Color Symbolism. Published: COLORCOM

Najafian, M. (2011). Social Semiotic Representation: A Critical Approach. International Journal of Industrial Marketing, Volume 1, No.1, ISSN 2162-3066 [Received: 2011], pg 63-78

Nayyar, E. V. (2012). Packaging-An Innovative Source of Impulsive and Abrupt Buying Action. International Journal of Management & Information Technology, vol. 1, no.1 [May, 2012], pg 13-16

Neff, K. D., Cooper, C. E., and Woodruff, A. L. (2007). Children‟s and Adolescents‟

Developing Perceptions of Gender Inequality. USA: Blackwell Publishing

Parsa, A. F. (2004). Visual History: Image as a Weapon. 2nD International Symposium of Interactive Media Design, [January, 05-07, 2004]. Turkey: University Faculty of Communications

Priserman, R. (2010). White Box. Retrieved: October 11, 2010.

Pazarzi, E.N & M. Tsangaris. (2008). Constructing Women's Image in TV Commercials : The Greek Case. Indian Journal of Gender Studies, 15 (1), pp 29-50. London: SAGE Publication

Pooke, G & Newall, D. (2008). The Basics: Art History. USA and Canada: Routledge

Prentice, D. A & Carranza, E. (2002). What Women and Men Should be, Shouldn’t be, are allowed to be, and don’t have to be: the Contents of Prescriptive Gender Stereotypes.

Psychology of Women Quarterly, 26 [2002], 269-251. USA: Blackwell Publishing

Roxburgh, M. (2010). Design and the Aesthetic of Reseach. Journal of Visual Communication, DOI: 10.1177/1470357210385616 [2010 9: 425]. Published: SAGE

Sekouri, C. (2011). The Hidden Meanings in Lipstick Colours. Published: online available http://suite101.com/article/the-hidden-meanings-in-lipstick-colours-a388297

Singh, R. (2006). Gender Representation in Tobacco and Alcohol Advertising. Published online available: http://www.rsingh.net/gender/

Slovenia, B. (2008). Slovenian Presidency Conference “Elimination of Gender Stereotypes:

Mission (Im) Possible?” Paper Presented by the European Women’s Lobby, [Retrieved: January, 2008]

Smith, K. (2012). Sensational Color. Article. Published online available: http://www.sensationalcolor.com

Spade, Z. J & Valentine, C. G. (2011). The Kaleidoscope of Gender Prisms, Patterns, and Possibilities. London: SAGE Publication

Stadnik, A. K. (2009). Innovative Management Journal, ISSN 1899-3656. Poznan: University College of Bussiness and Foreign Languages.

Teo, P. (2004). Ideological Dissonances in Singapore’s National Campaign Posters: a semiotic deconstruction. Visual Communication, vol. 3 (2), pg 189-212. London: SAGE Publication

Thibault, P. J. (1991). Social Semiotics as Praxis: Text, Social Meaning Making and

Nabokov‟s Ada. USA: The University of Minnesota

Van Dijk, T.A. (1998). Ideology: A Multidisciplinary Approach. London: SAGE Publication Van Dijk, T.A. (2003). Ideology and Discourse: A Multidisciplinary Introduction. Barcelona: Pompeu Fabra University

Veenhoven, R. (2006). How Do We Assess How Happy We Are? Tenet, Implications and Tenability of Three Theories. Paper Presented at Conference on „New direction in the Study of Happiness: United States and International Perspectives‟ [October 22-24, 2006]. USA: University of Notre Dame

Walker, A. (2003). Stereotype Beliefs, Contextual Age, and Knowledge of Aging in the Elderly. Theses. Dissertations and Capstones. Paper 190. Published online available: http://mds.marshall.edu/etd//190

Welter, B. (1996). The Cult of True Womanhood: 1820-1860. American Quarterly, vol.18, no.2, part 1 [summer, 1966], pg 151-174

Widaningsih, W. (2011). Representation of Oppression Against Youth in a Mild Television Advertisements. Skripsi. Bandung: FPBS UPI

Wierzbicka, A. (1996). Semantics: Primes and Universals. New York: Oxford University Press

Williams, C. (2007). Research Method. Journal of Business & Economic Research, Volume 5, No. 3 [March, 2007]. Published: Grand Canyon University

Wood, W & Eagly, A. H. (2009). Gender, chapter 17 [Received: 12/08/09]. Published: Online

Wright, J & Forrest, G. (2007). A Social Semiotic Analysis of Knowledge Construction and Games Centred Approaches to Teaching. Australia: University of Wollongong

---. (2010). Advertising Standard Authority: Advertising Codes of Practice [Received: August, 2010]. Published: Advertising Standard Authority available at www.asa.co.nz

---. (2012). Dixons Taekwondo: Student Handbook. Published online available: www.dixonstkd.com

The Meaning of the Brown Belt (3rd – 1st Kyu) Sensei Post in Training notes, [08August2006]. Published: online available http://karatetraining.org/weblog/2006/08/the-meaning-of-the-brown-belt-3rd-1st-kyu/