A Multimodal Analysis On Home Alone Movie Posters

A MULTIMODAL DISCOURSE ANALYSIS OF HOME ALONE
MOVIE POSTERS
THESIS
BY:
SIRROTUL ANJALINA
190511100003
ENGLISH STUDY PROGRAM

DEPARTEMENT OF SOCIAL AND CULTURAL SCIENCES
FACULTY OF SOCIAL AND CULTURAL SCIENCES
UNIVERSITAS TRUNOJOYO MADURA
2023
A MULTIMODAL DISCOURSE ANALYSIS OF HOME ALONE
MOVIE POSTERS
THESIS
Submitted as Partial Fulfilment of the Requirements for the

Sarjana Degree S-1
BY:
SIRROTUL ANJALINA
190511100003
ENGLISH STUDY PROGRAM

DEPARTMENT OF SOCIAL AND CULTURAL SCIENCES
FACULTY OF SOCIAL AND CULTURAL SCIENCES
UNIVERSITAS TRUNOJOYO MADURA
2023
ii
APPROVAL SHEET
MULTIMODAL DISCOURSE ANALYSIS OF HOME ALONE

MOVIE POSTERS
THESIS
This thesis has been taken into seminar and

approved to be examined
By:
SIRROTUL ANJALINA
190511100003
Approved by, Bangkalan, 25 July 2023
Head of Department of Social and Advisor,

Cultural Sciences,
Dr. Sriyono, S.S., M.Hum. Dr. Rosyida Ekawati, S.S., M.A.

NIP. 197903022008011007 NIP. 197405132006042001
iii
APPROVAL SHEET
This thesis is written by:

Name : Sirrotul Anjalina
St. Number : 19.05.111.000.03
Study Program : English Study Program
Title : A Multimodal Discourse Analysis of Home Alone Movie
Posters
This thesis has been approved and accepted by the board of exmainers as
partial fulfilment to get Sarjana Degree (S1) at English Study Program, Faculty of
Social and Cultural Sciences, University of Trunojoyo Madura.
THE BOARD OF EXAMINERS
Examiner I : Dr. Masduki. M.Pd ( )
Examiner II : Afiifah Al Rosyiidah, S.S., M.Pd ( )
Examiner III : Dr. Rosyida Ekawati, S.S., M.A ( )
Pronounced in : Bangkalan
Date : 25 July 2023
Acknowledged by:
Dean of Head of
Faculty of Social and Cultural Sciences, Department of Social and Cultural Sciences,
Dr. Dinara Maya Julijanti, S.Sos., M.Si. Dr. Sriyono, S.S., M.Hum.
NIP. 197007222005012001 NIP. 197903022008011007
iv
PRONOUNCEMENT OF THESIS ORIGINALITY
Hereby, I, Sirrotul Anjalina pronounce that this thesis entitled “A

Multimodal Discourse Analysis of Home Alone Movie Posters” is the original
work of the writer and has never been proposed as partial fulfilment to get
academic Sarjana Degree (S1) neither at University of Trunojoyo Madura nor
other univrsities.
All information in this scientific work coming from other writers
previously published or not, have been quoted correctly and this thesis completely
my responsibility as the writer.
Bangkalan, 25 July 2023

The writer,
Sirrotul Anjalina
19.05.111.000.03
v
MOTTO
‫س ًرا‬ ْ ‫فَإِنِ َم َِع ٱ ْل ُع‬

ْ ُ‫س ِِر ي‬
“So, surely with hardship comes ease”
‫س ًرا‬ ْ ‫إِنِ َم َِع ا ْل ُع‬

ْ ُ‫س ِِر ي‬
“Surely with that hardship comes more ease”
(Ash-Shahr: 5 – 6)
vi
DEDICATION
This thesis is dedicated to:
My beloved Parents, Sister and My Cute

Niece: Sandiya Ghina Aprilia
vii
PRONOUNCEMENT OF THESIS PUBLISHING AGREEMENT
As the academician cavity at University of Trunojoyo Madura, I who assign

below;
Name : Sirrotul Anjalina

St. Number : 190511100003
Study Program : English Study Program
Faculty : Social and Cultural Sciences Faculty
Work Genre : Thesis
For the scientific knowledge improvement and importance, agree to give a right of
publishing to University of Trunojoyo Madura, thesis entitled:
A Multimodal Discourse Analysis of Home Alone Movie Posters
This pronouncement for properly usage.
Prounounced in : Bangkalan
Date : 25 July 2023
The Writer,
Sirrotul Anjalina
19.05.111.000.03
viii
ACKNOWLEDGEMENT
Bismillahirrahmanirrahim, the writer says Alhamdulillah to the greatest

god Allah Subhanahu Wa Taala because of the abundance of mercy guidance, so
that the thesis entitled A Multimodal Discourse Analysis of Home Alone Movie
Posters can be completed for one of the requirements to fulfill the undergraduate
program (S1) in English Study Program, faculty of social sciences and culture,
University of Trunojoyo Madura. Shalawat and greetings are also delivered to the
great prophet Muhammad Sallallahu Alaihi Wa Sallam who has guided his people
to the straight path.
This thesis would not have been completed without the help of people
around who have helped, guided and motivated the writer in completing this
thesis. The writer would like to deliver big and greatest thanks to:
1. Dr. Rosyida Ekawati, S.S., M.A as a definitely good advisor, thank you
infinitely for your knowledge and patience in guiding the writer until this
thesis completed, may the blessings of health, knowledge and fortune
always be bestowed upon her.
2. The writer‟s parents, Mr. Imam Ibnu Maien and Mrs. Roudhatul Jannah
who never stop praying and giving blessings to the writer.
3. The writer‟s examiners, Dr. Masduki, M.Pd, Afiifah Al Rosyiidah, S.S.,
M.Pd who have helped the writer in correcting and perfecting this thesis.
4. Dr. Siti Hanifa, M.Pd as the academic advisor who guides and
accompanies the writer while the writer is carrying out her education in the
English Study Program.
5. Mrs. Miftahur Roifah, S.S., M.A. as the Head of English Study Program in
Faculty of Social and Cultural Sciences at University of Trunojoyo
Madura.
6. All lecturers in the English Study Program who have provided their
knowledge while the writer was carrying out her education at University of
Trunojoyo Madura.
ix
7. Ms. Rininta as administrative staff in the English study program who has
helped and facilitated the writer in completing academic requirements
starting from the initial writer entering university, holding proposal
seminars to the completion of this thesis.
8. The writer‟s sister, Nur Maulidiya, S.E.I who always share her
experiences, so that it can be motivated and referenced to the writer.
9. The writer‟s beloved friends, Risqiyati, Rahmah, Ery, Raga Adi P., Moh.
Alif F. A., especially my roommate Noviana Putri and my crony Iffah
Fausiyah, thank you for supporting and listening to my concerns.
10. The writer‟s group ”SEMANGAT S.S” Fajriyani, Luluk, Via, thank you
for your motivations and enthusiasm so that the writer was able to finish
her thesis well.
11. The writer‟s family in telang, UKMF Kesenian ABStra, especially the
management in 2021.
12. The writer‟s second family FMC UTM especially Nurul Izzah and Shita
R.A.
13. KKN-T 23 UTM Bira Timur, especially Shela Zayanti who helps the
writer in fixing the pages of this thesis.
14. Person who has student number 190491100080, thank you for being good
friend.
Lastly, the writer thanks a lot and hopes that this thesis will really
become a reference for future researchers, and also this thesis can be an additional
knowledge, especially in the field of linguistics in the English Study Program.
Bangkalan, 25 July 2023

The writer,
Sirrotul Anjalina
19.05.111.000.03
x
ABSTRACT
Anjalina, Sirrotul. 190511100003. English Study Program. A MULTIMODAL

DISCOURSE ANALYSIS OF HOME ALONE MOVIE POSTERS
This study aims to analyze the visual, verbal and the meaning of those
elements on the Home Alone movie posters. The researcher used the Generic
Structure of Potential theory from Cheong (2004), Visual Grammar from Kress
and Leeuwen (2006) and Systemic Functional Linguistics from Halliday (2004).
The researcher use these theories because their application is easy and can be
understood by readers.
This study uses a qualitative descriptive method with data collection
methods in the form of documentation. The data sources used were all Home
Alone movie posters from all seasons,. Meanwhile the data used were the words
contained in the posters, actor expressions, attributes used, backgrounds, emblems
and other visual elements in Home Alone movie posters.
The results showed that there were 5 leads, 5 displays and 15 emblems on
the visual elements. Meanwhile on the verbal elements consists of 16
announcements, 3 enhancers, 4 tags and 1 call and visit information. The Home
Alone film poster goes through a whole process, be it representational, interactive
and compositional. The metafunction that is often found in this film poster is
ideational metafunction.
Keywords: Home Alone, Movie Poster, Visual, Verbal.
xi
ABSTRAK
Anjalina, Sirrotul. 190511100003. Program Studi Sastra Inggris. A

MULTIMODAL DISCOURSE ANALYSIS OF HOME ALONE MOVIE
POSTERS.
Penelitian ini betujuan untuk meneliti elemen visual, verbal dan maksud
dari kedua elemen tersebut pada poster film Home Alone. Peneliti menggunakan
teori Struktur Generik Potensial dari Cheong (2004), Tata Bahasa Visual dari
Kress and Leeuwen (2006) dan Linguistik Fungsional Sistemik dari Halliday
(2004). Peneliti menggunakan teori teori tersebut dikarenakan pengaplikasiannya
yang mudah dan dapat dipahami oleh pembaca.
Penelitian ini menggunakan metode deskriptif kualitatif dengan metode
pengumpulan data berupa dokumentasi. Sumber data yang dipakai adalah semua
poster film Home Alone dari semua musim. Sedangkan data yang digunakan
adalah kata kata yang terdapat didalam poster yang berupa ekspresi aktor, atribut
yang dipakai, latar belakang, lambang dan elemen visual lain didalam poster film
Home Alone.
Hasil penelitian menunjukkan terdapat 5 memimpin, 5 tampilan dan 15
lambang pada elemen visual. Sedangkan pada elemen verbal terdiri dari 16
pengumuman, 3 penambal, 4 tanda dan 1 panggilan dan kunjungan informasi..
Poster film Home Alone mengalami seluruh proses baik itu representational,
interaktif dan komposisi. Metafungsi yang banyak ditemukan didalam poster film
ini adalah ideational metafungsi.
Kata kunci: Home Alone, Poster Film, Verbal, Visual.
xii
TABLE OF CONTENTS
TITLE PAGE (COVER) ........................................................................................ii

APPROVAL SHEET .............................................................................................iii
PRONOUNCEMENT OF THESIS ORIGINALITY .......................................... v
MOTTO .................................................................................................................. vi
DEDICATION .......................................................................................................vii
PRONOUNCEMENT OF THESIS PUBLISHING AGREEMENT ...............viii
ACKNOWLEDGEMENT ..................................................................................... ix
ABSTRACT ............................................................................................................ xi
ABSTRAK .............................................................................................................xii
TABLE OF CONTENTS .....................................................................................xiii
LIST OF TABLES ................................................................................................ xv
LIST OF FIGURES ............................................................................................. xvi
CHAPTER I INTRODUCTION............................................................................ 1
1.1 Background of the Study ................................................................................. 1
1.2 Research Questions ......................................................................................... 3
1.3 Objectives of the Study ................................................................................... 4
1.4 Significance of the Study ................................................................................ 4
1.5 Scope and Limitation of the Study .................................................................. 5
CHAPTER II REVIEW OF RELATED LITERATURE ................................... 6
2.1. Discourse Analysis ......................................................................................... 6
2.2 Multimodal Discourse Analysis ...................................................................... 6
2.3 Generic Structure of Potential ......................................................................... 7
2.3.1 Visual Element .......................................................................................... 8
2.3.2 Verbal Element ....................................................................................... 10
2.4 Visual Grammar ............................................................................................ 12
2.4.1 Representational Structures .................................................................... 12
2.4.2 Interactive Meanings............................................................................... 16
2.4.3 Compositional Meanings ........................................................................ 19
2.5 Systemic Functional Linguistics.................................................................... 22
2.6 Previous Studies ............................................................................................ 25
CHAPTER III RESEARCH METHOD ............................................................. 27
3.1 Research Design ............................................................................................ 27
xiii
3.2 Source of Data and Data ................................................................................ 27
3.3 Research Instruments .................................................................................... 28
3.4 Method of Data Collection ............................................................................ 28
3.5 Method of Data Analysis ............................................................................... 29
CHAPTER IV FINDINGS AND DISCUSSIONS .............................................. 32
4.1 Findings ......................................................................................................... 32
4.1.1 Realization Visual Elements ................................................................... 33
4.1.2 Realization Verbal Elements .................................................................. 39
4.1.3 Findings Analysis of Visual Elements Meaning..................................... 45
4.1.4 Findings Analysis of Verbal Elements Meaning .................................... 47
4.2 Discussions .................................................................................................... 49
4.2.1 Home Alone 1990.................................................................................... 49
4.2.2 Home Alone 2: Lost in New York............................................................ 58
4.2.3 Home Alone 3.......................................................................................... 65
4.2.4 Home Alone: Taking Back The House .................................................... 71
4.2.5 Home Alone: The Holiday Heist ............................................................. 75
CHAPTER V CONCLUSION AND SUGGESTIONS ...................................... 80
5.1 Conclusion ..................................................................................................... 80
5.2 Suggestions .................................................................................................... 82
REFERENCES ...................................................................................................... 83
APPENDIX ............................................................................................................ 85
xiv
LIST OF TABLES
Table 2. 1 Types of Display in A Print Advertisement ........................................... 9

Table 2. 2 Types of Announcement ...................................................................... 11
Table 2. 3 Types of Shot ....................................................................................... 18
Table 2. 4 Types of Participants and Examples According to Processes.............. 23
Table 3. 1 Sources of Data .................................................................................... 28
Table 3. 2 Identify Visual and Verbal Elements (based on Cheong‟s theory) ...... 29
Table 4. 1 Visual and Verbal Elements Acording to Cheong (2004) ................... 32
Table 4. 2 Realization Visual Elements According to Cheong (2004) ................. 33
Table 4. 3 Realization Verbal Elements According to Cheong (2004)................. 40
Table 4. 4 Representational Structure According to Kress and Leeuwen (2006) . 45
Table 4. 5 Interactive Meanings According to Kress and Leeuwen (2006).......... 46
Table 4. 6 Compositional Meanings According to Kress and Leeuwen (2006) ... 47
Table 4. 7 Verbal elements Meaning Using Systemic Functional Linguistics by
Halliday (2004) ..................................................................................................... 47
Table 4. 8 Material process ................................................................................... 56
Table 4. 9 Material process ................................................................................... 56
Table 4. 10 Interpersonal Metafunction ................................................................ 56
Table 4. 11 Behavioural Process ........................................................................... 56
Table 4. 14 Relational Process .............................................................................. 56
Table 4. 15 Material Process ................................................................................. 64
Table 4. 18 Mental Process ................................................................................... 71
Table 4. 19 Existential Process ............................................................................. 71
Table 4.20 Textual Metafunction .......................................................................... 79
xv
LIST OF FIGURES
Figure 2. 1 Generic Structure of Potential (Adopted from Cheong, 2004) ............. 8

Figure 2. 2 Lead in The M1 Advertisement (Adopted from Cheong, 2004) .......... 9
Figure 2. 3 The Emblem in The M1 Advertisement (Adopted from Cheong, 2004)
............................................................................................................................... 10
Figure 2.4 Emblem Verbal in Epson advertisement ............................................ 10
Figure 2. 5 The Linguistic Elements in The M1 Advertisement (Adopted from
Cheong, 2004) ....................................................................................................... 12
Figure 2. 6 Vittel Advertisement (Adopted from Kress and van Leeuwen, 2006) 14
Figure 2. 7 Recruitment Poster (Adopted from Kress and van Leeuwen, 2006) .. 17
Figure 2. 8 Harriet Andersson and Lars Passgard in Through a Glass Darkly
(Adopted from Kress and van Leeuwen, 2006) .................................................... 19
Figure 3. 1 Components of Data Analysis: Interactive Model.............................. 30
Figure 4. 1 LoA in Home Alone 1990 ................................................................... 50
Figure 4. 2 Comp.LoA in Home Alone 1990 ........................................................ 50
Figure 4. 3 Display in Home Alone 1990 .............................................................. 51
Figure 4. 4 Emblems in Home Alone 1990 ........................................................... 51
Figure 4. 5 LoA in Home Alone 2: Lost in New York ........................................... 58
Figure 4. 6 Comp.LoA in Home Alone 2: Lost in New York ................................ 58
Figure 4. 7 Display in Home Alone 2: Lost in New York ...................................... 59
Figure 4. 8 Emblems of Title ................................................................................ 59
Figure 4. 9 Emblem of The Audio Movie ............................................................. 59
Figure 4. 10 Emblem of The Studio of The Movie ............................................... 60
Figure 4. 11 Emblem of Movie Production .......................................................... 60
Figure 4. 12 LoA in Home Alone 3 ....................................................................... 66
Figure 4. 13 Comp.LoA in Home Alone 3 ............................................................ 66
Figure 4. 14 Display in Home Alone 3 .................................................................. 66
Figure 4. 15 Emblems in Home Alone 3 ............................................................... 67
Figure 4. 16 LoA in Home Alone 4: Taking Back The House .............................. 72
Figure 4. 17 Comp.LoA in Home Alone 4: Taking Back The House.................... 72
Figure 4. 18 Display in Home Alone 4: Taking Back The House ......................... 73
Figure 4. 19 Emblem in Home Alone 4: Taking Back The House ........................ 73
Figure 4. 20 LoA in Home Alone: The Holiday Heist .......................................... 76
Figure 4. 21 Comp. LoA in Home Alone: The Holiday Heist............................... 76
Figure 4. 22 Display in Home Alone: The Holiday Heist ..................................... 77
Figure 4. 23 Emblem in Home Alone: The Holiday Heist .................................... 77
xvi
CHAPTER I
INTRODUCTION
This chapter is the introductory part of this study, which consists of

background of the study, research question, objectives of the study, significance
of the study and the scope and limitation of the study.
1.1 Background of the Study

Human life can never be separated from language because the function of
language is to convey intent and purpose. Without language, people will not be
able to convey what is meant and express their feeling. Language is a habit
structure or a network of associative connections, or that knowledge of language
is merely a matter of knowing how, a skill expressible as a system of dispositions
to respond (Chomsky, 2006).
Language generally consists of words or voices produced by humans. This
kind of communication is called verbal communication. Communication using
written or spoken is called as verbal communication (Bovee, 2018). This type of
communication is often found in everyday life in society.
Language first appeared 100,000 years ago. Meanwhile, studies on
language have been carried out since 2500 years ago (Herniti, 2010). However,
language first appeared not in the form of words or sounds by humans, but in the
form of gestures and images. People in the stone age usually wrote stories or
phenomena that existed at that time using pictures on cave walls. The images
formed are known as visual communication, in other words, visual
communication existed before the creation of verbal communication. According
to Freeman as cited by Vanichvasin (2020), visual communication is the
conveyance and delivery of information to the viewers through the use of visual
elements that can be read, looked upon.
Communication in this era of globalization relies a lot on a combination of
visual and verbal elements. Many people convey hidden messages through an
image, or even a combination of image and text, so that the message is not
conveyed immediately but must be interpreted first. This is an advantage for the
1
2
informants because they do not need to explain in definitely long texts and
it is also a challenge for the informants so that what they convey can be
understood and has its own charm for the reader or viewer. The emergence of
images as an important model in today's communication is a sign that readers are
no longer dependent on text to discover the meaning of something (Harrison,
2003).
Over time, linguists began to expand their studies by combining two
elements or what is known as multimodal. To discover the meaning of modals in
an object, multimodal discourse analysis is needed. Multimodal discourse analysis
is an emerging paradigm in discourse studies that extends the study of language in
combination with other resources such as images, scientific symbolism,
movement, action, sound and music (O'Halloran, 2011). Multimodality is a term
for how people communicate using different modes. The use of several semiotic
modes in product design, or semiotic events simultaneously, and in a certain way
these modes are combined to strengthen, complement, or be in a certain
arrangement is called multimodality (Kress and van Leeuwen, 2001).
The application of multimodal in everyday life can be in the form of print
media and digital media. Print media in the form of magazine covers, product
packaging, posters, newspapers, comics, etc. Meanwhile, video advertisements
and videos or pictures that contain promotions (be it tourism promotions, stuffs or
foods) are concluded in the digital media.
In addition, an example of multimodal discourse is a poster on a movie
that is currently popular at this time, namely Ant-Man and the Wasp:
Quantumania, because it is consist of a combination of words (title, tag, enhancer
and visit information) and several modalities (photos of actors, photos buildings
used as background, emblems and colors on posters).
Posters are prints that contain promotions. Meanwhile, movie means a
series of moving picture recorded with sound that tells a story and shown at
cinema (Hornby 2006). Therefore, a movie poster is a big picture which purpose
is to promote a movie. Movie posters are usually found in two forms, namely print
media (newspaper, magazine and banner) and digital media (social media or
3
billboard). Movie posters must be designed as attractive as possible to

attract the attention of the general public, both visually and verbally. Different
movie genres have different designs and styles in the posters. According to
Darliati and Mahmud (2020) different genre of movie uses different signs and
styles in displaying the interesting parts or ideas about the movies. The function of
the movie poster is not only as a promotion of a movie but also the reflection of
the movie.
As previously mentioned that a movie poster is representing a movie, it is
common for people to know a movie only from the poster. One of them is the
Home Alone movie poster which is characterized by a child with shocked
expressions in the poster. When there is someone with the same photo style,
people will immediately refer to the Home Alone movie.
Home Alone was first released by fox video and the video has sold more
than 11 million copies, so fox earned revenue of 150 million dollars and made the
highest-grossing movie at the time. The movie was released on blue-ray in 2008
alongside their second movie with the same title, Home Alone 2: Lost in New
York, and then aired again by blue-ray in 2015 along with four sequels, there are
Home alone 2: Lost in New York (1992), Home Alone 3 (1997), Home Alone 4
(2002) and Home Alone 5: The Holiday Heist (2012).
This study focuses on the verbal elements and visual elements on Home
Alone movie posters for all seasons. In addition, the multimodal phenomenon
itself is familiar in society, but many people still do not understand it, especially
the message conveyed through the visual elements. Therefore, the researcher is
interested in analyzing multimodal with the object of the study, namely Home
Alone movie posters for all seasons.
1.2 Research Questions

Based on the background of the study above, the research questions
analyzed are the following:
1. What are the visual elements in the movie posters Home Alone?
2. What are the verbal elements in the movie posters Home Alone?
4
3. What are the meanings of the visual elements in the movie posters Home
Alone?
4. What are the meanings of the verbal elements in the movie posters Home
Alone?
1.3 Objectives of the Study

Based on the problem of the research questions formulated, the objectives
of this study are:
1. To identify visual elements in the Home Alone movie posters.
2. To identify verbal elements in the Home Alone movie posters.
3. To explain the meanings of the visual elements in the Home Alone movie
posters.
4. To explain the meanings of the verbal elements in the Home Alone movie
posters.
1.4 Significance of the Study

This study is conducted with theoretical and practical contributions,
especially to the interdisciplinary area of movie posters. Theoretically, this study
is supposed to increase and enrich knowledge about visual and verbal meanings in
a movie poster as a context and findings of linguistic developments, especially in
the area of multimodal discourse analysis and semiotic sources for students.
In practice, this study helps the readers in increasing language awareness
in a movie poster, both in the study and the manufacturing process, particularly
students of department of English literature and poster installers. This study
improves understanding and knowledge of Visual Grammar proposed by Kress &
van Leeuwen, Halliday in the Systemic Functional Linguistics and generic
structure of potential by Cheong. This study can be a reference for the next studies
and other academic researchers who raise the same topic with this research and
the same theory.
5
1.5 Scope and Limitation of the Study

The subject of this study is a multimodal analysis of the Home Alone
movie poster, while the objects of the research are movie posters of Home Alone
all seasons. This study focuses on verbal and visual elements in the form of
images, objects, image positions, distances between objects, facial expressions,
body language, title, tag, enhancer, announcement. Meanwhile the verbal
elements meaning focuses on secondary announcement found in the Home Alone
movie posters. This study identify the visual and verbal elements using generic
structure of potential by Cheong (2004). This study also represents the Visual
Grammar of Kress and van Leeuwen (2006), while the verbal element uses the
Systemic Functional Linguistics by Halliday (2004).
CHAPTER II
REVIEW OF RELATED LITERATURE
This chapter exposes the theories and explains related literature for this
study. The chapter involves several theories to utilize for the completion of the
study. They are Discourse Analysis, multimodal discourse analysis, Systemic
Functional Linguistics, Generic Structure of Potential, Visual Grammar and
previous studies.
2.1. Discourse Analysis

Discourse analysis is the study of language in use (Gee, 2010). Discourses
are ways with and integrations of words, deeds interactions, thoughts, feelings,
objects, tools, times and places that allow us to enact and recognize different
socially situated identities.
When language is employed in certain situations, discourse analysis can
evaluate a single sentence or utterance as a communication or as an action, rather
than just as a sentence structure with a literal meaning. Gee and Handford (2012)
also defined discourse analysis as the study of language above the level of a
sentence, the ways sentences combine to create meaning, coherence and
accomplish purposes.
Discourse analysis is not only about analyzing words, but something wider
than that, because the application of discourse analysis is not only in linguistics,
but in all branches of science. It is according to the statement of Gee and Green
(1998) that discourse analysis approaches used to examine such educational issues
draw on discourse theories and methods develop in other disciplines (i.e., law,
literary studies, psychology, sociolinguistics, sociology, etc.). The purpose of
discourse analysis also to understand the internal and structural relationship of
each unit of discourse (Schiffrin, 1994).
2.2 Multimodal Discourse Analysis

Multimodal discourse analysis (MDA) is an approach through which
communication and representation can be understood to be more than about the
6
7
language, but include in it the full range of communicational forms such as

people, image, gesture, gaze, posture, etc. and the relationship between them
(Jewit, 2009). In multimodal discourse analysis, language and other resources
which are integrated to create meaning in multimodal phenomena are variously
called semiotic resources, modes and modalities (O‟Haloran, 2011). Multimodal
analysis belongs to the analysis of communication in all forms, particularly
connected with texts containing the interaction and integration of two or more the
semiotic resources or modes of communication to reach the function of
communicative text (Iedema, 2003).
Multimodality is the term used for people communicating using different
modes at the same time. Multimodal text is concerned with texts that contain the
interaction with both verbal and visual semiotic modes in order to achieve the
communicative functions of the text. Moreover, multimodal communication is
comprised of multiple modes or communication forms (i.e., digital, visual, spatial,
musical, etc.) (Kress and van Leeuwen, 2006). So, multimodal discourse analysis
is an analysis referring to the interpretation of different modes both visual and
verbal.
The development of contemporary texts that include verbal texts and
visual texts as a result of technological advances in the publication industry has
increased the need for multimodal analysis. For example, on a movie poster, it is
interesting to observe how several semiotic tools are used together in the process
of helping the poster designer effectively project the desired meaning to the
viewer.
2.3 Generic Structure of Potential
The existence of Systemic Functional Linguistics by Halliday made many
experts interested in developing and modifying it, one of the experts who adopted
Halliday‟s theory is Cheong. In O‟Halloran (2004) Cheong stated that limiting
text analysis only to linguistic aspects and ignoring non-linguistic features such as
graphs and charts is tantamount to destroying the efflorescence of meaning that
can emerge from multi-semiotic analysis. Therefore, by developing the theory of
Systemic Functional Linguistics by Halliday which combined with the theory of
8
Visual Grammar by Kress and Leeuwen (1996) and language of displayed art by
O'Toole (1994), Cheong succeeded in creating the construal of Ideational meaning
in print advertisements.
Cheong (2004) formulates two concepts of generic structure in print
advertising, namely visual elements and linguistic elements. According to
Cheong, print advertising can have the following general structure:
Lead^(Display)^Emblem^(Announcement)^(Enhancer)^(Tag)^(Call-
andVisit-Information)
Figure 2. 1 Generic Structure of Potential (Adopted from Cheong, 2004)
Based on the figure 2.1 above, the lead and emblem are the main elements
in print advertisement, while the display, announcement, enhancer, tag, call and
visit information are the optional elements.
2.3.1 Visual Element

According to Cheong (cited on O‟Halloran, 2004, p.165) visual elements
are divided into three. There are lead, display and emblem. The following is an
explanation of each part of the visual element:
a) Lead
The main part of the visual element in an advertisement is the lead. This
element consists of size, position, and/or color. These elements are definitely
important because they must be able to leave an impression and meaning for the
viewer. Cheong (2004) stated that the lead consist of the locus of attention (LoA)
and complements to the locus of attention (Comp.LoA).
The locus of attention is the core of the advertising message and displayed
in size and color with quality that is adjusted to the message that will be
conveyed, so that it looks more striking or different when compared to other
visual components. According to Cheong in O‟Halloran (2004, p.165) LoA
conveys the central idea of advertising, and functions interpersonally to attract
attention, and ideally interprets reality in the way intended by the advertiser.
9
Different from LoA, the complement to the locus of attention (Comp.LoA)

as a liaison and focuses public attention on certain parts of the LoA. Complement
to the locus of attention (Comp.LoA) refers to components that are relatively less
prominent than LoA. These functionally enhance the interpersonal and ideational
salience of LoA. In another definition, Comp.LoA plays a subordinate role, to
funnel and focus viewers' attention to certain aspects of the LoA (Cheong, 2004).
Figure 2. 2 Lead in The M1 Advertisement (Adopted from Cheong, 2004)

b) Display
As cited on O'Halloran (2004), Cheong said that display is the
visualization of products or services in advertisements. Display of visual
components serves to describe the product in a real and explicit way, but the
implicit function shown here is the realization of a product or service that is not
real becomes real. Meanwhile, the congruent visual display component functions
to manifest the product without going through symbolization and the Incongruent
display embodies the product through symbolization.
Table 2. 1 Types of Display in A Print Advertisement
Types of Display Description

Explicit Picture of a tangible product
Implicit An intangible product or service given tangible
Congruent Product not realized through symbolism
Incongruent Product realized through symbolism
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c) Emblem
The visual element of the emblem is manifested visually through the
advertised product logo. The emblem provides an identity or characteristic for the
product and its placement adjusts the proportion of the text in the advertisement.
Ideationally and ideologically, the emblem is the stamp of authority bespeaking
and validating the authenticity of the product advertised (Cheong, 2004).
Figure 2. 3 The Emblem in The M1 Advertisement (Adopted from Cheong, 2004)

2.3.2 Verbal Element
According to the analysis of Cheong (2004), there are five linguistic
elements, namely the emblem, announcement, enhancer, tag, call and visit
information. The following is the explanation the meaning of each element.
a) Emblem
The emblem on linguistic elements serves to support the emblem on visual
elements, usually in the form of a certain slogan and also functions as an identity
of the advertisement and its placement is also adjusted to the proportion of the
elements in the advertisement.
Figure 2.4 Emblem Verbal in Epson advertisement

b) Announcement
Announcement is the most important component in linguistic element.
Announcement is divided into two, there are primary and secondary
announcement.
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Table 2. 2 Types of Announcement
Primary Secondary
- Defined as the only announcement in - The less interpersonally salient
the advertisement announcement among other
- Defined the interpersonally salient as announcement in the same
most announcement among other advertisement
announcements
- The catch-phrase of an advertisement
c) Enhancer
The enhancer is usually in the form of paragraphs and the function is to
influence the audience in an advertisement. The enhancer builds on or modifies
the meaning emanating from the interaction between the lead and the
announcement. Interpersonally, its function is to persuade and influence viewers
to purchase the product, thus the enhancer contains interpersonal lexis which carry
an attitudinal and or affective thrust (Cheong, 2004).
d) Tag
The tag contains elements of information about products/services that are
not present in enhancers. The tag is usually in the form of one-liners in small print
and usually not as prominent. Grammatically, tag is usually realized as unlimited.
e) Call and Visit Information

These elements contain contact information with which viewers can find
further information about an advertisement, and can usually be contacted
anywhere and anytime. Generally, call and visit information is usually located at
the bottom of the advertisement.
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Figure 2. 5 The Linguistic Elements in The M1 Advertisement (Adopted from

Cheong, 2004)
2.4 Visual Grammar

Visual structures point to particular interpretations of experience and
forms of social interaction and visual language does not despite assumptions to
the contrary, transparent and universally understood; it is culturally specific
(Kress and van Leeuwen, 2006). The semiotic view consists of two, first is
communication, which requires participants to convey their messages to other
participants by using transparent meanings so that they are easy to understand.
The second is representation, participants must show the meaning of the message
through signs that they think are suitable and immediately understood by other
participants. The objects or elements appeared in visual image are identified as
participants, or more precisely represented participants.
2.4.1 Representational Structures

For a more through understanding of visual analysis, the researcher also
applies three kinds of structures or meanings. They are representational,
interactive and compositional. The representational structure, which derives from
Systemic Functional Linguistics, resembles the ideational metafunction in Visual
Grammar. Visual representational structure is classified into two types, narrative
process and conceptual process. The narrative process contains two main
processes namely action processes and reactional processes. Meanwhile, the
conceptual process contains three processes. They are classification processes,
analytical processes and symbolic processes.
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2.4.1.1 Narrative Process

Narrative process is a statement of actions and things shown in the
unstable settings, and it is shown by speech mode (Guo and Feng, 2017) . The
hallmark of narrative process is the presence of a vector (line) that forms either an
abstract or a structured one, giving rise to meaning. The vector may take the shape
of a diagonal or an oblique line, or it may be created by the movement of bodies
or objects. These vectors are formed by the drawn elements that form slanted
lines, often fairly strong diagonal lines (Kress and van Leeuwen, 2006). For
example, when there is a picture of a person holding a piece of wood, the hand
and the wood being held will form a line that has meaning. Another example in a
video of people riding motorbikes which will form a line if the path is described,
then it is also called a vector. The vector connects the participants in the picture,
they are represented as doing something to each other (2006, p.59). However,
abstract vectors are more difficult to interpret.
2.4.1.1.1 Action Process

The action process is a process that involves actor so that there is a
purpose. The actor is the participant from whom or which the vector departs
(Kress and van Leeuwen, 2006). In addition, they also stated that an actor is
frequently the most prominent participant in an image due to factors like size,
location, color saturation, backdrop contrast, clarity of focus, and psychological
significance.
When a figure has only one participant, that participant is called as actor
and generate structures called non-transactional. The action in a non-transactional
process has no goal, it is not done to or aimed at anyone or anything (Kress and
van Leeuwen, 2006). The nontransactional action process is therefore analogous
to the intransitive verb in language (the verb that does not take an object).
In addition to non-transactional processes, there are also transactional
processes. Transactional process is a process that involves two participants
including the actor and goal. According to Kress and van Leeuwen (2006), when a
narrative visual proposition has two participants, the actor and the goal, this
process is called transactional process. If a non-transactional action process
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analogues to the intransitive verb, so, the transactional process analogues to

transitive verbs.
2.4.1.1.2 Reactional Process

When the vector is formed by an eye line, by the direction of the glance of
one or more of the represented participants, the process is called reactional. In this
process, there will not be any actors or goals, the only terms that apply are reacters
and phenomenon. The reacter is the participant who does the looking, while the
phenomenon is the participant at whom or which the reacter is looking (Kress and
van Leeuwen, 2006).
In the reactional process there must be a vector that seems to form the act
of seeing, whether it is done by animals or humans or animals that are similar to
humans, because they have eyes that will be able to see the existing phenomena.
Reactional process happens when an eyeline, such as the direction of the glance,
by one or more of the represented participants, forms a vector that connects those
participants. Reactional process can also be transactional or non-transactional
structure.
Figure 2. 6 Vittel Advertisement (Adopted from Kress and van Leeuwen, 2006)
In the figure of an advertisement exemplified in 2.5 above, the man who
drinks is included in the phenomenon, he shows the action of drinking water to a
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woman, and the woman in front of him reacts to the phenomenon. The man who
drank the water formed a vector so that the woman reacted like admiring the
vector made by the man.
2.4.1.2 Conceptual Process

A conceptual process is a process that does not involve a vector in it. In
contrast to a narrative process that involves a vector as a reference for meaning. In
conceptual visuals, Kress and van Leeuwen (2006) state that conceptual
representation is a non-narrative process that involves the portrayal of participants
in terms of their more abstract, more or less secure, and timeless nature, in terms
of gender, or in terms of structure or significance. Conceptual representation has
three structures. They are classificational, analytical, and symbolic processes.
2.4.1.2.1 Classificational Process

The classification process is the process of classifying participants in one
type. Classificational process relates participants to each other in terms of a kind
of relation. One set of participants will play the role of subordinates in relation to
one other participant which is the superordinate (Kress and van Leeuwen, 2006,
p.79).
In the classificational process, there are two different types of structure
consist of covert taxonomy and overt taxonomy. Covert taxonomy is a taxonomy
in which the superordinate is inferred from such similarities as the viewer may
perceive to exist between the subordinates, or only indicated in the accompanying
text (Kress and van Leeuwen, 2006).
Overt taxonomies, as opposed to covert taxonomies, have two levels that
include a single level and multiple levels. A superordinate at the lower level is
linked to two or more other subordinates through a tree structure with only two
levels. In contrast, a superordinate is connected to other participants in the latter
level by a tree structure with more than two levels in the latter level.
2.4.1.2.2 Analytical Process

The conceptual process is more generic, more stable, and portrays
participants in terms of types, structure, and meaning as opposed to the dynamic
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nature of the narrative process. Conceptual classification is represented by the

same structure as social hierarchy, that is, the more general idea is represented as
similar to greater power (Kress and Leeuwen, 2006). The analytical process is
usually seen from the placement of the participants' positions, expressions, and
other structural elements in an image.
2.4.1.2.3 Symbolic Process

Symbolic process is a process of expressing the symbolic meaning that the
participant interaction depicted conveys. Symbolic processes are about what a
participant means or is (Kress and van Leeuwen, 2006, p.105). In this process,
there are two participants, the first is the carrier or the person whose identity or
meaning is established in the association. The second is the participant's symbolic
property, which stands in for the meaning or identity itself.
There are two different processes associated with symbolic attributes,
symbolic attributive and symbolic suggestive. The process of symbolic attribution
shows how the carrier is given meaning and identity. In contrast, symbolic
suggestive processes portray meaning and identity as originating from within and
stemming from the carrier's own traits. Symbolic suggestive processes have only
one participant, the carrier. They cannot be interpreted as analytical, because in
this kind of image detail tends to be de-emphasized in favor of what could be
called mood or atmosphere (Kress and van Leeuwen, 2006, p.106).
2.4.2 Interactive Meanings

Interactive meaning means that each semiotic system can project certain
social relations between producer, audience, and object represented. Therefore,
interactive participants are real people who produce and make sense of images in
the context of social institutions which, to different degrees and in different ways,
regulate what may be said with images, how it should be said, and how it should
be interpreted (Kress and van Leeuwen, 2006, p.114). They also said that visual
communication has resources for constituting and maintaining the interaction
between the producer and the viewer of the image which is integrated by aspects
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like contact (contains image act and gaze), social distance (contains size of frame)
and attitude.
2.4.2.1 The Image Act and The Gaze

When represented participants look directly at the viewers, vectors connect
the participants with the viewers (Kress and van Leeuwen, 2006). Pictures with
participants looking at the viewer are different from pictures in which there is no
direct contact with the viewer. Images with direct contact usually form a vector
and emphasize it, they may desire something from the viewer or tell the viewer to
do something, this vector image has a clear meaning and is revealed to the viewer.
Meanwhile, images that do not look directly at the viewer have an indirect
meaning. In this case, the viewer is not object, but subject of the look, and the
represented participant is the object of the viewer‟s dispassionate scrutiny.
Figure 2. 7 Recruitment Poster (Adopted from Kress and van Leeuwen, 2006)
The figure 2.6 forms a vector that connects the participant and viewer. The
structure of the image gives orders to the viewer with eyes that are parallel to the
viewer and the word YOU which seems to call the viewer to look at him and the
index finger pointing at the viewer confirms that YOU are really the intended
target. This image is made with definitely strong vectors and bound to the viewer,
so that it makes the viewer focus and obtain closer to it.
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2.4.2.2 Size of Frame and Social Distance

The size of the frame in an image affects the social distance and social
relationships that the image produces and vice versa. The image with a definitely
close size or shot has a definitely different meaning to a shot that is far away.
According to Kress and van Leeuwen (2006), like the choice between the offer
and the demand, the choice of distance can suggest different relations between
represented participant and viewer. The shots in the image are divided into six
which will be explained in the table below.
Table 2. 3 Types of Shot
Types of shot Description

Close-up Shows the head and shoulders
Very close shot or extreme close-up Shows the face or part of the face
Medium close shot Shows part of the body and only
reaches the waist
Medium shot From the head and only to the knees
Medium long shot Shows the full body
Very long shot Shows a situation or something that is
wider than that
As well as the size of the frame, social distance also affects the
relationship between the represented participant and the viewer. Social distance
can also be found in everyday life, people with long social distance will affect
their relationships with other people. In everyday interaction, social relations
determine the distance (literally and figuratively) we keep from one another
(Kress and van Leeuwen, 2006, p.124).
Social distance is divided into two groups, namely personal and social or
impersonal distance. Kress and van Leeuwen also explained that personal distance
is divided into two types consisting of close personal distance and far personal
distance. Close personal distance is a distance where one can hold each other, this
kind of distance is also owned by people who have intimate relationships.
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Furthermore, far personal distance is the distance that stretches or gives space
between each other but can still touch if they extend their hand.
Besides that, social or impersonal distance is divided into three types.
They are close social distance, far and public social distance. Close social distance
is for people who have no relationship in life but have the same goal. Close social
distance begins just outside this range and it is the distance at which impersonal
business occurs (Kress and van Leeuwen, 2006). Next is far social distance, this
distance is more formal than close social distance, for example the distance
between the employees and their boss and the distance between the teachers who
teach to their students. The last one is public distance, which is the distance
between people who do not know and do not desire to know. Public distance is the
distance between people who are and are to remain strangers.
2.4.3 Compositional Meanings

Any semiotic system must be able to create texts, or complexes of signals,
that are coherent both internally and with the context in which they were created.
This is known as compositional meaning. The composition meaning is the way in
which representational and interactive elements are made to relate each other, the
way they are integrated into a meaningful whole (Kress and van Leeuwen, 2006,
p.176).
Figure 2. 8 Harriet Andersson and Lars Passgard in Through a Glass Darkly

(Adopted from Kress and van Leeuwen, 2006)
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The picture above shows a woman and a man behind the woman. The
woman in the picture is included in the non-transactive reaction because she likes
to see something that the viewer does not see. Meanwhile, the man behind her is
included in the transactive reaction because he sees or drops his gaze to the
woman. In the picture, the woman figure has a more prominent composition
starting from vector, medium close shots, lighter colors than the objects behind
her and her eyes that seem to be observing something. From all the compositions
that have been mentioned, it can be concluded that the source of the meaning or
value of information from the image above is in the woman.
2.4.3.1Information Value
Placement of participants in an image provides a variety of information to
the viewer. Participants placed on the left have different information from
participants placed on the right. Participants at the top also provide different
information from participants placed at the bottom. The placement of elements
(participants and syntagms that relate them to each other and to the viewer)
endows them with the specific informational values attached to the various zones
of the image: left and right, top and bottom, centre and margin (Kress and van
Leeuwen, 2006, p.177). This is called the information value.
The image placed on the left is included in the given structure, while the
image on the right is included in the new structure. The placement of the image at
the top is more attractive than the image placed at the bottom. According to the
statement of Kress and van Leeuwen (2006, p.86), the upper section tends to make
some kind of emotive appeal and to show us what might be; the lower section
tends to be more informative and practical, showing us what is. In the visual
structure there is also a placement in the centre and at the margin. Participants
which are placed in the middle are the core of the information, while participants
which are in the margin are additional to the core information. For something to
be presented as center means that it is presented as the nucleus of the information
to which all the other elements are in some sense subservient.
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2.4.3.2 Salience
Visual design is not only about aesthetics and beauty but also requires
balance in its composition so that the meaning that is intended to be given to the
viewer can be conveyed. Salience is the viewer's ability to judge the importance of
various visual elements in an image. The capacity of the viewer to judge the visual
weight of diverse objects is similarly correlated with salience. Salience can create
a hierarchy of importance among the elements, selecting some as more important,
more worthy of attention than others (Kress and van Leeuwen, 2006, p.201).
Salience is not an objectively measurable quality, but results from
complex trading-off relationship between a number of factors: size, sharpness of
focus, tonal contrast, color contrast, placement in the visual field, perspective, and
also cultural factors such as the appearance of human figure or a potent cultural
symbol (2006, p.202).
2.4.3.3 Framing
Framing is a process of separating group or individual in visual elements.
Participants who are separated by a framing mark individuality, while those who
are not separated by a framing mark a group. The absence of framing stresses
group identity, its presence signifies individuality and differentiation (Kress and
van Leeuwen, 2006, p.203).
The more elements of the spatial composition are connected, the more they
are presented as belonging together as a single unit of information (2006, p.204).
Furthermore, Kress and van Leeuwen also explained that connectedness can be
realized in many ways. It can be emphasized by vectors, by depicted elements
(structural elements of buildings, perspective drawing roads leading the eye to
elements in the background, etc.). Finally, it should be mentioned that on a deeper
level, framing also plays a role in drawing and painting techniques. For example,
in line drawings, the edges of objects clearly separate them from their
surroundings, but in some painting genres, such as Impressionism, they are only
distinguished from their surroundings by subtly changing color.
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2.5 Systemic Functional Linguistics

Systemic Functional Linguistics (SFL) is an approach to linguistics that
considers language as a social semiotic system (Halliday, 1978). Systemic
Functional Linguistics presents the framework of linguistic theory by following
the functional systematic linguistics principles. In a functional grammar, a
language is interpreted as a system of meanings, accompanied by forms through
which the meanings can be realized (Halliday, 2004). It can be concluded that
SFL focuses on means of achieving linguistic functions and as the relationship
between language and the functions of language into the society.
Systemic functional approaches to multimodal discourse analysis are
concerned with the grammatics of semiotic resources, with the aim of
understanding the functions of different semiotic resources and the meanings that
arise when semiotic choices combine in multimodal phenomena over space and
time (O‟Halloran and Lim, 2014 in Jewitt and O‟Halloran, 2016).
In Systemic Functional Linguistics, Halliday makes the assumption that a
semiotic system will offer the resources to create three different types of meaning,
or what is better known as the three metafunctions are as follows:
a) Ideational Metafunction
The ideational metafunction is a resource for construing our experience of
the world that lies around us and inside us (Halliday, 2004). The clause in this
metafunction is realised by the transitivity structure, that is, the processes,
participants and circumstances are involved in the clause (Halliday and
Matthiessen, 2014). Furthermore, they also stated that this metafunction
represents what a participant (something or someone) is doing, happening,
experiencing, sensing, speaking, behaving, or existing due to its semantic quality.
These are grouped in the material, behavioral, mental, verbal, relational, and
existential processes.
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Table 2. 4 Types of Participants and Examples According to Processes
Processes Participants Example

Material:
Event (happening) Actor, range The flowers grow
Action (doing) Actor, goal, beneficiary The farmer digs
(recipient/client)
Mental (perception, Senser, phenomenon The Ibos did not approve
cognition) of kings.
Verbal Sayer, receiver, verbiage My mother said that
there was not anyone
Relational:
Attributive Carrier, attribute She looks so pretty
Identifying Token, value She has become a teacher
Behavioural Behaver, behaviour, People are laughing.
phenomenon
Existential Existent So today there is
Christianity in the south
The first is material process, is a process in which action occurs by

participants or a process of doing and process of happening. People who do
something are called actors. Meanwhile, the objects that the actor affects are
referred to as a goal. This is in accordance with Halliday's statement that material
clauses are clauses of doing and happening (2004, p.224).
The next is mental process, refers to the processes of sensing, considering,
and perceiving. It is encodes the inner world of cognition, perception inclination
or liking and disliking (Butt, et al., 2000). Senser and Phenomenon are the terms
used to identify the participants in the mental process. The terms senser indicates
the person who does the mental process. Whilst phenomenon describe the object
that the senser senses, thinks about, and perceives.
The third is verbal process, is a process in which it is a word, utterance or
statement from someone. In verbal processes, these are clauses of saying, such
24
clauses are an important resource in various kinds of discourse. They contribute to

the creation of narrative by making it possible to set up dialogic passages
(Halliday and Matthiessen, 2004).
After verbal process there is a relational process, is process that connect
one participant with others. Relational process links a thing with another by its
identity or description (Butt, et.al, 2000). This relationship can be giving attributes
or giving value to the first participant. The characteristic of this process is
connecting participants or describing participants with their identities and
descriptions.
The fifth is behavioural process, is process of (typically human)
physiological and psychological behaviour, like breathing, coughing, smilling,
dreaming and staring (Halliday, 1994). This process is almost the same as material
and mental or it can also be said that this process is in the middle between
material and mental process. The striking difference is that mental processes are
related to consciousness, while material processes can happen to anyone and
anything (including objects), and behavioral processes only occur in humans.
The last is existential process, a process that states the existence of
something. This process represents that something exists or happens (Halliday and
Matthiessen, 2004). The existence referred to in this process is a phenomenon that
often occurs. The characteristic of this process is must have verb to be.
b) Interpersonal Metafunction
Interpersonal metafunction is a metafunction that is used to examine the
social or the relationship between the speaker and the listener. According to
Halliday (2003), the interpersonal metafunction is the grammar of personal
participation; it expresses the speaker‟s role in the speech situation, his personal
commitment and his interaction with others. This metafunction is concerned with
how people engage with one another in terms of social relationships and
experiences. The mood system is used to analyze the sentence in this
metafunction, which is classified as an exchange and has two parts that consist of
mood and residue.
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c) Textual Metafunction
Metafunctions that show the meaning of the relationship between texts are
called textual metafunctions. The textual metafunction concerned with the
creation of text; it expresses the structure of information, and the relation of each
part of the discourse to the whole and to the setting (Halliday, 2003).
Textual metafunction represents the realization of the theme and rheme.
Halliday (1994) stated that theme as what message is concerned with or the point
of departure for what the speaker is going to say. Theme and rhyme work together
in a text or message, so that information can be conveyed to the audience. The
remainder of the phrase where the theme is elaborated is called the rheme. In
addition, rheme can be described as the rest of the message.
2.6 Previous Studies

In this study the researcher uses two previous studies with the same topic
and theories as references. The first previous study written by Syahdiandra
entitled A Multimodal Discourse Analysis of Two Movie Posters Under Thriller
Genre (2019). There are several similarities between the current study and the
previous study. The first is the topic of the study. The two studies have the same
topic, which is about multimodal discourse. The second is the object being
analyzed. Both studies use the same research object, namely movie posters.
Furthermore, both studies equally analyze verbal elements and visual elements.
Lastly, the theory is used to analyze verbal elements. Both studies use Visual
Grammar theory from Kress and van Leeuwen (2006).
The researcher also found two differences between the current study and
the first previous study. They are the theory used to analyze verbal elements.
Syahdiandra uses connotation theory from Chandler (2007). In contrast to the
current study which uses Systemic Functional Linguistics theory from Halliday
(2004). The second difference lies in the data sources. The data sources used in
current study are movie posters from Home Alone. Whereas, the first previous
study used two movie posters entitled Get Out and A Quiet Place as data sources.
26
The researcher explained that in order to fully develop meaning, the

posters need to have compositional, interactive, and representational meaning.
According to the findings, meaning in the posters are established through both
verbal and visual texts equally. The interactive participants obtain a sense of the
movie's plot from the analysis of the posters' connotations.
The second previous study is a study written by Garcia entitled A
Multimodal Analysis of Some Harry Potter Film Posters (2019). Some similarities
between the second previous study and the current study. They are the topic,
object and theory. The topics used are the same as multimodal discourse analysis.
The two studies (the second and the current study) also used the same object, that
is movie posters, and both also used the theory from Kress and van Leeuwen
(2006).
The difference between the current study and the second previous study is
in the analysis. The second previous study only analyzed the visual elements. In
contrast to the current study which analyzed the visual elements as well as the
verbal elements. The data sources used are also different. The second previous
study chose movie posters from Harry Potter, and the current study uses posters
from different movies.
Gracia stated that the poster serves as a concise summary that is
graphically expressed through compositions that incorporate a variety of elements,
including typography, slogans, and other elements. It is obvious that movie
posters do not foretell the astonishing conclusion of a movie, but they do convey
the movie's core message. Posters serve to introduce viewers to the world of
movies. Poster also helps viewers anticipate what they will see in a movie.
CHAPTER III
RESEARCH METHOD
This chapter discusses the method that used in this study. This section
consists of research design, source of data and data, research instruments, method
of data collection, and the last is method of data analysis.
3.1 Research Design

To answer research questions based on the purpose of the study that
analyzes multimodal in Home Alone movie posters, this study uses descriptive
qualitative research that focuses on analysis or data interpretation. According to
Ary et al. (2009) qualitative research is based on a different philosophical
approach, which sees the individual and his or her world as so interconnected that
essentially the one has no existence without the other. Moreover, Miles and
Huberman (2014) also stated that qualitative data is data that is rich in sources,
descriptions and explanation of human processes.
A descriptive qualitative approach used because the purpose of this study
is to identify, analyze, and explain the meanings of verbal and visual elements of
Home Alone movie posters. Descriptive research is research that enquires
questions about the nature, incidence, or distribution of variables; it involves
describing but not manipulating variables (Ary et al., 2009). Then, it can be
concluded that qualitative descriptive study is one that examines social
phenomena based on their factual circumstances.
3.2 Source of Data and Data

This study uses five Home Alone movie posters as sources of data with
deails Home Alone (1990), Home Alone 2: Lost in New York (1992), Home Alone
3 (1997), Home Alone 4: Taking Back The House (2002), Home Alone: The
Holiday Heist (2012). The data used are the visual elements that consist of
pictures, facial expression of the actors, social distance between the actors,
background of movie posters, emblem and verbal elements in the posters that
consist of words (title, tag, synopsis). All sources of data are downloaded from the
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movie poster archive site with high definition (HD) quality, namely
www.cinematerial.com. Below are details of the data sources that used along with
the link:
Table 3. 1 Sources of Data
Title Download links

Home Alone (1990) https://www.cinematerial.com/movies/home-
alone-i99785/p/4ctxix4g
Home alone 2: Lost in New https://www.cinematerial.com/movies/home-alone-
2-lost-in-new-york-i104431/p/otc1irdb
York (1992)
Home alone 3 (1997) https://www.cinematerial.com/movies/home-
alone-3-i119303/p/rrrrkoe8
Home alone 4: Taking Back https://www.cinematerial.com/movies/home-
The House (2002) alone-4-i329200/p/jjeeqyib
Home alone: The Holliday https://www.cinematerial.com/movies/home-
Heist (2012) alone-the-holiday-heist-i2308733/p/kgm2d1tm
3.3 Research Instruments

According to Miles and Huberman (2014) in qualitative research, the
researcher herself is essentially the main instrument in the study. The primary
functions of the writer or researcher are to design the research, gather and analyze
the data, interpret the findings and report the findings. So, in this study, the
researcher is the main instrument.
3.4 Method of Data Collection

Data collection is an important part in research to answer the questions in
the study. After data collection begins, researchers may find that they need to
collect new information to best answer their research questions (Cresswell, 2014).
Meanwhile, the method is a way taken to achieve the goal. It can be concluded
that the data collection method is a method used by researcher or writer in
collecting data. This study uses documentation method to collecting the data.
According to Creswell (2014) documents (in collecting the data) consist of public
29
and private records that qualitative researchers obtain about a site or participants
in a study, and they can include newspapers, minutes of meetings, personal
journals, and letters.
The following are the steps taken by the researcher to collect data in this
study:
1) Visiting the movie posters digital archive and then looking for
movie posters Home Alone.
2) Choosing one poster of each from all the posters of Home Alone in
all seasons, then download it
3) Identifying the verbal and visual elements of the movie poster and
the results stated in tabular form, as shown in the example below.
Table 3. 2 Identify Visual and Verbal Elements by Cheong (2004)
Visual Verbal
Enhancer
Announc
Emblem
Emblem
Display
Call &
ement
Lead
No. Title
visit
1. Tag
Total
4) Analyzing the meaning of visual and verbal elements in the Home

Alone movie posters.
3.5 Method of Data Analysis

The last part of this chapter is data analysis. Data analysis is a process that
is carried out after data collection. This process presents data which purpose is to
30
generate information from the data so that conclusion will be obtained later. The
author uses the interactive model by Miles and Huberman (2014) in analyzing the
data because it makes the researcher easier to sort, explain and refine the data.
There are three steps that must be fulfilled after collecting data. They consist of
data condensation, data display and conclusion (Miles and Huberman, 2014).
Data collection Data Display
Data condensation Conclusion
Figure 3. 1 Components of Data Analysis: Interactive Model
1) Data Condensation
In this section, the researcher tries to organize the data and
classifies it according to the focus element. The researcher can determine
which data is appropriate or not from this method. The researcher analyzes
all the elements in the poster, both verbal elements in the form of titles and
also taglines, and visual elements in the form of colors, actors, social
distance, etc., so that no data is left behind.
2) Data Display
Data display is a systematic presentation of data in the study to
produce conclusions from the analysis. In this study, the researcher
presents the data by describing the meanings of the visual elements
contained in the posters, starting from representational structure,
interactive meanings and compositional meanings. After that, the
researcher explains the meanings of the verbal elements found in the
movie posters using Systemic Functional Linguistics.
31
3) Conclusion
After describing and analyzing, the researcher draws conclusions
from the results of the analysis, so that it can make it easier for the readers
to discover quickly and briefly the final results of the study. Miles and
Huberman revealed that the competent researcher holds these conclusions
slightingly, maintaining openness and skepticism, but the conclusions are
still there, vague at first, then increasingly explicit and grounded (2014,
p.32).
CHAPTER IV
FINDINGS AND DISCUSSIONS
This chapter consists of findings and discussions that answer the research
questions of the study. The findings section places data on verbal and visual
elements and their realization in tables. At the same time, the discussion section
explains the verbal and visual elements, the realization and the meaning of verbal
and visual elements of Home Alone movie posters.
4.1 Findings
This section contains the findings of the visual and verbal elements in the
Home Alone movie poster using the Generic Structure of Potential (GSP) theory
by Cheong (2004) to analyze the visual and verbal elements, the Visual Grammar
theory from Kress & van Leeuwen (2006) to analyze the meaning of visual
elements in the Home Alone movie poster, and to analysis the meaning of the
verbal elements using the theory of Systemic Functional Linguistics by Halliday
(2004).
Table 4. 1 Visual and Verbal Elements Acording to Cheong (2004)
Visual Verbal
Announce
Enhancer
Emblem
Emblem
Call and
Display
Lead
ment
No. Title
visit
Tag
1. Home Alone (1990) 3 1 4 5 1 - 1 -
2. Home Alone 2: Lost in 3 1 4 5 1 - 2 -

New York
3. Home Alone 3 4 1 5 3 1 - 1 1
4. Home Alone 4: Taking 3 1 1 1 - - - -

Back The House
5. Home Alone: The Holiday 2 1 1 2 - - - -

Heist
Total 15 5 15 16 3 - 4 1
32
33
4.1.1 Realization Visual Elements

The researcher uses Cheong's theory (2004) in the form of a Generic
Structure of Potential (GSP) to analyze the visual elements contained in the Home
Alone movie poster. Cheong (2004) stated that the visual element is divided into
three elements, the first is the lead which is further divided into two, there are
locus of attention (LoA) and complements to the locus of attention (Comp.LoA).
The second is the display that is divided into four types, there are explicit,
implicit, congruent and incongruent. The last one is the emblem which functions
to validate a product contained in the poster. The following is the realization of
the visual elements contained in the Home Alone movie poster.
Table 4. 2 Realization Visual Elements According to Cheong (2004)
Lead
No. Title Title Comp. Display Emblem
LoA
LoA
Home Alone
1.
(1990)
√
34
Home Alone 2:
2. Lost in New
York
35
√
36
√
3. Home Alone 3
√
37
Home Alone 4:
√
4. Taking Back
The House
38
Home Alone: √
5.
The Holiday
39
Heist
Total 5 10 5 15
4.1.2 Realization Verbal Elements

The same theory is used to analyze the verbal elements on Home Alone
movie posters, namely Cheong's theory (2004) in Generic Structure of Potential,
Cheong divides the verbal elements into five elements, first is announcements
which consist of primary and secondary announcements. The next is enhancer.
Then the emblem in verbal element. The fourth is the tag and the last is call and
40
visit information. The following is the realization of the verbal elements in the
Home Alone movie poster using the theory already mentioned..
Table 4. 3 Realization Verbal Elements According to Cheong (2004)
Announce
Enhancer
informati
Emblem
Call and
ment
visit
Tag
on
No. Title Text
WHEN
KEVIN‟S
FAMILY LEFT
FOR
√
VACATION.
THEY FORGOT
ONE MINOR
DETAIL:
KEVIN.
BUT DON‟T
WORRY...
HE COOKS. HE √
CLEANS. HE
KICKS SOME
BUTT.
Home
Alone(199
1.
0) FROM JOHN √
HUGHES
HOME ALONe √
A FAMILY
COMEDY
√
WITHOUT THE
FAMILY
TWENTIETH
CENTURY FOX
PRESENTS A √
JOHN HUGHES
PRODUCTION
A CHRIS
COLOMBUS
41
FILM
HOME ALONE
MACAULAY
CULKIN JOE
PESCI DANIEL
STERN JOHN
HEARD AND
CATHERINE
O‟HARA
MUSIC BY
JOHN
WILLIAMS
FILM EDITOR
RAJA
GOSNELL
PRODUCTION
DESIGNER
JOHN MUTO
DIRECTOR OF
PHOTOGRAPH
Y JULIO
MACAT
EXCECUTIVE
PRODUCERS
MARK
LEVINSON &
SCOTT
ROSENFELT
AND TARQUIN
GOTCH
WRITEN AND
PRODUCE BY
JOHN HUGHES
DIRECTED BY
CHRIS
COLOMBUS
Color by
DELUXE
PARENTAL
GUIDANCE
SUGGESTED
SOME √
MATERIAL
MAYBE NOT
SUITABLE FOR
CHILDREN
42
2. Home HE‟S UP PAST √

Alone: HIS BEDTIME
Lost in IN TH CITY
New York THAT NEVER
SLEEPS.
The Back Page

The Newyork
Newspaper √
WET BANDIT
ESCAPE!
FROM JOHN
HUGHES A
√
CHRIS
COLUMBUS
FILM
HOME ALONe
√
2
LOST IN NEW √
YORK
TWENTIETH
CENTURY FOX
PRESENTS A
JOHN HUGHES
PRODUCTION
A CHRIS
COLOMBUS
FILM
MACAULAY
CULKIN JOE
√
PESCI DANIEL
STERN JOHN
HEARD HOME
ALONE 2 TIM
CURRY
BRENDA
FRICKER
AND
CATHERINE
O‟HARA
MUSIC BY
JOHN
43
WILLIAMS
FILM EDITOR
RAJA
GOSNELL
PRODUCTION
DESIGNER
SANDY
VENEZIANO
DIRECTOR OF
PHOTOGRAPH
Y JULIO
MACAT
EXCECUTIVE
PRODUCERS
MARK
RADCLIFE
DUNCAN
HENDERSONRI
CHARD VANE
WRITEN AND
PRODUCE BY
JOHN HUGHES
DIRECTED BY
CHRIS
COLOMBUS
SOUNDTRACK
AVAILABLE √
ON FOX
RECORDS
COLOR BY
√
DELUXE
Ready for more. √

Much more.
HOME ALONe √
Home 3
3. Alone 3
There‟s new kid √

on the block
√
TWENTIETH
44
CENTURY FOX
PRESENTS A
JOHN HUGHES
PRODUCTION
“HOME ALONE
3‟ ALEX
D.LINZ
HAVILAND
MORRIS
MUSIC BY
NICK-
GLENNIE
SMITH EDITED
BY BRUCE
GREEN, A.C.E
MALCOLM
CAMPBELL
PRODUCTION
DESIGNER
HENRY
BUMSTEAD
DIRECTOR OF
PHOTOGRAPH
Y JULIO
MACAT
EXCECUTIVE
PRODUCERS
RICARDO
MESTERS
PRODUCED BY
JOHN HUGHES
HILTON
GREENWRITT
EN BY JOHN
HUGHES
DIRECTED BY
RAJA GOSNEL
READ THE
NEW HOME
ALONE 3
BOOKS BY √
SCHOLASTIC,
INC
√
www.ha3.com
45
4. Home HOME ALONe √

Alone 4:
Taking
back the
house
√
HOME ALONe
Home
4
Alone:
5. The
Holiday
THE HOLIDAY √
Heist
HEIST
Total 16 3 - 4 1
4.1.3 Findings Analysis of Visual Elements Meaning

In reading the meaning of one or several images, Kress and Leeuwen
(2006) divide it into three components. There are representational structure,
interactive meaning and compositional meaning. Below are the results of the
analysis of each of these components.
a) Representational structure
Representational structure is the way an object in an image relates to
another object in one image. The representational structure is divided into two
processes, these processes consist of narrative process and conceptual process
which in conceptual process divided into three processes, there are analytical
process, classification process and the symbolic process. Below is the result of
analysis of the representational structure in the Home Alone movie poster.
Table 4. 4 Representational Structure According to Kress and Leeuwen (2006)

Narrative Conceptual process
No. Title
process Analytical Classificational Symbolic
1. Home Alone 1990 √ √ √ √
Home alone 2: Lost in
2. √ √ √ √
New York
3. Home Alone 3 √ √ √ √
4. Home Alone 4: Taking √ √ √ √
46
Back The House

Home Alone: The
5. √ √ - √
Holiday Heist
b) Interactive meanings
In contrast to the representational structure which connects one object to
another object, interactive meaning connects the participants contained in an
image to the viewer. Interactive meanings are divided into two, there are the gaze
between the participant and the viewer. The last is the social distance of the
participants to the viewer. The following is the result of an interactive meaning
analysis in the Home Alone movie poster.
Table 4. 5 Interactive Meanings According to Kress and Leeuwen (2006)

No.
Title The gaze Type of shot/ Social distance
Medium close shot/ Close

1. Home Alone 1990 Demand
personal distance
Home Alone 2: Lost In New Medium close shot/ close
2. Demand
York personal distance
Medium shot/ far personal
3. Home Alone 3 Demand
distance
Home Alone 4: Taking Back
4. Demand Close-up/ intimate distance
The House
Home Alone: The Holiday Medium close shot/ close
5. Demand
Heist personal distance
c) Compositional Meaning
After the relationship between object to other object, participants and
viewer, the last is the compositional meaning contained in an image, starting from
information value, salience (sharpness, color, size) and framing. Below is the
result of an analysis of the compositional meaning found in the Home Alone
movie poster.
47
Table 4. 6 Compositional Meanings According to Kress and Leeuwen (2006)

Information
No. Title Salience Framing
Value
1. Home Alone 1 Give - New √ √
Home Alone 2: Lost In √ √
2. Give - New
New York
3. Home Alone 3 Give - New √ √
Home Alone 4: Taking √ √
4. Give - New
Back The House
Home Alone: The Holiday √ -
5. Give
Heist
4.1.4 Findings Analysis of Verbal Elements Meaning

The theory used in this analysis is the theory of Systemic Functional
Linguistics from Halliday (2004). Halliday stated that there are three
metafunctions of language namely ideational with its six processes that consist of
material, mental, behavioral, verbal, relational and existential. The second
metafunction is called ideational metafunction, this metafunction is related to
social life. The last one is textual metafunction, this metafunction relates one text
to another. Below is the result of analysis of the verbal meaning elements
contained in the Home Alone movie poster.
Table 4. 7 Verbal elements Meaning Using Systemic Functional Linguistics by

Halliday (2004)
No. Title Text Ideational Interpersonal Textual
WHEN KEVIN‟S
1. FAMILY LEFT √
Home Alone
FOR
VACATION.
48
THEY FORGOT
ONE MINOR
DETAIL: KEVIN
BUT DON‟T √
WORRY…
HE COOKS. HE
CLEANS. √
HE KICKS
SOME BUTT..
A FAMILY
COMEDY √
WITHOUT
THE FAMILY
HE‟S UP PAST
HIS BEDTIME
√
IN THE CITY
Home Alone:
THAT NEVER
Lost in New
2. SLEEPS
York
√
WET BANDITS
ESCAPE!
49
LOST IN NEW √
YORK
Home Alone
3 Ready for more. √
3.
Much more
Home Alone
4: Taking
4. - - - -
Back the
house
Home Alone
THE HOLIDAY
5. 5: The - - √
HEIST
holiday Heist
4.2 Discussions
After the data are found, discussions of each result will be held. In this
discussions section contains explanations of the results of the analysis of the
visual elements, meaning of the visual elements, verbal elements and the meaning
of verbal elements in the movie poster sequentially using a predetermined theory.
4.2.1 Home Alone 1990

The following are explanations of the results of the visual elements
analysis, the meaning of the visual elements, the verbal elements and the meaning
of the verbal elements from the first movie poster Home Alone.
4.2.1.1 Visual Elements

The results of the element analysis found in the Home Alone movie poster
are 1 lead, 1 display and 4 emblems.
a) Lead
On the first Home Alone movie poster there are three participants, the front
row is Kevin (main character) as LoA (Locus of attention). As well known, LoA
50
functions as the main focus in an image, therefore Kevin, which is the main
character, is printed in a larger size and is more prominent than the two
participants behind him.
Figure 4. 1 LoA in Home Alone 1990

In addition to LoA, there is also Comp.LoA (complements to the locus of
attention) which function is to complement the LoA. The two participants behind
Kevin are Comp.LoA from the Home Alone movie poster. The attributes they use
are almost same with the background color, so viewer can only see their facial
expressions. In contrast to Kevin as LoA which is shown almost to the waist with
attributes that the color contrast with the background.
Figure 4. 2 Comp.LoA in Home Alone 1990
b) Display
The display shown on the poster from Home Alone movie is explicit,
because the main character and supporting actors in the movie are included in the
poster. In the movie poster there is also a little synopsis that there is a child who
was left on vacation by his family, therefore everything is shown in real terms
without any symbols.
51
Figure 4. 3 Display in Home Alone 1990
c) Emblem
Every advertisement poster must always have one or several emblems in it
as a characteristic of the advertisement. The results of the analysis of the Home
Alone 1990 movie poster show that there are four logos, with details: the logo
contained in the movie title in the form of a blue funnel house located in the
middle of the title, the production logo forms the letter „H‟ representing the name
of the producer, namely John Hughes, the studio logo that reads 20th Century Fox
and the audio movie logo that reads Dolby Stereo.
Figure 4. 4 Emblems in Home Alone 1990
4.2.1.2 Visual Elements Meaning

The following is the result of an analysis of the meaning of the visual
elements contained in the first Home Alone movie poster using Visual Grammar
theory by Kress and Leeuwen (2006).
a) Representational structure
On the first Home Alone poster, there are three participants, a small child
or usually called Kevin who clasps his hands to his cheeks while the other two
participants are behind the child with the background of falling snow. The vector
is formed from the eyes of the three participants on the poster but do not look at
each other, this indicates the existence of a vector but is included in a non-
52
transactional process because the participants do not point at each other, they look
directly at the audience. Even so, the two men were still actors, while the little boy
was still reacting with shocked expressions towards the other two actors.
According to Kess and Leeuwen (2006) like actions, reactions can be
transactional or non-transactional..
Conceptual processes are also found in this process, starting from the
analytical process in the form of the title of the Home Alone poster in which the
house logo is in the center of the title, the expression of two old men who
intimidate someone in front of them, and Kevin's shocked expression on the front.
The symbolic process on this poster is symbolic attributive because the
participants bring their attributes clearly to the viewer in the form of clothes worn,
specifically maroon red long-sleeved knitwear, beanie hats worn by one of the
participants behind Kevin, the attributes they wear are warm clothing attributes
when winter, coupled with the inconspicuous backdrop of snow and christmas
knick-knacks in the background suggests that the events in this movie take place
in winter at christmas time.
The classification process is also contained in this poster, the size of the
criminals behind Kevin is the same and their placement is parallel, it can be
concluded indirectly that they are one group and are included in the covert
taxonomy. If the overarching category was not shown or named it is called covert
taxonomy, a taxonomy in which the superordinate is inferred from such
similarities as the viewer may perceive to exist between the subordinates, or only
indicated in the accompanying text (Kress and Leeuwen, 2006).
b) Interactive meaning
The object in this movie poster is depicted with a different size, Kevin
with a larger size than the two old men in the background. The participants in the
poster look at the same audience. The participants in the background are located
higher than Kevin, which is parallel to the audience, this means that the main
object is demanding the audience, not offering it. Judging from the expressions
53
made by the main object, it is the expression of shock and fear, he seems to
demand for help from the viewer.
The object in this movie poster was taken with a medium close shot
because the main object only shows the head and shoulders so that social distance
is included in close personal distance. This indicates that the viewer knows the
object on the poster, such as his own family or his own children. Close personal
distance is the distance at which one can hold or grasp the other person and
therefore also the distance between people who have an intimate relationship with
each other (Kress and Leeuwen, 2006)
c) Compositional meaning
In terms of compositional meaning, Kevin is in the middle between the
two old men behind him, if read using the left to right method then the man
wearing the beanie is on the left, this indicates that he is given, while kevin here is
new. According to Kress and Leeuwen (2006) what is placed to the left of the
image is given while what is to the right is new.
Kevin in this poster is depicted sharper than the other participants, starting
from his blond hair which contrasts with the background, his warm maroon
clothes also contrasts with the background so that viewer can see Kevin's face and
body definitely clearly, Kevin's size is also bigger than the other participants.
Meanwhile, the participant behind Kevin wore the same color as the background
that is black, so that viewer just only see his face.
Framing also occurs in this poster, framing that seems to be depicted as a
rectangle shaped like a window which is one part of the house, this is related to
the title on the movie poster. Kevin in this poster is outside the framing as if
separated from the two people behind Kevin who are in the same position and
size, this means that there is a difference between Kevin and the participant
behind the window. the presence of framing signifies individuality and
differentiation (Kress and Leeuwen, 2006)
54
4.2.1.3 Verbal Elements

In addition to visual elements, there are also verbal elements in this movie
poster, but only three verbal elements are found in this movie poster which are
announcement, enhancer and tag.
a) Announcement
Announcements are divided into two, there are primary announcements
and secondary announcements. On the Home Alone movie poster, there are both
types of announcements.
“HOME ALONe”
The word above is the title of the movie and it is also the primary
announcement because it is written in a larger size than other announcements, the
color of the word is also definitely contrasting and different from other
announcements which use white.
“WHEN KEVIN‟S FAMILY LEFT FOR VACATION. THEY FORGOT ONE MINOR
DETAIL: KEVIN”
“BUT DON'T WORRY…

HE COOKS. HE CLEANS
HE KICKS SOME BUT.”
“FROM JOHN HUGHES”
“A FAMILY COMEDY WITHOUT THE FAMILY”
There are three secondary announcements on the first Home Alone movie
poster, in the sentence „WHEN KEVIN‟S FAMILY LEFT FOR VACATION. THEY
FORGOT ONE MINOR DETAIL: KEVIN'. This sentence is a bit of a synopsis of the
movie Home Alone which tells of a boy named Kevin who is left at home when
his family goes on vacation.
In the second secondary announcement, 'BUT DON'T WORRY…. HE
COOKS. HE CLEANS. HE KICK SOME BUTT' this sentence is actually a leak
from the movie Home Alone, this sentence is related to the first sentence, in
general a child who is left alone at home by their parents will cry non-stop and
cannot do activities such as cooking and cleaning house, but Kevin's figure is
different, he can handle everything without the presence of adults around him.
55
The word 'FROM JOHN HUGHES' is also a secondary announcement.

John Hughes is the name of the person who wrote the story as well as being a
producer in the Home Alone movie.
Not same with the first two secondary announcements which are synopsis
of the movie, the last secondary announcement mentions the genre of this movie.
„A FAMILY COMEDY WITHOUT THE FAMILY‟ it is a movie with the family
comedy genre but in this movie the main character is abandoned by his own
family.
b) Enhancer
“TWENTIETH CENTURY FOX PRESENTS A JOHN HUGHES
PRODUCTION A CHRIS COLOMBUS FILM HOME ALONE MACAULAY
CULKIN JOE PESCI DANIEL STERN JOHN HEARD AND CATHERINE
O'HARA MUSIC BY JOHN WILLIAMS FILM EDITOR RAJA GOSNELL
PRODUCTION DESIGNER JOHN MUTO DIRECTOR OF PHOTOGRAPHY
JULIO MACAT EXECUTIVE PRODUCERS MARK LEVINSON & SCOTT
ROSENFELT AND TARQUIN GOTCH WRITTEN AND PRODUCED BY
JOHN HUGHES DIRECTED BY CHRIS COLUMBUS Color by DELUXE”
The sentence above is an enhancer on the Home Alone movie poster, the
enhancer contains the name of the producer, the name of the author of the story
and also the names of the actors. The function of an enhancer in an advertisement
is to attract the attention of viewer and tends to be more observed than an
announcement because of the names of the actors in the movie, without these
enhancer a movie does not seem to has a complete identity.
c) Tag
The tag is a continuation of the enhancer, the tag contains information that
is not conveyed to the enhancer (Cheong, 2004). The following is the tag found on
the Home Alone movie poster:
“PARENTAL GUIDANCE SUGGESTED SOME MATERIAL MAYBE NOT

SUITABLE FOR CHILDREN”
The tag above is an appeal or notification to viewer who will watch the
movie that children must be supervised because some of the material in the movie
56
is not suitable for children which may be large objects or objects that can cause
injury.
4.2.1.4 Verbal Elements Meaning

The following are the verbal elements found on the Home Alone 1990
movie poster.
Table 4. 8 Material process
WHEN KEVIN‟S FAMILY LEFT FOR VACATION

Actor Process: material Goal
Table 4. 9 Material process
THEY FORGOT ONE MINNOR DETAIL: KEVIN

Actor Process: Circumstance
material
Table 4. 10 Interpersonal Metafunction

BUT DON‟T WORRY
Conjunction Interpersonal metafunction
MOOD system
Table 4. 11 Behavioural Process
HE COOKS
Behaver Process: behavioural
HE CLEANS
Behaver Behavioural
HE KICKS SOME BUTT

Behaver Process: behavioural Phenomenon
Table 4. 14 Relational Process
A FAMILY COMEDY WITHOUT THE FAMILY

Carrier Process: relational Atribute
57
In the first table it is included in the material process because the word
„Left‟ here is an act of the actor. The material process is the activity of doing and
happening related to the physical and is carried out by the perpetrator (Halliday &
Matthiesen, 2004). The actor in the form of Kevin's family does something with
the aim of having a vacation.
The material process also occurs in table 4.9, the word „They‟ referring to
the first sentence, it is Kevin's family, who was declared on vacation, forgetting
(leaving) Kevin. The word „Forgot‟ here is included in the material process
because it involves activities carried out by the actor, forgetting or leaving Kevin
as a phenomenon in this sentence.
Table 4.10 is a continuation of the previous sentence, it can be seen from
the conjunction at the beginning of the sentence, the sentence in the third table
shows an order or appeal to the viewer not to worry about the condition of the
person left by his family, namely Kevin, this is one of the functions of mood.
revealed by Halliday and Matthiessen (2004) speech functions in the mood system
are divided into four types namely indicative, imperative, declarative and
interrogative
Tables 4.11, 4.12 and 4.13 have the same process, that is behavioural,
because they contain behaviors that involve physiology, there are cooks (table
4.11), cleans (table 4.12) and kicks (table 4.13), in the fourth tables and fifth there
are only actors and processes, different with the sixth table consisting of actors,
processes and phenomena. Examples of verbs that function as processes in
behavior clauses are bodily postures and pastimes, while the words cooking,
cleaning and kicking are processes that involve body movement, therefore these
processes are included in non-material behavioral processes.
The last table on the Home Alone movie poster identifies that this movie is
a family comedy movie. The process of identifying and classifying is called the
relational process (Halliday and Matthiesen, 2004). In table 7 this is included in
the attribute identification process because it bears the genre of the movie.
58
4.2.2 Home Alone 2: Lost in New York

Below are the results of analysis of the poster for the second movie,
namely Home Alone 2: Lost in New York. The explanation of this analysis
contains the visual elements found in this movie poster, the meaning of the visual
elements, the verbal elements and their meanings.

The visual elements found on the movie poster Home Alone2: Lost in New
York consist of three elements, there are lead, display and emblems.
a) Lead
The locus of attention on this movie poster is the same as the previous
movie poster, namely Kevin, but on the first movie poster Kevin only shows an
expression by put his hands to his cheeks, on the second movie poster Kevin is
holding a newspaper with a picture of two criminals escape.
Figure 4. 5 LoA in Home Alone 2: Lost in New York

Complement of the locus of attention on this movie poster are two people
behind it and also the building which is the hallmark of the city of New York.
Participants who become Comp.LoA on this movie poster is also the same
participant as the first movie poster.
Figure 4. 6 Comp.LoA in Home Alone 2: Lost in New York

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b) Display
The display on the movie poster Home Alone 2: Lost in New York is
included in the explicit type, the main character (Kevin) and the two criminals are
shown on the movie poster, the typical New York City building which is the
setting of the movie is also included in the poster. There is also a synopsis of the
movie which is described in the newspaper which is also found on the movie
poster, there is no symbol or any representation in this poster so it is included in
the explicit type.
Figure 4. 7 Display in Home Alone 2: Lost in New York

c) Emblem
In the Home Alone 2: Lost in New York movie poster, five emblems are
found which will be described below
Figure 4. 8 Emblems of Title

The first emblem is the logo that is in the middle of the title of the movie,
the same as the logo on the first movie poster, it is just different in color, this
movie poster using red color.
Figure 4. 9 Emblem of The Audio Movie

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The second emblem is the audio symbol in the movie poster Home Alone
2: Lost in New York, it is Dolby Stereo with blue color, this logo is also found on
the first movie poster.
Figure 4. 10 Emblem of The Studio of The Movie

The third logo is also the same as the symbol found on the first movie
poster, namely the 20th century fox logo which is the studio symbol in the movie.
Figure 4. 11 Emblem of Movie Production

The last one is the production logo of the movie, the first movie poster
also has the same logo, this shows that the first and second movies were produced
by the same company, not only that, the first and second movies used the same
studio and audio.

On the movie poster Home Alone 2: Lost in New York, there are three
participants, similar to previous poster, the first participants is Kevin and two old
men who in the movie play the role of thieves who annoy Kevin, in the
background there is also a building and a clear blue sky. .
a) Representational Structure
The vectors on this poster are formed from the participant's point of view,
but not pointing at each other, all participants in this film poster look towards the
audience, so that in this film poster a non-transactional process occurs. Similar to
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the first movie poste, in this poster Kevin remains a reactor because judging by
his expression, he reacts in shock to the two old men or villains behind him.
The analytical process is also contained in this movie poster, starting from
the building which is the hallmark of New York City, the clear blue sky, the
announcements on the poster, the newspaper held by the main object, and the
expressions of the participants.
In this movie poster, viewers can not see the Kevin‟s clothes because they
are covered by the newspaper that he is holding, but if look at the clothes worn by
the criminals, it is thick warm clothes. One of the participants also wore skullcaps
and gloves, this indicates that the setting of environmental in this movie happened
during winter, with the attributes shown to the viewer, the symbolic process that
occurs in this poster is included in the attributive symbolic process.
The setting of the place is also stated on the movie poster, it is in the form
of a building that is characteristic of the city of New York and the secondary
announcement which also includes New York as the background of this movie, in
the movie there is also a blue cloud background which means that the event
occurred during the day.
b) Interactive Meaning
The main object or kevin in this movie poster is placed at eye level with
the viewer. Kevin's eyes are also facing straight to the viwer, this means Kevin is
demand something to the viewer, judging from his expression, it is expression of
surprise with widened eyes and slightly open mouth. He seems demand help to us
(the viewer). While the other participants were placed a little higher than Kevin
but looked farther away because the size of the participants was smaller than the
main object.
The picture taken in this movie poster uses a medium close shot, although
all that can be seen from Kevin is only his face and hands but actually he shows
his shoulders but is covered by the newspaper he is holding. The social distance of
this movie poster uses close personal distance, there is a close relationship
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between the main object and the viewer or the main object enquires for a close
relationship with the viewer like family
The information value contained in this movie poster is a give-new,
because the position one of the participants is on the left, in the middle there is
Kevin and beside Kevin there is also a criminal. So if read from the left, the
criminal is give, while Kevin here is new. From the newspaper held by Kevin, if
read from the left, it is the back of the newspaper, while in Kevin's right hand, it is
new or the core information that the viewer desires to convey.
Kevin's object here is described more sharply than the other participants in
the poster, starting from hair color, eye sharpness, lip color and Kevin's size which
is larger than the other participants, the property that Kevin holds while the other
participants do not hold any property, this is made so that direct viewer watching
kevin's figure here.
There is no framing in this poster, but when viewed from the size of the
object, the two criminals are the same size and in the same position and parallel,
wearing matching attributes, so that viewer can immediately conclude that they
are in a group. Meanwhile Kevin is described with a different size because he is
not included in the group.

There are only three verbal elements in the Home Alone 2: Lost in New
York movie poster, consist of announcement, enhancer and tag. There are no
elements of emblem and call and visit information.
a) Announcement
“HOME ALONe 2”
The word above is the title of this movie and also the primary
announcement in this poster, printed with a larger text size than other
announcements.
"HE‟S UP PAST HIS BEDTIME IN THE CITY THAT NEVER SLEEPS "
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“The Back Page

The Newyork Newspaper
WET BANDIT ESCAPE”
“FROM JOHN HUGHES A CHRIS COLUMBUS FILM”

“LOST IN NEW YORK”
There are four secondary announcements on the Home Alone 2: Lost in

New York movie poster, the first sentence „HE‟S UP PAST HIS BEDTIME IN THE
CITY THAT NEVER SLEEPS' is a bit of a synopsis of this movie, a Kevin who
spends his time sleeping in a city that never sleeps, it is the city of New York
which is a bustling city so that it seems as if the citizens of New York City do not
have hours of rest and this city is also never empty of anything.
In the second secondary announcement, the sentence „FROM JOHN
HUGHES A CHRIS COLUMBUS FILM' just like the previous Home Alone movie,
this movie was also written by John Hughes and executed in film form by Chris
Columbus.
There is another synopsis in the last secondary announcement, that is
„LOST IN NEW YORK'. In this second movie, Kevin is not left on vacation by
his family, he is also taken on vacation with his family, but in the middle of the
trip he is lost in New York City.
b) Enhancer
PRODUCTION A CHRIS COLOMBUS FILM MACAULAY CULKIN JOE
PESCI DANIEL STERN JOHN HEARD HOME ALONE 2 TIM CURRY
BRENDA FRICKER AND CATHERINE O'HARA MUSIC BY JOHN
WILLIAMS FILM EDITOR RAJA GOSNELL PRODUCTION DESIGNER
SANDY VENEZIANO DIRECTOR OF PHOTOGRAPHY JULIO MACAT
EXECUTIVE PRODUCERS MARK RADCLIFE DUNCAN HENDERSON
RICHARD VANE WRITTEN AND PRODUCED BY JOHN HUGHES
DIRECTED BY CHRIS COLOMBUS”
The sentence above is an enhancer because it includes complete
information on this movie which consists of name of movie production, the
researcher of the movie, the actors, editors and production design.
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c) Tag
Tags are information that is not contained in the enhancer (Cheong, 2004).
The following are the tags found in this movie poster:
“SOUNDTRACK AVAILABLE ON FOX RECORDS”
“COLOR BY DELUXE”
There are two tags found in this movie poster, the first is the movie
soundtrack which can be found at Fox Records, and the coloring of the movie by
Deluxe. These two pieces of information are actually included in the enhancer but
are placed slightly below the enhancer and in smaller writing than the enhancer.
Table 4. 15 Material Process
HE „S UP PAST HIS BEDTIME IN THE CITY THAT

NEVER SLEEPS.
Actor Process: material Goal Circumstance
WET BANDITS ESCAPE!

Actor Process: material
LOST IN NEW YORK

Process: material Circumstance
In the first table there is the word „HE‟ which refers to the main character
as an actor in the material process, then the verb is up past is the word where the
material process occurs with his bedtime as the goal of this process, in the first
table there is also a circumstance which indicates where the process occurs This
material is in the city that never sleeps. The sentence above shows the meaning
that the incident occurred in New York City, which is a city that never sleeps or a
city that is always busy.
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In the second table, there are only actors and their material processes, there
are „WET BANDITS‟ as actor and „ESCAPE!‟ as a process or thing done by the
actor, this process is found in the secondary announcement in the poster. This
sentence is a synopsis or one of the scenes in the film, it is show that the criminals
who disturbed Kevin were arrested.
Same with the first table and the second table, in the last table there is also
a material process, there is no actor in the sentence, but this process refers to the
main character, namely Kevin, so indirectly the actor who does the material
process in the third table is Kevin.
The material process found in the Home Alone 2: Lost in New York movie
poster is three times and no other processes and other metafunctions are found in
this movie poster.
4.2.3 Home Alone 3

Below are the results of analysis of the poster for the second movie,
namely Home Alone 3. The explanation of this analysis contains the visual
elements found in this movie poster, the meaning of the visual elements, the
verbal elements and their meanings.

The visual elements contained in the Home Alone 3 movie poster are one
lead, one display and five emblems.
a) Lead
LoA on the third movie poster is a small child as the main character or
known as Alex by wearing the attributes of an adventurer along with his pets.
Alex is shown in a larger size and almost his entire body is in the frame, Alex's
face is also cleaner than the other participants in the poster, so that viewer will
focus more on Alex as LoA.
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Figure 4. 12 LoA in Home Alone 3

Comp.LoA on this poster are the criminals that annoy Alex when he is
alone in his house, the faces of the Comp.LoA participants here is quite dirty with
attributes that almost match with the background color so that only his facial
expressions can be seen.
Figure 4. 13 Comp.LoA in Home Alone 3
b) Display
The display in this poster is explicit because in the poster there are main
actors and also supporting actors, titles, movie players, producers and supporting
companies are also clearly stated in this poster so that they are included in
explicit.
Figure 4. 14 Display in Home Alone 3
c) Emblem
There are five emblems on the Home Alone 3 movie poster, consist of the
red house logo in the middle of the movie title which is also the hallmark of this
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movie poster, besides that there is a production logo in the shape of the letter „H‟
according to the producer's last name, that is John Hughes, then there is also the
movie industry logo is Hollywood, the audio logo is dolby stereo, and finally the
studio logo is 20th century fox.
Figure 4. 15 Emblems in Home Alone 3
4.2.3.2 Elements Visual Meaning

The third Home Alone movie poster has five participants, one main
participant known as Alex in the movie, and four other participants who play the
role of thiefs whom enter Alex's house with a yellow background and several
adventurous attributes that Alex uses.
All the participants in this poster do not look at each other or point at each
other, so there is no transaction process or more precisely, a non-transaction
process occurs in this movie poster. But the vector is formed from the participant's
gaze to the viewer. Unlike the previous two posters, Alex as the reactor here does
not cup his hands and wears a shocked expression as a reaction to the other
participants, instead he expresses it through his sinister smile and looks more
adventurous than the actor in the previous posters. Meanwhile the participants
who are actors in this poster look very messy, dirty and look like they have lost to
the little boy.
The classification process is also contained in this poster, the criminals
who disturbed Alex are depicted in a frame extending downwards, there is no text
that says that the participants in the frame are criminals, but from the condition of
their dirty faces, the viewer immediately concludes that their nature is not good,
by Therefore they are included in the covert taxonomy.
Differences in facial expressions and conditions in the Home Alone 3
movie poster led to an analytical process, four participants with definitely dirty
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and messy facial conditions stood beside a child with golden brown hair smiling
cynically with his hands on his waist, the attributes he wore were also different
from the four participants beside him, he was wearing long, light-colored sleeves,
while the other participants were wearing dark clothes.
The main object in this poster is depicted standing upright with his hands
on his waist, he seems to show the viewer that he is proud of himself or of what
he has achieved, not only that, he also carries an electric blue backpack with a
black line in the middle. on his left waist there are two remote controls and a
flashlight, in his left hand there is also one remote control. The viewer can also
see a green older brother on his left shoulder. On his right waist is a handy talkie
and a small white mouse wearing a bucket hat on his right shoulder. All the
attributes were shown definitely clearly, starting from Alex's pose to the viewer to
the items that Alex brought which had their own value so that they were included
in the symbolic attributive process. According to Kress and Leeuwen (2006)
human participants in symbolic attributive processes usually pose for the viewer,
rather than being shown as involved in some action.
b) Interactive Meaning
The main object in this poster or it usually known as Alex is placed
slightly below the view of the viewer, but Alex's eyes do not lead to other
participants but stare straight at the viewer, this means that he demands something
from the viewer whether he desires help or just desires attention and recognition
that there he is.
This movie poster using the medium shot because Alex's body is visible up
to his knees, the social distane in this poster is far personal distance, this shows
that Alex is only known here as an ordinary person in general, he does not desire
to be recognized as someone close to viewer.
The composition of this movie poster is right and left with details of the
villains on the left and Alex on the right, thus the value of the information that can
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be generated is give-new, the villains on the left are given, while Alex here is
new.
Alex is depicted in a more visible position because he is standing, than the
other participants who only show their faces. The clothes worn by Alex are also
different from the other participants, Alex is wearing a white color that contrasts
against the background, while the criminals beside Alex are wearing attributes
that are almost the same as the background, the clothes they are wearing are not
visible, but their hair color is the same as the background so that only the messy
parts of their faces can be seen.
The framing process is also contained in this movie poster, the criminals
are united in a frame extending downwards with the same size of the participants,
while besides that there is Alex outside the frame bounded by the longitudinal
lines of the criminal's frame, this shows the existence of individualism or
differentiation between alex and the baddies in the frame.

There are four verbal elements found in the Home Alone 3 movie poster,
announcement, enhancer, tag and call and visit elements, and no verbal emblems
are found in this poster. The following is the result of an analysis of the verbal
elements contained in the Home Alone 3 movie poster.
a) Announcement
There are two types of announcements found in this movie poster, consist
of primary and secondary announcements. Just like the previous two movie
posters, the primary announcement in this poster is in the title of the movie that
will be explain below.
“HOME ALONe 3”
The words above is a primary announcement because it is printed in a
larger size than other verbal elements, so it tends to be seen first than other verbal
elements.
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“Ready for More,

Much more.”
“There's a new kid on the block”
The two sentences above are secondary announcements because they are
printed in relatively small letters compared to the title on this movie poster, in the
first sentence „Ready for more, Much more‟ describes the figure of Alex who is
brave and always ready to face whatever challenges he may face.
The second sentence, „There's a new kid on the block', it is a short
synopsis of the movie which shows that Alex is the new kid in his block, so there
are still many people around who don't know him and are still unfamiliar with
Alex's existence as a new resident of their block.
b) Enhancer
PRODUCTION “HOME ALONE 3” ALEX D. LINZ HAVILAND MORRIS
MUSIC BY NICK-GLENNIE SMITH EDITED BY BRUCE GREEN, A.C.E
MALCOLM CAMPBELL PRODUCTION DESIGNER HENRY BUMSTEAD
DIRECTOR OF PHOTOGRAPHY JULIO MACAT EXECUTIVE PRODUCER
RICARDO MESTERS PRODUCED BY JOHN HUGHES HILTON
GREENWRITTEN BY JOHN HUGHES DIRECTED BY RAJA GOSNEL”
The sentence above is an enhancer for the Home Alone 3 movie poster
because it contains complete information about the movie, starting from the logo
of the studio, producer, music, names of actors, editors, director of photography,
and so on. As we know that the enhancer is a source of information from an
advertisement.
c) Tag
“READ THE NEW HOME ALONE 3 BOOKS BY SCHOLASTIC, INC”
The sentence above is one of the important information about the movie,
but not a synopsis, so that sentence should be in the enhancer, but this sentence is
placed in a position that does not blend with the enhancer, using a different font
and also a smaller font size, so the sentence enter tags.
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d) Call and visit information

Different with the two previous movie posters which do not attacht call
and visit information, this Home Alone 3 movie poster contains a website link that
can be visited to obtain more information about this movie, that is
WWW.HA3.COM which is placed at the bottom in the middle of the poster. .

Table 4. 18 Mental Process
Ready for more. Much more

Process: mental Phenomenon Circumstance
Table 4. 19 Existential Process
There‟s a new kid on the block

Process: existential Existent Circumstance: place
The language metafunction contained in the Home Alone 3 movie poster is

an ideational metafunction because there are two processes in this movie poster,
there are mental processes and existential processes. Mental processes occur in the
Home Alone 3 movie poster, the word „Ready‟ here shows an attitude related to
feeling. There is no senser in the sentence, but viewer will know that the sentence
refers to the main actor, Alex, so that the senser here is Alex as the main character
in this movie. This sentence means that Alex is always ready for what will happen
to him whenever and wherever.
The existential process occurs in the second secondary announcement on
this movie poster, marked by the word „There‟ which is a clause of the existential
process, this process explains the existence of Alex as a new resident in the block.
4.2.4 Home Alone: Taking Back The House

Below are the results of analysis of the poster for the fourth movie, the
title is Home Alone 4: Taking Back The House. The explanation of this analysis
contains the visual elements found in this movie poster, the meaning of the visual
elements, the verbal elements and their meanings
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The visual elements found on this movie poster consist of the display, lead
and some emblems.
a) Lead
Just like movie posters in general that make the main character LoA in the
movie poster, LoA on this movie poster is the main character who is depicted in a
larger size than the other participants, but only shows part of his face, so that the
audience can see the main character's face definitely clear and extensive.
Figure 4. 16 LoA in Home Alone 4: Taking Back The House

Meanwhile the Comp.LoA on the movie poster Home Alone 4: Taking
Back The House are two participants who are in the background or beside LoA,
two criminals who enter the house, just like LoA which only shows its head, so
that the audience only focuses on facial expressions showed.
Figure 4. 17 Comp.LoA in Home Alone 4: Taking Back The House

LoA and Comp. The LoA in the poster for Home Alone 4: Taking Back
The House is placed side by side and the focus is on facial expressions, this is
done so that the audience can compare the expressions between the three
participants or between LoA and Comp.LoA, so that the audience can infer the
characteristics or even the roles of the characters in the movie.
b) Display
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This fourth movie poster is simpler than the previous movie posters, the
poster in this movie only has three participants including the main character and
two supporting actors, but because there is no symbol to represent this movie, it is
included in the explicit type.
Figure 4. 18 Display in Home Alone 4: Taking Back The House

c) Emblem
The visual emblem found in this movie poster same with the previous
movie posters, the visual emblem contained in this movie poster is only found in
one emblem, the position is in the middle of the movie title, it is the red house
logo which is definitely attached to this movie.
Figure 4. 19 Emblem in Home Alone 4: Taking Back The House

In the fourth movie poster there is also a child with a shocked expression
with widened eyes and raised eyebrows while his mouth is wide open with his
hands cupping his cheeks. Beside the object, there is a man and a woman who
seem to be peeking behind the door. The following is the result of a visual
analysis of the Home Alone 4 movie poster
As previously mentioned, there are three participants in this movie poster,
it is a small child, a man and woman. The eyes of the participants do not stare or
point at each other, they both look directly at the viewer, so the process that
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occurs in this poster is a non-transactional process. The vector is formed by the

gazes of the participants at the viewer, but the small child here expresses his
surprise at something that is beside him, this means that the small child is a
reacter, while the two people beside him are actors or phenomena that make the
small child surprised.
Several types of conceptual processes occur in this process, consist of
analytical, classification process and symbolic process. The analytical process in
this poster occurs in facial expressions, the clothes worn by the participants and
the background on the movie poster.
The classification process occurs in the two participants on Alex's left,
they are placed parallel to the top and bottom, their sizes are the same and
intimidating expressions are also present for both of them, this shows that they are
one group.
The symbolic process that occurs in this poster is a symbolic suggestive
process because the items brought by the participants are not visible, so the viewer
is only focused on what the participants express, especially the main object in this
poster. According to Kress and Leeuwen (2006) symbolic suggestive processes
represent meaning and identity as coming from within, as deriving from the
qualities of the carrier themselves.
The eyes of the participants in this poster look straight at the viewer, but
the eyes of the child are more dominant, causing the attention of the viewer to be
taken by the child first. This indicates a request from the participant, seen from his
expression that shows surprise, as if he desires to enquire the viewer for help.
The main object in this poster is depicted using a close up shot so that the
expression of the participant looks definitely striking, and with social distance in
the form of intimates he desires to be seen as someone close to the viewer,
whether in the form of children or his own family.
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The position of the participants who are on the left and right produce the
value of giving and new information. The criminals on the left are given, while
the little boy is something new to the viewer.
The small child in this poster is depicted in a larger size but only the head
is visible, so that viewer can see the hair, eyebrows, eyelashes, eyes, nose, mouth
and even the structure of the teeth which are clearly visible, therefore this small
child is used as the main object in this poster.
One man and one woman on the left side of the poster are placed parallel
up and down and straight, but between them and Alex there is a line in the form of
a door in the background, it can be seen from the round doorknob and the wooden
motif which is the hallmark of the door, this indicates the existence the boundary
between the participant on the left and alex, can be interpreted in this poster there
is a framing so that it shows the existence of p=individualism and the difference
between the participant on the left and the participant on the right.

In the poster movie Home Alone 4: Taking Back the House, only one
verbal element found, it is the words „HOME ALONe 4‟ which are in the title of
the movie and are placed at the top of the movie poster with an underline.
4.2.5 Home Alone: The Holiday Heist

Below are the results of analysis of the poster for the second movie, Home
Alone: The Holiday Heist. The explanation of this analysis contains the visual
elements found in this movie poster, the meaning of the visual elements, the
verbal elements and the meaning of verbal elements

The poster for the movie Home Alone: The Holiday Heist is similar to the
movie poster Home Alone 4, the appearance is simpler and there are only a few
elements, for visual elements here there are three visual elements in general,
include of leads, displays and emblems.
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a) Lead
On the Home Alone: The Holiday Heist movie poster, the LoA is a blonde
haired boy wearing a blue jacket with a white zipper with a shocked expression,
while Comp. LoA on this movie poster is the background of this poster, it is a
house decorated with trinkets and snow falling from the clouds. From the clothes
worn and the presence of snow falling, it shows the setting of the time of the
movie, during winter, coupled with the house decorated with christmas knick-
knacks, it shows the setting of the place that is at home at or around christmas.
Figure 4. 20 LoA in Home Alone: The Holiday Heist
Figure 4. 21 Comp. LoA in Home Alone: The Holiday Heist

b) Display
The type of display on the Home Alone: The Holiday Heist movie poster is
explicit, there are no symbols to display the product or movie, the title of the
movie and the main actors are also listed on the poster, the setting of the place and
time is also mentioned on the poster.
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Figure 4. 22 Display in Home Alone: The Holiday Heist

c) Emblem
Just like other Home Alone movie posters, the movie poster on Home
Alone: The Holiday Heist also uses a distinctive logo which is located in the
center of the title which is located at the top, it is the red funnel house logo.
Figure 4. 23 Emblem in Home Alone: The Holiday Heist

This movie poster looks simpler than the previous movie poster, in this
movie poster there is a golden brown haired child with a shocked expression and
cupping his cheeks with both hands, he is wearing a navy blue sweater with a
white zipper, he seems to be standing in front of his house which is decorated with
christmas knick-knacks and snow falling. The following is the result of a visual
analysis of the movie poster Home Alone:The Holiday Heist.
In this movie poster there is only one participant, he stares straight at the
viewer, so there is no transaction process or better known as a non-transaction
process. He is just reacting to an unknowable phenomenon because he is the only
one in the poster.
There is only one type of process found in the conceptual process, it is the
symbolic process that include the symbolic suggestive process, because there is
only one participant. According to Kress and Leeuwen (2006) symbolic
suggestive process has only one participant, the carrier. With warm clothes and
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snow falling, indicating that the events in the poster are in winter. The house
decorated with christmas knick-knacks is also included in the time setting in the
movie. The setting that show in the poster is at night or before christmas.
A straight eye view of the viewer means that he is demanding something,
not offering, while the type of shot is in the form of a medium close shot because
only the face and shoulders of the participant are visible, while the social distance
created is in the form of close personal distance, he desires to be known by
viewer, he desires to be considered a person who is close to the viewer, maybe he
desires to be regarded as a child of the viewer because of his young age.
There are only two types of compositional processes in this movie poster,
consist of information value and salience. Unlike the previous posters where the
main object was placed on the right as new, in this movie poster the main object
was placed on the left as given, this is nothing new to viewer.
There is only one participant whose attribute color is almost the same as
the background, only their skin color is lighter than the object in the movie poster,
so that viewer are only focused on their faces and expressions.

The results of the verbal element analysis on the Home Alone: The
Holiday Heist movie poster only contain one element, it is announcement, but the
announcement here is quite complete because it includes primary and secondary
announcements.
The primary announcement on this poster is the title part of the movie,
namely 'Home Alone' which is printed in a larger size than the sentence below it,
the font used is white so it contrasts with the background and uses capital letters,
except for the letter 'e' in the word „ALONe‟.
Meanwhile, the secondary announcement on this poster is a sentence
located under the title, more correctly the sentence 'The Holiday Heist', printed in
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a smaller size than the movie title or primary announcement, and uses red color so
that it looks not united or separated from the primary announcement.

Table 4.20 Textual Metafunction
THE HOLIDAY HEIST

Theme Rheme
The secondary announcement contained in Home Alone: The Holiday

Heist is the sentence 'THE HOLIDAY HEIST' itself, the word 'THE HOLIDAY'
here is included in the theme, so if the word 'THE HOLIDAY' is omitted then the
next word 'HEIST' has no meaning or can confuse the reader.
CHAPTER V
CONCLUSION AND SUGGESTIONS
This is the last chapter of this study that consists of conclusion taken from
the findings and discussions of multimodal discourse analysis study on the Home
Alone movie poster. Beside that, this chapter also contains suggestions from the
researcher to the future researchers who use the same topic.
5.1 Conclusion
This study uses five data sources as follows Home Alone 1990, Home
Alone 2: Lost in New York, Home Alone 3, Home Alone 4: Taking Back The
House, Home Alone: The Holiday Heist. The researcher uses three theories, there
are the Generic Structure of Potential by Cheong (2004) to answer the first and
second research questions, there is the visual and verbal elements contained in the
movie poster. The second theory uses theory from Kress and van Leeuwen (2006),
it is Visual Grammar theory to answer the second research question in the form of
the visual meaning contained in the movie poster. The last theory is the theory to
answer the third research question in the form of the meaning of verbal elements
using Systemic Functional Linguistics by Halliday (2004).
In addition to visual elements, there are also verbal elements that are often
found in Home Alone movie posters, those elements consist of 16 announcements,
3 enhancers, 4 tags, one call and visit information and no verbal emblems were
found in all Home Alone movie posters. The total verbal elements found in all
Home Alone movie posters are 24 verbal elements with details of 5
announcements, 1 enhancer and one tag on the Home Alone 1990 movie poster.
On the following movie posters there are 5 announcements, 1 enhancer and 2 tags.
Whereas on the Home Alone 3 movie poster, 1 announcement, 1 tag and 1 call and
visit information were found. On the movie poster Home Alone 4: Taking Back
The House there is only 1 announcement. Almost the same as the previous movie
poster, the last movie poster only has two announcements. On the movie posters
Home Alone, all of them go through the processes described in the visual
grammar, be it representational structure which include
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81
narrative processes in the form of actors as well as reactors, analytical processes,

classificational processes, and symbolic processes. On the last movie poster,
Home Alone: The Holiday Heist, there is no classificational process because there
is only one actor in the poster. Meanwhile the symbolic process that occurs is a
symbolic attributive process, except for the fourth and fifth movie posters which
are suggestive symbolic process.
Besides the representational structure, there is also interactive meaning
that consists of gaze and social distance. all Home Alone movie posters demand to
the viewer and the social distance that occurs is close personal distance, except the
third movie poster which uses far personal distance and the fourth movie poster
which uses intimate distance as its social distance to the viewer.
The last visual grammar is compositional meaning which is divided into
three, there are information value, salience and framing. The information value
contained in this movie poster is give-new, while salience often occurs in the main
object or in the actor who becomes LoA in the poster. The last one is framing
which is found on all movie posters except for the last movie poster because there
is only one participant.
The metafunction of language contained in the secondary announcement
on the Home Alone movie posters are ideational and interpersonal. There are 11
ideational metafunctions found with details of 2 material processes, 3 behavioral
and 1 relational process on the Home Alone 1990 movie poster. In Home Alone 2:
Lost in New York there are only 3 material processes. Whereas on the Home Alone
3 movie poster there is 1 mental process and 1 existential process. Interpersonal
metafunctions are also found in only one movie poster in Home Alone 1990 and 1
textual metafunctin found in Home Alonee: The Holiday Heist.
So, all movie posters have 1 lead, 1 display and a different number of
visual emblems. In movie posters, especially Home Alone movie posters, the
researcher found lots of announcements in the form of one primary announcement
and several secondary announcements. The enhancers found in the Home Alone
movie posters are one each, except for the fourth and fifth movie posters. The
number of tags found is also not too much, there are only 4 tags overall. There is
82
no verbal emblem found in the poster for Home Alone and there is only one call
and visit information for Home Alone 3. All posters for this movie also contain
representational structure, interactive meaning and compositional meaning. The
dominant metafunction used is the ideational metafunction, 1 interpersonal and 1
textual metafunction.
5.2 Suggestions
This study analyzes all the elements in the Home Alone movie poster, both
the visual and verbal elements and the meaning of the two elements. However, the
Home Alone movie poster can not only be analyzed using the theory used by the
researcher, this movie poster can also be analyzed using the theory of connotation
by Chandler and intersemiotic complementarity by Royce. Not only that, the
verbal elements in the Home Alone movie poster can be analyzed not only by
Halliday's Systemic Functional Linguistics theory but also by Gee's seven
building task theory. So, the researcher suggest to the future researchers who take
the same topic will examine the Home Alone movie poster using a different
theory.
As is well known that multimodal is not only limited to movie posters but
also to product advertisements, magazine covers, videos and newspapers,
therefore the application of the theory used by researchers is not only for movie
posters but can also analyze other types of multimodal. This research can also be
used as a reference and enrichment of knowledge for future researchers on the
same topic
REFERENCES
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to research in education. Cengage Learning
Cheong, Y. Y. (2004). The Construal of Ideational Meaning In Print
Advertisements (in K. L. O‟Halloran (ed.); Multimodal). London and
New York: Continuum.
Chomsky, A. N. (2006). Language and mind. Cambridge, U.K.: Cambridge
University Press.
Creswell, J.W. (2014) Educational research: Planning, conducting and
evaluating quantitative and qualitative research. Harlow, Essex:
Pearson.
Darliati, D., & Mahmud, M. (2020). An Analysis of Semiotic Signs in
Romance Movie Posters. Research in English and Education
Journal, 5(4), 139-153
Gee, J. P. (2010). How to do discourse analysis: A toolkit. New York:
Routledge.
Handford, M., & Gee, J. P. (2013). The Routledge Handbook of Discourse
Analysis. Routledge.
Halliday, M. A. (1987). Language as social semiotic: The social
interpretation of language and meaning. London: Arnold.
Halliday, M. (2004). An introduction to functional grammar. London: Hodder
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Harrison, C. (2003). Visual social semiotics: Understanding how still images
make meaning. Technical communication, 50(1), 46-60.
Herniti, E. (2010). Bahasa Dan Kelahirannya. Adabiyyāt: Jurnal Bahasa Dan
Sastra, 9(1), 107. doi:10.14421/ajbs.2010.09106.
Home alone. (1990, November 16). Retrieved November 27, 2022, from
https://www.cinematerial.com/movies/home-alone-i99785/p/4ctxix4g.
Home alone 2: Lost in New York. (1992, November 19). Retrieved
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https://www.cinematerial.com/movies/home-alone-2-lost-in-new-york-
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Home alone 3. (1997, December 12). Retrieved November 27, 2022, from
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i119303/p/rrrrkoe8.
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holiday-heist-i2308733/p/kgm2d1tm.
Hornby, A. S. (2006). Oxford Advanced Learner S Dictionary of current
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O‟Halloran, K. L. (2011). Multimodal discourse analysis. Continuum
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APPENDIX
1. Home Alone (1990)
2. Home Alone 2: Lost In New York (1992)
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3. Home Alone 3 (1997)
4. Home Alone 4: Taking Back The House (2002)

87
5. Home Alone 5: The Holiday Heist (2012)

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A MULTIMODAL DISCOURSE ANALYSIS OF HOME ALONE

ENGLISH STUDY PROGRAM

Submitted as Partial Fulfilment of the Requirements for the

ENGLISH STUDY PROGRAM

MULTIMODAL DISCOURSE ANALYSIS OF HOME ALONE

This thesis has been taken into seminar and

Approved by, Bangkalan, 25 July 2023

Head of Department of Social and Advisor,

Dr. Sriyono, S.S., M.Hum. Dr. Rosyida Ekawati, S.S., M.A.

This thesis is written by:

THE BOARD OF EXAMINERS

Examiner I : Dr. Masduki. M.Pd ( )

Examiner II : Afiifah Al Rosyiidah, S.S., M.Pd ( )

Examiner III : Dr. Rosyida Ekawati, S.S., M.A ( )

Hereby, I, Sirrotul Anjalina pronounce that this thesis entitled “A

Bangkalan, 25 July 2023

‫س ًرا‬ ْ ‫فَإِنِ َم َِع ٱ ْل ُع‬

‫س ًرا‬ ْ ‫إِنِ َم َِع ا ْل ُع‬

This thesis is dedicated to:

My beloved Parents, Sister and My Cute

As the academician cavity at University of Trunojoyo Madura, I who assign

Name : Sirrotul Anjalina

A Multimodal Discourse Analysis of Home Alone Movie Posters

This pronouncement for properly usage.

Bismillahirrahmanirrahim, the writer says Alhamdulillah to the greatest

Bangkalan, 25 July 2023

Anjalina, Sirrotul. 190511100003. English Study Program. A MULTIMODAL

Anjalina, Sirrotul. 190511100003. Program Studi Sastra Inggris. A

Kata kunci: Home Alone, Poster Film, Verbal, Visual.

TITLE PAGE (COVER) ........................................................................................ii

Table 2. 1 Types of Display in A Print Advertisement ........................................... 9

Figure 2. 1 Generic Structure of Potential (Adopted from Cheong, 2004) ............. 8

This chapter is the introductory part of this study, which consists of

1.1 Background of the Study

billboard). Movie posters must be designed as attractive as possible to

1.2 Research Questions

1.3 Objectives of the Study

1.4 Significance of the Study

1.5 Scope and Limitation of the Study

2.1. Discourse Analysis

2.2 Multimodal Discourse Analysis

language, but include in it the full range of communicational forms such as

Figure 2. 1 Generic Structure of Potential (Adopted from Cheong, 2004)

2.3.1 Visual Element

Different from LoA, the complement to the locus of attention (Comp.LoA)

Figure 2. 2 Lead in The M1 Advertisement (Adopted from Cheong, 2004)

Table 2. 1 Types of Display in A Print Advertisement

Types of Display Description

Figure 2. 3 The Emblem in The M1 Advertisement (Adopted from Cheong, 2004)

Figure 2.4 Emblem Verbal in Epson advertisement

Table 2. 2 Types of Announcement

e) Call and Visit Information

Figure 2. 5 The Linguistic Elements in The M1 Advertisement (Adopted from

2.4 Visual Grammar

2.4.1 Representational Structures

2.4.1.1 Narrative Process

2.4.1.1.1 Action Process

analogues to the intransitive verb, so, the transactional process analogues to