Analyzing Visual Narratives: Fly Emirates vs Snow Travel Expo Posters

1 A Visual Journey: Analyzing the Fly Emirates and Snow Travel Expo Posters Students name Institution affiliation Course Date

2 Introduction Visual communicators always try to use pictures rather than words when expressing ideas (Worth, S., 2016.). This is where the Fly Emirate and Snow Travel Expo posters work efficiently at narration. Each poster takes an audience to the realm of the infinite wealth of the skies and the other to the horrors of snowboarding. The visual narratives are analyzed with these analytical frameworks at different symbolic, interactive, and compositional levels (Kress, G.et al. 2006). Hence, this work focuses on individual aspects and nuances that define such expressions of meanings and ideas. This section will discuss the aesthetic aspects of composition, symbolism, and social interaction of the Fly Emirates billboard. The second thing is to interpret the Snow Travel Expo poster in conjunction with its visual elements and implied meanings of the text it contains. The final part will unite by demonstrating each poster's unique features and intended emotions. This article examines how the alluring visual stories prepared for winter wonderland journeys and first-class flights change from adverts to irresistible invitations to the destinations they describe. Body Fly Emirates Poster Analysis Interactional Resources Fly Emirate’s advertisement does well because of the precise coordination of several related elements towards creating an impression of sophisticated luxury (Novitz,1977). A valid picture, one of the requirements by Kress and Van Leeuwen (2006), is one where the participants within the image act within the confines of the set social norms. Marketing the airlines by having them positioned just like the bartender has the other women positioned emphasizes the consumer

3 focus. This purchase makes sense, considering that anyone who would fly first or business class will expect to get rich, individualized attention. Compositional Resources It is essential to note the strategic use of frames to direct the viewer's focal point to specific compositional resources in an exact manner. Curating a composition whereby the bar becomes the pivotal point of visual focus, with focal attention directed toward the lounge setting. The calculated framing is not arbitrary, as it constructs a story around the luxury and exclusivity of the subject matter (McMurtrie et al., 2010). It is also worth noting how colour is deployed strategically in the overall composition. The ladies' pink outfits help to make the visual presentation homogeneous while, and at the same time, they function as deliberate representations of glitz and style. Aesthetically speaking, this is not just about decoration but more about designing another visual feature that blends in the general light to create a feeling of sophistication. The careful consideration of the colour and light also conforms to Kress and van Leeuwen's statement that composition indicates what should be considered necessary in the image (2006). Here, the consistency in colour selection and lighting leads towards luxury— lounging on the Fly Emirates. Representational Resources Similarly, these phrases offer vocal, written backup reinforcement to the specified signals. "The verbal and visual should reinforce each other, creating a harmonious whole" (Kress & van Leeuwen, 2006, p. 199). The textual cues make the message stronger by adding weight to it. The poster captures the heart of efficient Communication by stressing the relationship between the visual elements of the message and its words. They make up the voice part of the idea of total

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4 flight. Kress and van Leeuwen (2006) state that "the verbal-visual should reinforce each other to create a harmony." The harmonized signage makes the poster presentable; the signs and messages complement each other, highlighting the main points of the message. The Fly Emirates poster combines visual and linguistic elements to achieve harmony in communication effectiveness (Hodge et al.,1988). The integration of visual and verbal signals and the use of lavish symbols and words tell a lot concerning this airline that offers supreme first-class service. There is also the coordination of visual and verbal signals. Analyzing the Snow Travel Expo Poster: Interactional Resources In the case of the Snow Travel Expo poster, the interactive component of interaction resources encourages the viewer's participation with a dynamic approach. Besides the skater, who seems to be at the centre, the whole scene is dynamic, and the audience is invited into participation, mentally experiencing the winter sport. The skater's posing is highly dynamic and implies mobility; consequently, it creates movement in the still frame, engaging the observer to empathize with this winter scene and feel an instinctive reaction. Additionally, the intentional use of purple for the skater's apparel and the typographic elements heightens the interactive aspect. The colour purple is commonly linked to creativity and luxury and, therefore, acts as a visual indication for viewers to get fully involved in the story. The colour makes an immediate impact, which inspires people that winter sport is sophisticated and unique. The saying "WHY THE HELI NOT GIRLS" illustrates how the interactional resources work. The use of such a word, albeit a mere declaration, defies conventional gendered roles, as it also provokes the audience to join an interchange on issues of belongingness. Direct

5 speech lends a conversational touch, encouraging viewers to question conventional notions of 'what is' expected from women while participating in winter sports. Additionally, the combination, which places the skater in the centre stage and the phrase that catches the eye's attention simultaneously, composes some visual dialogue. Instead of seeing a passive observer, the viewer is a subject involved in translating and unravelling the complex messages delivered by the poster. In correspondence with Kress and van Leeuwen's position on effective visual Communication, the viewer should be encouraged to actively construct meaning (Kress & van Leeuwen, 2006). Compositional Resources : Through the judicious use of purple in its textual content and the skaters' clothing, the Snow Action Travel Expo poster tells a visually enticing story. Purple tones in the writings, as well as in the outfit of the skater, give a hint of luxury and self-confidence against this winter backdrop, according to Kress & Van Leeuwen (2006). The use of purple in making this poster is significant, as purple usually symbolizes royalty and intelligence. This use of colours intends to provide a visual lure into the luxury and snow through which people must walk to access what the expo has promised. According to Kress and van Leeuwen, "it is the way of composition that brings out a perception in the image" (2006). The use of colour is also deliberate, aiming at drawing the visitors to see how uplifting and grandiose the shows will be despite the snow. (Hasan, Ruqaiya 1989). Representational Resources Using colour association with women in winter sports, "WHY THE HELI NOT GIRLS" in bright purple writing (Kress & van Leeuwen, 2006, p. 102 ). The rhetorical question

6 highlighted in purple invokes certainty subtly, prompting women to break stereotypes and venture into adventure games. The purple ink is a physical reminder of the challenge to feminine conventions and encourages female readers to explore and enjoy the excitement concealed in the snowscape. As per Kress and van Leeuwen (2000), pg. 124 Visual communication entails implicit persuasion. In this context, the question, in purple, functions as an appeal to take part in interacting with the subject matter. As asserted by Kress and van Leeuwen, the color on this travel expo poster is not just for the visual aesthetic but also somatically challenges preconceived perceptions and draws a diverse audience into the fun of snow action sports. Distinctive Features Distinctive Features of the Fly Emirates Poster: In particular, the Fly Emirates poster shows how visual Communication can be so powerful as to communicate about elegance and luxury. Careful use of interactional resources captures a moment in personalized service – two elegant ladies dressed to kill in a lounge (Kress & van Leeuwen, 2006). In line with this, the deliberate composition draws on the A350 Onboard Lounge, signifying luxury in air transport (Kress & Van Leeuwen, 2006). The bar symbolizes representational resources, which, together with carefully selected textual cues, build around one unifying claim- promises of a first-class flying experience. Indeed, this method suits Kress and van Leeuwen's analytical framework outlined in their book on visual communications (Kress & van Leeuwen, 2006). Distinctive Features of the Snow Travel Expo Poster: Unlike the Snow Travel Expo poster, which was based on the principle of multimodality and systemic functional linguistics (Eggins, 1994; Idema, 2003), creating a captivating

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7 representation in motion that entails curiosity and involvement of all. The viewers are actively engaged in experiencing winter wonderlands by interacting with them through a dashing skater whose posture invites mental interaction (Kress & van Leeuwen, 2006). A unique visual narrative is created because of the powerful juxtaposition of the skater's image against the tranquil background of the ice (Kress & van Leeuwen, 2006). The representational resource is not restricted to the sole skater. It includes some striking textual features such as stereotype busting and promotion of inclusivity in winter games (Kress & Van Leeuwen, 2006). "WHY THE HELI NOT GIRLS" is an empowering phrase that means girls can do or are equal to boys (Kress & van Leeuwen 2006). Idema (2003) argues that discourse as a multi-semiotic practice enhances the communicative power involved in visual design. Comparatively, the two posters diverge in their emotional tones, atmospheres, and narratives. The Fly Emirates poster radiates refined luxury within the aviation context, while the Snow Travel Expo poster beckons viewers into a dynamic and adventurous world of winter sports. Each poster strategically employs symbols, representations, colors, and aesthetics to convey its unique narrative, catering to different emotions and aspirations (Kress & van Leeuwen, 2006). Together, they exemplify the versatile and powerful nature of visual Communication, where distinct messages are crafted to leave lasting impressions on their intended audiences (Kress & van Leeuwen, 2006). Conclusion In conclusion, the analytical exploration of the Fly Emirates and Snow Travel Expo posters unveils distinct characteristics shaped by principles of visual design and Communication. The Fly Emirates poster, epitomizing luxury air travel, strategically deploys interactional and

8 representational resources to convey sophistication and exclusivity (Kress & van Leeuwen, 2006). The deliberate composition, symbolized elements, and carefully chosen textual cues create a narrative that aligns seamlessly with the brand's commitment to providing a premium flying experience (Kress & van Leeuwen, 2006). This analysis resonates with the theoretical foundations laid by Kress and van Leeuwen in their work on visual Communication (Kress & van Leeuwen, 2006). Conversely, the Snow Travel Expo poster, influenced by multimodality and systemic functional linguistics principles, crafts a dynamic representation of winter sports that is adventurous and inclusive (Eggins, 1994; Idema, 2003). Interactional and representational resources work in tandem to engage viewers in the thrill of winter wonderlands, challenging stereotypes and advocating for inclusivity in winter sports (Kress & van Leeuwen, 2006). The deliberate use of color, symbols, and empowering phrases constructs a narrative that aligns with contemporary discourse on diversity and inclusivity (Kress & van Leeuwen, 2006). Comparatively, these posters showcase the diverse capabilities of visual Communication. The Fly Emirates poster and the Snow Travel Expo poster cater to distinct emotions, aspirations, and interests, exemplifying the versatility of visual design and its power to convey nuanced messages (Kress & van Leeuwen, 2006). Each poster strategically utilizes symbols, representations, colors, and aesthetics to construct a unique narrative, leaving a lasting impression on their intended audiences (Kress & van Leeuwen, 2006).

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10 References. Arnold. Halliday, M. A. K. and Matthiessen, C. M. I. M. (2004). An introduction to functional grammar. 3ª ed. London: Arnold Barthes, R., (1999). Rhetoric of the Image. Visual culture: The reader, pp.33–40. Eggins, Suzanne (1994). An introduction to systemic functional linguistics. London: Pinter. Halliday, m. A. K. (1973). Explorations in the functions of language. London: Edward Hasaan, Ruqaiya (1989). Linguistics, language, and verbal art. Oxford: Oxford University Press. Hogg, J. (ed.) (1969). Psychology and the Visual Arts, Harmond Idema, R. (2003). "Multimodality, refermionization: extending the analysis of discourse as multi- semiotic practice." Visual CommunicationCommunication, vol. 2, nº 1. Los Angeles, London, New Delhi, Singapore, and Washington DC: Saga, pp. 29-57 Kress, G., & van Leeuwen, T. (2006). Visual Communication: An Analytical Framework . Kress, G. and Van Leeuwen, T., 2020. Reading images: The grammar of visual design . Routledge. Kress, Gunther and van Leeuwen, Theo (1996[2006]). Reading images: the grammar of visual design. 2ª ed. London: Routledge. McMurtrie, r. J. (2010). "Bobbing for power: An exploration into the modality of hair." Visual CommunicationCommunication, vol. 9, nº 4. Los Angeles, London, New Delhi, Singapore, and Washington DC: sAgA, pp. 399–424. g and Design (pp. 705–716). Novitz, D. (1977). Pictures and their Use in Communication, The Hague, Nijhoff

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12 Appendix Fly Emirates poster

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13 Snow travel expo.

Exam .CAPS.edited

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