Journal of Literature, Languages and Linguistics www.iiste.

org
ISSN 2422-8435 An International Peer-reviewed Journal
Vol.101, 2024

Femvertising: A Multimodal Discourse Study of Female Video

Advertisements from the Perspective of Visual Grammar
Yi Zong
College of Foreign Studies, Nanjing Agricultural University, No.1,
Weiguang, Xuanwu District Nanjing 210000, China
* E-mail of the corresponding author: 21121222@stu.njau.edu.cn

Abstract
Femvertising (female empowerment advertising) has garnered significant attention in contemporary mass media.
It is both a multimodal discourse and feminist discourse embedding complex layers of feminist meanings within
its text. The complexity of meanings is due to the message delivered in advertisement which is not only used
verbal language but visual image as well that work together as a unit of meaning. Under the guidance of the
Visual Grammar theory of Kress & Van Leeuwen, this paper conducts a qualitative and quantitative multimodal
analysis of the femvertising, to look at any multimodal elements which comprise the femvertising and how these
elements express meanings. The results suggest that femvertising effectively conveys representational,
interactive, and compositional meanings. Despite its diverse manifestations, femvertising represents a conduit for
deeper insights into the intersection of visual and linguistic elements, but also contributes to a broader
comprehension of feminist perspectives, enriching discussions on social cognition, cultural identity, and the
dynamics of advertising.
Keywords: Visual Grammar, Femvertising, Multimodal Discourse
DOI: 10.7176/JLLL/101-03
Publication date: April 30th 2024

1. Introduction
Feminism, originating in the mid-19th century with suffragettes advocating for women’s voting rights, has
evolved over time, notably marked by milestones like International Women’s Day, which champions women’s
rights and celebrates their achievements. The advent of the Internet and media technology has ushered feminism
into a new era, often termed as the “fourth-wave feminism” (Benn, 2013). In line with these developments,
advertising, has also embraced remarkable changes. The concept of “femvertising”, derived from female
empowerment advertising, has emerged. Going beyond the traditional promotion of products and services,
femvertising aims to communicate messages of female empowerment, confidence, and autonomy. By
showcasing the diverse experiences and aspirations of women, femvertising dismantles stereotypes and fosters
greater societal understanding and respect for gender equality.
This thesis aims to investigate femvertising, a prominent form of feminist discourse, within the theoretical
framework of Kress & Van Leeuwen’s Visual Grammar (VG) theory, by employing a comprehensive approach
integrating both quantitative and qualitative methods, to explore its representational meaning, interactive
meaning, and compositional meaning of femvertising, while examining its multimodal characteristics.
This study holds significance in expanding the scope of Visual Grammar theory by employing multimodal
discourse analysis to investigate femvertising. It reaffirms the utility of Visual Grammar theory in examining
female discourse, highlighting its efficacy in unpacking complex visual and linguistic interactions within
advertising narratives. Furthermore, discourse constructs social identities, relationships, and systems of
knowledge and meaning. As Fairclough (2003) posits, discourse not only reflects changes in societal culture but
also catalyzes them. Therefore, an examination of female discourse could provide valuable insights into societal
dynamics and unveil its profound impact on social structures and cultural metamorphoses.

2. Literature review
2.1 Visual grammar
Kress & Van Leeuwen (1996) propose a framework for image analysis based on Halliday’s three meta-functions
under his Systemic-Functional Grammar, where images are regarded as social semiotics. Their Visual Grammar
theory introduces “representational meaning”, “interactive meaning,” and “compositional meaning” as
corresponding key elements for image analysis. This theory recognizes that images, like language, serve as
social semiotics capable of expressing various themes and meanings. Through a multimodal discourse analysis
approach, Visual Grammar examines the metafunctions in images and explores the interplay between language
and image, thus elucidating the mechanisms of discourse and enhancing readers’ comprehension of visual
messages.
Previous studies on multimodal discourse from the perspective of Visual Grammar mainly focused on
movie posters ( Hu, 2019; Zhao, 2023) and commercial advertisements (Pratiwy & Wulan, 2018；Wang, 2020).

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ISSN 2422-8435 An International Peer-reviewed Journal
Vol.101, 2024

These studies typically employ qualitative analysis methods to examine images or selected frames, enabling
viewers to delve into the implications and meanings conveyed by media texts from new perspectives.
However, there is a scarcity of research on feminist discourse within the context of Visual Grammar theory.
The application of Visual Grammar theory to feminist discourse analysis assists in the interpretation of gender
representations, revealing how media shapes and communicates perceptions of gender roles. Furthermore, it aids
in uncovering power structures and cultural influences embedded within feminist discourse. Existing studies in
this area often suffer from methodological limitations, relying on subjective data sources and employing limited
research approaches.

2.2 Femvertising
Feminist discourse analysis has emerged as a comprehensive approach for understanding the power dynamics of
language. Stemming from linguists’ focus on gendered interactions and feminist scholars’ critique of language as
a tool of patriarchy, this analytical framework scrutinizes how discourse constructs categories of inclusion and
exclusion within a patriarchal society. It also recognizes the intersections between discourse and other
hierarchical structures.
Femvertising, a prominent form of feminist discourse, has been defined variably by scholars. The term
gained recognition in 2014, when the lifestyle platform SheKnows hosted an Advertising Week panel on the
subject in October of that year (Ciambrello, 2014). During this discussion, “femvertising” was employed to
characterize modern advertising campaigns that challenge traditional female stereotypes. With the rise of the
fourth wave of feminism, coupled with the emergence and increased popularity of social media, femvertising has
experienced exponential growth in popularity over the past decade. Åkestam et al. (2017) defines femvertising as
“advertising that challenges traditional female advertising stereotypes”, while Kapoor and Munjal (2019) argue
that it aims to “create awareness, breaking stereotypes surrounding the role of women in society”. The
underlying concept of femvertising suggests that brands can empower women not only by selling products or
services but also by dismantling stereotypes and influencing society as a whole (Ciambriello, 2014; Kapoor and
Munjal, 2019).
In the field of sociology, there have been burgeoning studies investigating topics as diverse as female
liberation (Ford et al., 1991; North, 2014), the interrogation of female stereotypes (D’Alessandro & Chitty, 2011;
Halliwell & Dittmar, 2004), and engagement with socio-political issues (Guzman et al., 2017; Schmidt et al.,
2021). While various studies have scrutinized specific aspects of female portrayals, such as body size
(D’Alessandro & Chitty, 2011) or attractiveness (Buunk & Dijkstra, 2011; Richins, 1991), femvertising typically
integrates multiple features simultaneously, thus focusing on the overall impression or holistic representation of
females in advertising (Åkestam et al., 2017).
Within the realm of advertising studies, the proliferation of femvertising indicates that contemporary brands
view it as an effective strategy to target female audiences (Åkestam et al., 2017). Research has shown that
femvertising impacts consumer reactions, leading to reduced ad reactance compared to traditional advertising
and subsequently fostering higher ad and brand attitudes. These effects are contingent upon consumer
perceptions of stereotypical portrayals within the advertisements (Åkestam et al., 2017). Femvertising is,
therefore, recognized as an advertising appeal. However, some studies indicate that certain brands use female
empowerment messages merely as promotional tools (Michaelidou et al., 2022).
Nevertheless, there is a relative scarcity of femvertising research from the perspective of multimodal
discourse analysis. Unlike typical feminist discourse, femvertising, as a form of multimodal discourse, utilizes a
variety of semiotic resources including language, technology, visual imagery, sound, music, color, and even
three-dimensional interaction. Through multimodal discourse analysis, the utilization of these diverse symbolic
resources within femvertising can be explicitly revealed, providing a comprehensive understanding of how
feminist discourse is presented and communicated. Moreover, multimodal discourse analysis helps uncover the
relationships among different semiotic resources in femvertising and their interaction with discourse power
dynamics. By integrating theories and methods from different disciplines, multimodal discourse analysis offers a
richer and more comprehensive perspective, facilitating a deeper understanding of femvertising and its societal
impact. Above all, it can be concluded that femvertising is a blend of both multimodal discourse and feminist
discourse.
To conduct a more comprehensive study, this study employs the Visual Grammar theory, which allows for
a deeper exploration of how various visual images interact to shape meaning and communicate messages related
to gender representation and stereotypes within femvertising campaigns. By integrating qualitative and
quantitative research methods, researchers can thoroughly examine the content and impact of femvertising.

3. Methodology
3.1 Research questions
With the advancement of artificial intelligence and digital media technology, visual elements have become

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ISSN 2422-8435 An International Peer-reviewed Journal
Vol.101, 2024

integral tools in advertising for constructing and conveying meanings. As societal perceptions of women’s roles
continue to evolve, a new advertising practice known as femvertising has emerged, which is considered as a
manifestation of feminism (Sobande, 2019). Increasingly, commercial brands targeting both female and male
consumers have delved into femvertising, recognizing its potential to resonate with diverse audiences. Therefore,
femvertising represents a typical multimodal discourse that offers a deeper understanding of dynamics. This
thesis aims to focus on the two most widely viewed women-targeted video advertisements from commercial
brands, typically showcased on International Women’s Day—a globally celebrated day to honor women’s
achievements and advocate for gender equality. These advertisements showcased on this occasion serve as
quintessential examples of femvertising. Based on the theoretical framework of Kress & Van Leeuwen’s Visual
Grammar (VG) theory, this thesis aims to address the following two primary research questions:
1. How are the representational meaning, interactive meaning, and compositional meaning of femvertising
realized from the perspective of Visual Grammar?
2. What are the multimodal characteristics of femvertising from the perspective of Visual Grammar?

3.2 Data collection

This study focuses on femvertising as the research object, a topic widely explored by various commercial brands.
In order to ensure objectivity in the selection process, the author conducted internet searches to find two video
advertisements targeting distinct demographic groups: male and female consumers. According to Statista, a
global data and business intelligence platform, over 60 percent of new car buyers in the United States between
September 2020 and August 2021 were men, indicating a predominantly male consumer base in the automotive
industry. Hence, one selected advertisement pertains to the car industry, while the other is chosen from women’s
product brands. Consequently, the data in this report possess a certain level of authenticity and reliability.
Futhermore, all selected advertisements were released in 2023, thereby reflecting current design concepts and
trends. Based on these conditions, the study selects the most viewed ads from each category for analysis from the
perspective of VG, including one from Mercedes-Benz (with over 160k views) and another from a women's
lingerie brand NEIWAI（内外）(with over 700k views). Therefore, this study selects these two advertisements
through official websites, which is of high authenticity and reliability.
Mercedes-Benz ad selects various scenes to underscore the exceptional status of women in fields ranging
from racing to science to corporate leadership. These women are portrayed as making history by virtue of being
the first or the only female achievers in their respective domains. For International Women’s Day 2023,
Mercedes-Benz is conveying a powerful message for a shift in social norms where women are no longer viewed
as exceptions but rather as integral members of a diverse community of accomplished women.
On the other hand, NEIWAI explores the theme of women’s relationship with their bodies through the
medium of dance, highlighting that bodily sensations represent as a guiding force. Divided into three distinct
chapters, the advertisement delves into nuanced aspects of this dialogue. The first chapter, titled “The Discipline
of Beauty,” portrays women’s dance movements being continuously distorted and constrained by others. The
second chapter titled “The Suppression of Desire” depicts a scene where a man and a woman dance gracefully in
a subdued setting, prompting introspective questions from the female protagonist about the validity of her desires
“Is my desire inappropriate?” The third chapter titled “The Silence of Pain” captures the struggle of a woman
attempting to voice her experiences, only to be constantly pacified by others with reassurances of “It's nothing.”

3.3 Research Method

To expound upon construction of the three meanings within the Women’s Day advertisements, the study selects
the two most viewed advertisements obtained through official channels. Qualitative and quantitative research
methods are employed to analyze these advertisements.
In the qualitative research phase, this study undertakes a Multimodal Discourse Analysis (MDA) of the two
Women’s Day advertisements by applying the theoretical framework of VG. The representational meaning,
interactive meaning, and compositional meaning are analyzed respectively and in detail.
Subsequently, in the quantitative research phase, the frequency and proportion of the three identified
meanings within the two Women’s Day advertisements are manually marked based on VG.

3.4 Analytical Procedures

Firstly, this study separately analyzes two Women’s Day advertisements based on the VG theory. The frequency
and percentage of three main meanings (representational, interactive, and compositional) are calculated manually
along with their sub-meanings. The results are then presented in tables corresponding to each meaning. Through
this analysis, the multimodal characteristics of femvertising are summarized.
Secondly, a qualitative analysis method is employed to examine the representational meaning, interactive
meaning, and compositional meaning, along with their specific forms of expression. One example is provided for
each sub-meaning, except in cases where no corresponding visuals exist.

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ISSN 2422-8435 An International Peer-reviewed Journal
Vol.101, 2024

Finally, the study clarifies the multimodal characteristics of femvertising and how the three meanings
manifest in femvertising. To mitigate subjective bias, the author seeks input from their supervisor and peers,
especially when encountering uncertainty. This collaborative approach ensures a more objective analysis of the
findings. Those procedures are presented in Figure 1.

Figure 1. The Analytical Procedures

4. Results and Findings

4.1 Mercedes-Benz
4.1.1 Representational Meaning
Based on the ideational function of Halliday’s Systemic Functional Grammar (SFG), Kress and Van Leeuwen
(2006) propose the concept of representational meaning, including narrative process and conceptual processes.
The distinction between these processes lies in the presence of vectors in the picture. Table 1 illustrates the
distribution of representational meaning and its subcategories within Mercedes-Benz Women’s Day
advertisements.
Table 1. The Distribution of Representational Meaning in Mercedes-Benz Ad

Frequency Percentage

Narrative Process 10 53%

Conceptual Process 9 47%

4.1.1.1 Narrative Process

Figure 2. Males and Females in the Chessboard

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Vol.101, 2024

As demonstrated in Figure 2, in the metaphorical world of chess, a domain characterized by fierce

competition, the stark contrast between the black and white pieces serves as a symbolic representation of the
gender binary. As a female piece advances across the board, its movement transcends the confines of a mere
chess maneuver, embodying progress and the pursuit of equal opportunities for women within traditionally male-
dominated competitive arenas. The stark contrast between the black and white pieces underscores the stark
realities of gender inequality, while the forward momentum of the female piece represents a beacon of hope and
progress in the pursuit of gender parity. Through this evocative imagery, the advertisement communicates a
powerful message of empowerment and inclusivity, urging viewers to recognize the importance of leveling the
playing field and dismantling barriers to women’s advancement. It underscores the transformative potential of
individual actions in reshaping societal norms and fostering a more equitable and inclusive world for all genders.

Figure 3. The Girl Waving a Trophy

4.1.1.2 Conceptual Process
Figure 3 indicates that the portrayal of a young girl triumphantly waving a trophy while standing atop the
champion’s podium serves as a powerful symbol of the exceptional women and women who make history. It
underscores the pervasive belief that women can only earn respect and recognition once they achieve the highest
accolades. This portrayal highlights the inherent challenges women face in their pursuit of recognition and
success within a predominantly male-dominated landscape. Moreover, it subtly encourages viewers to question
and redefine the criteria for acknowledging the accomplishments of women.
4.1.2 Interactive Meaning
Interactive meaning is associated with the social relations between actors and the evaluative orientations that
participants adopt towards each other and to the represented world (Kress & Van Leeuwen, 1996: 110). This
meaning can be realized from four aspects: contact, attitude, distance and modality. Table 2 shows how these
aspects play out in Mercedes-Benz Women’s Day ads.
Table 2. The Distribution of Interactive Meaning in Mercedes-Benz Ad
Frequency Percentage

Contact 13 54%

Social Distance 0 0%

Perspective 11 46%

Modality 0 0%

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4.1.2.1 Contact

Figure 4. The Lab Girl Asserting Resolutely

Towards the conclusion of the video, Figure 4 shows that the girl in the lab coat gazes directly into the
camera and asserts, “I don’t want to make history. I don’t want to be the only woman. I want to be one of many.”
This statement carries profound implications, suggesting that our admiration should extend beyond individual
exceptional women and instead foster an environment where more women feel empowered to step forward and
shine. Such an inclusive perspective champions gender equality, urging the society to not only celebrate
individual accomplishments but also to create equitable opportunities and environments for all women. By doing
so, the talents and contributions of women can be fully realized and appreciated.
4.1.2.2 Perspective

Figure 5. A Girl Raising Hand Among Boys

Throughout the advertisement, numerous overhead shots are employed, such as the image of Figure 5, a
lonely girl raising her hand first amidst a crowd of boys. This camera angle effectively accentuates the
dominance of the male figures while subtly insinuating that women are often in vulnerable positions and subject
to the public gaze. This powerful visual narrative invites viewers to reflect on gender inequalities and the need
for greater recognition of women’s agency and autonomy. It prompts a reevaluation of traditional gender roles
and societal expectations, urging individuals to challenge and transcend these constraints.
4.1.3 Compositional Meaning
Compositional meaning is achieved by the layout of image which consists of information value, framing and
salience. Since the entire advertisement image emphasizes the female figure, the study focuses specifically on
framing. The frequency of framing in Mercedes-Benz ads is three times

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Figure 6. A Girl Standing Below the Flag

4.1.3.1 Framing
In Figure 6, a solitary young girl occupies the center of the frame, with a flag emblazoned “the only woman”
prominently displayed in the background. The close interplay between the visual imagery and the corresponding
text effectively conveys the intended message of the creator. This scenario may serve as a poignant reminder of
the continued lack of representation and isolation experienced by women in certain domains, or conversely, it
could be interpreted as a bold affirmation of the individual worth and presence of women within traditionally
male-dominated environments. It inspires viewers to embrace and champion the diverse voices and experiences
of women in shaping a more inclusive and equitable world.

4.2 NEIWAI（内外）
4.2.1 Representational Meaning
Table 3. The Distribution of Representational Meaning in NEIWAI Ad

Frequency Percentage

Narrative Process 25 71%

Conceptual Process 10 29%

4.2.1.1 Narrative Process

Figure 7. The Dancing Woman’s Attempt to Present Herself

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Figure 8. Surrounding Individuals’ Inferences

In the evocative display of Figure 7 and Figure 8, the dancing woman within the advertisement grapples
with the arduous task of liberating herself from the constricting garments that impede her movements. Despite
her efforts at emancipation, she encounters underlying opposition from the surrounding individuals, consistently
repelling her advances. Eventually, in a visually disconcerting manner, the woman’s arms are contorted, and her
legs are grotesquely entwined, exemplifying a profound distortion of her innate physicality. The poignant visual
metaphor serves to underscore the pervasive influence of societal pressures and entrenched beauty standards.
Moreover, it prompts viewers to critically reassess prevailing paradigms of beauty and femininity, compelling
viewers to recognize the importance of embracing self-acceptance amidst societal pressures and cultural norms.
4.2.1.2 Conceptual Process

Figure 9. An Ant Crawling on the Skin

It can be demonstrated in Figure 9 that the concept of desire is poignantly represented in the advertisement
through the imagery of an ant crawling on the skin. This symbolic depiction captures the physiological needs of
women, which are often forced to be concealed by societal norms. Similar to the ant’s confinement to darkness,
women’s desires are frequently hidden from public scrutiny, constrained by norms and expectations. The
persistent crawl of desire, much like that of the ant, creates an ambivalent sense of discomfort and temptation,
evoking a complex feeling of restlessness and contradiction. Through the nuanced portrayal, conveyed through
visual language, the advertisement explores the intricacy of desire and the suppression experienced by women
under societal pressures. It encourages viewers to reflect on gender identities and question the validity of societal
expectations.

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4.2.2 Interactive Meaning

Table 4. The Distribution of Interactive Meaning in NEIWAI Ad

Frequency Percentage

Contact 18 56%

Social Distance 0 0%

Perspective 12 38%

Modality 2 6%

4.2.2.1 Contact

Figure 10. The Woman’s Direct Gaze

As demonstrated in Figure 10, the woman’s thought-provoking query, “Is it my shape or their vision that
needs to change?” is accompanied by a significant visual gesture in the advertisement. As she utters the word
“vision”, her gaze shifts from the letter she was reading to a direct gaze into the camera lens. Through this subtle
yet impactful gesture, the advertisement encourages viewers to stimulate contemplation among viewers. By
questioning whether it is her own physical form or society’s perception that requires transformation, the
advertisement prompts individuals to challenge prevailing paradigms and advocate for more inclusive portrayals
of beauty and identity. Through this nuanced approach, the advertisement seeks to foster introspection and
encourage a shift in societal perspectives. It underscores the importance of challenging conventional norms and
embracing diverse representations, ultimately advocating for greater acceptance and inclusiveness in society.

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4.2.2.1 Perspective

Figure 11. Eye-level Angle of Perspective

The advertisement utilizes an eye-level angle of perspective as its primary visual approach, thereby creating
a sense of equality between the woman and her body. In Figure 11, by placing the camera at the same height as
the woman, the viewer is invited to experience the conversation as a personal encounter. This visual technique
establishes a relatable and immersive experience, enabling viewers to identify with the subject matter on an
individual level. Moreover, this perspective underscores the idea that the woman’s relationship with her body is
not hierarchical, but rather one of mutual respect and understanding. Through this visual approach, the
advertisement fosters a sense of empathy and connection with the viewer, encouraging a more profound
contemplation of the issues being addressed.
4.2.2.1 Modality

Figure 12. The Woman and the Man Dancing Together in the Darkness
In the second chapter of the advertisement, which centers around women’s desires, the lighting of the
imagery in Figure 12 is noticeably darker than in previous scenes. The dimmed light suggests a powerful visual
metaphor for the hidden and suppressed nature of female desires. The subdued lighting conveys a sense of
longing and aspiration that remains concealed under the weight of societal norms and expectations. This visual
choice prompts viewers to explore the nuanced facets of female desires, provoking introspection and reflection
on the multifaceted nature of feminine aspirations. Through this nuanced approach, the advertisement seeks to
challenge traditional gender roles and prompt a more comprehensive understanding of the complexities inherent
in female identity.

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4.2.3 Compositional Meaning

Table 5. The Distribution of Interactive Meaning in NEIWAI Ad

Frequency Percentage

Framing 3 23%

Information Value 6 46%

Salience 4 31%

4.2.3.1 Framing

Figure 13. The Woman Constrained to a Chair

In this particular scene of the advertisement, a woman is depicted constrained to a chair at the center, unable
to move freely. It can be seen from the Figure 13 that the chapter title “The Discipline of Beauty” stands out
prominently on either side of her, echoing her constrained state. This visual composition invites viewers to
contemplate the complexities and challenges that arise from conforming to conventional beauty standards. The
woman’s constrained condition represents the limitations and restrictions imposed by society’s narrow
definitions of beauty. The bold text of the chapter title further emphasizes the influence of these standards. By
juxtaposing the woman’s physical constraint with the assertive text, the advertisement prompts viewers to
critically reflect on the implications of societal expectations and the potential harm caused by rigid beauty ideals.
Through this thought-provoking imagery, the advertisement encourages viewers to question and challenge the
notion of beauty as a discipline, promoting a more inclusive and accepting perspective towards diverse forms of
beauty and self-expression.
4.2.3.2 Information Value

Figure 14. Dancers Dancing Elegantly in Swirls

In Figure 14, women are depicted dancing in a beam of light amidst a dark and crowded room. This
powerful visual composition symbolizes the desire of women to break free from societal norms and expectations,

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asserting their own feelings and experiences above the judgments or opinions of others. The women’s
uninhibited dance movements express a sense of freedom and autonomy, reflecting their unwavering insistence
on their rights and self-determination. The contrast between the light and dark elements of the scene emphasizes
the significance of this struggle, highlighting the obstacles that women must overcome in order to assert their
autonomy and individuality. Through this evocative imagery, the advertisement promotes a message of
empowerment and self-expression, encouraging viewers to recognize the importance of asserting their own
voices and desires in the face of societal pressures and cultural norms. The scene reflects a powerful assertion of
women’s autonomy and a steadfast rejection of the limitations imposed by traditional gender roles and
expectations.
4.2.3.3 Salience

Figure 15. The Woman Alone in a Dark Room

As illustrated in Figure 15, in the end of the second chapter, the man leaves the scene, leaving the woman
alone in a dimly lit room, right at the center of attention. The visual portrayal underscores the challenges women
often encounter when navigating their desires, frequently grappling with societal barriers that hinder their ability
to seek assistance or understanding. The woman’s solitude within the dimly lit space evokes a sense of
introspection and isolation, symbolizing the profound emotional journey that women often undertake in their
pursuit of fulfillment and recognition. By highlighting the woman’s solitary presence, the advertisement aims to
foster empathy and understanding towards the complexities and struggles that women encounter in their pursuit
of their desires. It encourages viewers to reflect on the societal barriers that exist and to recognize the importance
of creating a more inclusive and supportive environment that allows women to fully explore and express their
desires.

5. Conclusion
The multimodal discourse analysis of the two widely viewed women-targeted video advertisements on
International Women’s Day reveals that femvertising effectively conveys representational, interactive, and
compositional meanings.
In both advertisements, the highest frequency of meaning lies in their representational aspect, which
emphasizes the use of symbols and visual elements to convey profound insights into gender dynamics, societal
expectations, and women’s experiences. These symbols and visuals highlight the various roles and challenges
women face within different societal contexts, prompting viewers to critically reflect on traditional gender norms
and social standards. Through the symbolic representation of a chessboard, the triumph of a girl on a winner’s
podium, and the crawling ants, femvertising utilizes vivid symbols and dynamite movement as metaphors to
delve into the complexities of societal pressures, identity formation, and self-expression for women. This
stimulates deep reflection among audiences on gender perceptions and societal expectations, encouraging them
to reexamine and redefine the status and roles of women.
In the realm of interactive meaning, contact and perspective are most frequently utilized. Within the
interactive system, contact takes precedence as it symbolizes the connection between participants and the
interactive agent through eye contact, thereby eliciting emotional bonds among participants. Both advertisements
seek to capture the audience’s attention and provoke contemplation on the injustices faced by women and the
shackles of societal norms through the function of eye contact. Moreover, both ads adeptly utilize perspective.
Overhead shots prompt reflection on gender inequalities, while an eye-level perspective fosters equality and
empathy, forging a deep connection with viewers. Social distance and modality are sparingly used due to the
ads’ brief duration and rapid transitions. In essence, these ads provoke critical reflection on gender dynamics,
societal expectations, and the complexities of female identity, advocating for inclusiveness, equality, and a

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reassessment of societal norms.

The Mercedes-Benz ad, given its short duration and emphasis on “the only woman,” primarily focuses on a
single female subject, resulting in less apparent information value and salience. However, framing is employed
multiple times, integrating visuals and text to better convey a call for a fairer environment rather than merely
praising the achievement of “the only woman.” On the other hand, NEIWAI’s ad demonstrates a careful
consideration of information value, salience, and framing. It vividly portrays how compositional elements such
as the integration of visuals and text, along with the dynamic presentation of the dancer’s movements, depict the
challenges women encounter concerning appearance pressures, desire management, and societal oppression.
This underscores the significance of women prioritizing their own experiences and refraining from excessive
focus on societal perceptions.
Moreover, this study holds significant real-world implications. It is anticipated that the study might enhance
our understanding of how language and imagery in advertisements influence societal cognition and cultural
identity, uncovering prevalent stereotypes, biases, and discrimination. Furthermore, it is hoped that the study
could provide valuable guidance for advertisers and media practitioners in comprehending the role of visual
elements in creating a more inclusive and equitable social environment. Overall, these implications extend
beyond the realm of advertising, shedding light on broader issues of gender and identity within society.
Despite its contributions, this research is still limited in several aspects. The narrow methodological focus
limits the breadth and depth of content coverage, while the scarcity of the corpus restricts comprehensive
analysis. Additionally, the study’s reliance on manual annotation and statistical methods to interpret visual data
may introduce biases, and the qualitative nature of the analysis inherently involves subjectivity.
To address these limitations, the study has implemented several proactive measures to enhance the
credibility and robustness of the findings: (1) 20 rounds of annotation by teachers and peers were conducted to
enhance data reliability; (2) a meticulous review process, comprising five checks on corpus annotations, was
undertaken to minimize errors and discrepancies; (3) irrelevant data was carefully cleared to ensure the relevance
and integrity of the dataset.
Future research could focus on expanding corpus sizes and employing advanced analytical tools such as
automated annotation software and machine learning algorithms. Ethnographic studies, including participant
observation and in-depth interviews, offer avenues for gathering rich qualitative data. Additionally, future
investigations might explore stereotypes within femvertising discourse and analyze the influence of core
customer gender on brand messaging.
The examination of femvertising not only presents novel paradigms and insights for the application of
multimodal analysis and Visual Grammar theory, but also contributes to a deeper comprehension of how visual
elements intersect with linguistic constructs to convey nuanced messages within female discourse.

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