A discourse analysis of a campaign advertisement.

1. CASTRO, Kevin Cedrick R. 2010-06974
Bachelor of Secondary Education (CA-English/SPED) Prof. Romylyn Metila
Foreground’s Text Facial Features
Through the use of The meaningful eyes
wordplay, font color and the unsmiling lips
(yellow), font size exhibit the seriousness
(large), and all- of the advocacy’s
uppercase letters, the request
audience is
stimulated to look at
this first before
anywhere else
Supplementary Text
The use of directive
Grayscale Image utterances show a
The use of grayscale sign of authority
image adds up on the
gravity and intensity
of the subject matter
that the campaign
tackles
Thesis: GLSEN‟s “That‟s so Cheerleader” advertisement utilizes an interplay among the
foreground, the background and the supplementary text through the use of literary techniques
(i.e. allusion, pastiche, wordplay), linguistic phenomenon (i.e. semantic shift), textual features
(i.e. uppercase font, large font size, and yellow as font color), directives, and a grayscale image
of an unsmiling teenage girl to elicit a strong emotional appeal for the audience to stop the use
of homophobic language. The interconnection among the major elements leads us to believe
that their advocacy is right; making sure that their subjectivities and intentions will be our own
creed as well, even though if it justifies stereotyping as a reasonable thing.

2. The Bullied Strikes Back
A discourse analysis of GLSEN‟s “That‟s so cheerleader” advertisement
That‟s so “the Background of the „That‟s so cheerleader‟ Advertisement”
The story behind the “That‟s so cheerleader” advertisement
On October 8, 2008, the US-based organization Gay, Lesbian, and Straight Education
Network (GLSEN), with the help of Ad Council, released an advocacy campaign called Think
Before You Speak. This aims to put an end to the use of homophobic vocabulary in all schools
in the United States. Through the use of different media (print, television, radio) and the
participation of a number of celebrities (Wanda Sykes, Hillary Duff, and a number of NBA
players), GLSEN launched campaign resources which school teachers, staffs, and
administrators may use to advocate an affable and welcoming environment for gay students.
According to the data provided in the campaign‟s official website, thinkb4youspeak.com,
“9 out of 10 LGBT students report being harassed at school,” while “over one-third of LGBT
students have been physically assaulted at school because of their sexual orientation or gender
identity/expression” (Think Before You Speak). These physical abuses, bullying, and
harassments started with the common use of anti-LGBT language, such as “so gay” which
means lame and stupid.
With these information, it is very evident that this advocacy poster is targeting students
of all level as its audience in a full-scale view. Furthermore, as we examine each of these
posters, a certain clique inside the school, composed mostly of the “cool” kids just like the
athletes and cheerleaders, are the specific and obvious target of the advertisements.
The elements of the advertisement
Of the three varieties of this advertisement, I decided to work with the one shown on the
first page. To ease up the analysis, I will be referring to this as the “That‟s so Cheerleader”
advertisement.
The advertisement is composed of four elements: the foreground (the yellow uppercase
text which says: That‟s so “cheerleader who like can‟t like say smart stuff.”), the background (a
grayscale image of a young woman, possibly within the age range of 13-17 years old, who
exhibits a serious look in her face), the supplementary text written in white enclosed in a black

3. background (which says “Think that‟s mean? How do you think „that‟s so gay‟ sounds? Hurtful.
So, knock it off.”), and the logos of Ad Council and GLSEN positioned on the bottom page, the
former on the leftmost while the latter on the rightmost.
Through the interconnection and interaction of all these elements, especially the
foreground, the background, and the supplementary text, 1GLSEN‟s “That‟s so Cheerleader”
advertisement utilizes an interplay among the foreground, the background and the
supplementary text through the use of literary techniques (i.e. allusion, pastiche,
wordplay), linguistic phenomenon (i.e. semantic shift), textual features (i.e. uppercase
font, large font size, and yellow as font color), directives, and a grayscale image of an
unsmiling teenage girl to elicit a strong emotional appeal for the audience to stop the use
of homophobic language. 2The interconnection among the major elements leads us to
believe that their advocacy is right; making sure that their subjectivities and intentions
will be our own creed as well, even though if it justifies stereotyping as a reasonable
thing.
That‟s so “the Analysis of each Element”1
For this visual analysis, I will be using the phenomenological discourse analysis. I will be
looking at the two significant facets in using such discourse analysis: the subjectivities, and the
intentions. Throughout the analysis, I will be explaining how the perspectives of the people
behind this advertisement try to shape our way of thinking, and try to persuade us to join their
cause. I will also be explaining what‟s good (how it becomes effective) and what‟s bad (what it
deems right even though it is not) in the advertisement. The analysis is divided into three parts:
the foreground, the background, and the supplementary text. I will be discussing the features of
each element and how these features help in attaining a certain end and in accomplishing the
advocacy‟s goal.
Starting with the foreground…
The Text: That‟s so „cheerleader who like can‟t like say smart stuff.‟
Wordplay, Stereotyping, and Semantic Shift. To effectively further the advocacy
campaign‟s cause, linguistic and rhetoric devices and techniques are used in the campaign
posters. First, there are use of allusion and pastiche. Allusion is a figure of speech that makes
reference to a certain person, event, literary works, etc, while pastiche is a literary technique
which shows an imitation with other works or styles (Wikipedia). The literary techniques utilized

4. in forming the principal linguistic element in this advocacy poster induces a new twist to the
common phrase “That‟s so gay.”
The phrase written above is an allusion and pastiche to the phrase “That‟s so gay.” By
changing the term „gay‟ with the phrase „cheerleader who like can‟t like say smart stuff‟, the
people behind this visual is turning the table. They use wordplay to put the typical bullies, in this
case, the cheerleaders, in the shoes of their victims. The text creates a situational event in the
reader‟s mind once they grasp it. By shifting the positions of the doer and the receiver, the doer
(cheerleader) is expected to experience a recurring painful event in the life of the receiver (gay).
In order for the bullies to fully feel what their victims felt when they use such phrase, the
advertisement relies on the use of stereotype to “hurt” the bullies. The claim of the
advertisement that cheerleaders “can‟t… say smart stuff” and the frequent use of the word “like”
which leads to a syntactically incorrect sentence are the stereotypes used in the advertisement.
This stereotyping leads to the assumption that the cheerleaders are dumb due to incorrect
sentence structure when speaking and their inability to talk of sensible things.
The use of the phrase “cheerleader who like can‟t like say smart stuff” to replace “gay”
places the former to the ranks of the latter, meaning that they now possess a similar attribute –
they both have “lame” as their definition. The advertisement, for it to be effective, degrades the
meaning of “cheerleader” and equates it with “dumb.” In this scenario, a sudden semantic shift
takes place, highlighting the same phenomenon behind the current use of the word “gay.”
Text Form, Size and Color. Upon seeing this advertisement, one will surely be captured
first by the text on the foreground. The use of the large, yellow, uppercase font style in forming
the phrase “That‟s so „cheerleader who like can‟t like say smart stuff‟” serves as an efficient
visual stimulus for the audience to look at this element first before turning their gaze to the other
elements.
The phrase indicated above occupies almost half of the whole space in the
advertisement. The absorption of a large amount of space in a visual material implies that this
element has a much more significance than the other elements presented in the visual. Since it
is a more significant element in the visual, the readers are invited to look at it first, grasp the
idea underlying this linguistic element, then, proceed with the other elements. The predominant
size of the text aims to pique the reader‟s interest to grab their full attention.

5. Using uppercase letters in forming the above phrase is not just a mere accidence.
Writing that phrase in uppercase letters, just like the font size, still rouses the reader‟s visual
attention. This element‟s feature further reinforces the element‟s mere significance in this
advertisement. Furthermore, it also elicits a sense of urgency for the audience to read it. This
particular feature is insisting the audience to put their eyes on the text and to read it. The
element‟s use of all-uppercase letters highlights the worth of it on the advertisement, and
demands the full attention of the reader by deeming the text as something which is urgent, at
the same time, necessary.
There are two prevailing colors in this advocacy poster, yellow, and gray. In this part, I
will be discussing the significance of using yellow as the text‟s font color, what it signifies, and
what are its anticipated effects for the readers of this advertisement.
The color yellow is part of the warm color family, along with red and orange. Yellow,
having the lightest value (relative lightness or darkness) from the three, is considered the
brightest and most energizing of all the warm colors. It is usually associated with happiness and
sunshine. However, on the other end of the spectrum, it may also denote deceit, cowardice, and
danger. The color yellow also symbolizes hope (Chapman, 2010).
The use of yellow as the font‟s color in this advocacy poster is a representamen for three
things: first, cowardice; second, danger; and lastly, hope. Let‟s discuss these possibilities:
1. Cowardice is usually associated with the color yellow. In this advocacy poster,
cowardice is implied to be a recurring characteristic of the specific target audience of
this campaign. Their use of homophobic language as a form of bullying is a sign of
cowardice. The use of the color yellow with the phrase above associate the subject
of the advertisement (the cheerleaders) to cowardice, implicitly describing them as
cowards whenever they use the phrase “That‟s so gay.”
2. The use of the phrase “That‟s so gay” brings the object of bullying into a great sense
of danger. The use of yellow as the font color warns the specific target audience of
the danger linked with the use of homophobic language. By replacing the word „gay‟
with „cheerleader who like can‟t like say smart stuff‟, the target audience is expected
to feel what the recipients of such kind of bullying feels. The target audience is
expected to be in the victims‟ shoes to experience the perils and threats posed by
the use of homophobic language.

6. 3. Through the use of yellow as the font color, the text signifies hope for the subject of
the use of homophobic language. The color implies that once the target audience
read this text, realizations and insights will emerge from their minds, thus putting an
immediate end to bullying through the use of homophobic language. The color yellow
connotes optimism which kindles the hopes that the future will be much better for the
homosexuals.
Since I am using the phenomenological discourse analysis in examining this visual material, it is
very important to see if the use of each element is intentional to convey a meaning based on the
campaign‟s subjectivity. The use of color yellow is not just a coincidence. The text is intended to
be yellow to expose the events in a gay individual‟s life, especially when at school. The use of
yellow is not just a product of pragmatic motives, but a product of intentionality and subjectivity
from the perpetrator of the advocacy poster.
Followed by the background…
Grayscale Image. I mentioned earlier that there are two prevailing colors in this
advertisement: yellow and gray. Yellow, as I explained above, is dominant on the foreground,
while gray is the central color of the background.
The use of a grayscale image as the background of the advertisement gives a serious
tone to the advocacy poster. The poster is claiming through the use of background the gravity
and intensity of what they are fighting for. A grayscale image also builds a sense of drama for
the entire advertisement. It brings the readers to a situation where the audience is supposed to
sympathize with victims of the use of homophobic language. The reader is deemed to be stirred
into a gloomy dimension by the use of a dismal background. This is to explain how hurtful it is
for gays to hear homophobic language in a daily basis inside the school. With the use the
grayscale image, the advertisement intensifies the sentiments extracted from the other
elements, thus, highlighting the use of emotional appeal to capture the audience‟s support.
Analyzing Closely the Background. It is important to have a knowledge on who the girl
on the background is. We will be looking on two feature of the image, the visible attire of the girl
on the background, and the facial features significant in creating her identity. Afterwards, I will
be discussing the image with reference to what it represents.
First, let us describe the attire of the girl in the image. The girl is simply wearing an
ordinary tee-shirt. Since this is a gray-scale image, it is impossible to determine the color of the

7. shirt. It is also observable that the tee-shirt is round neck. We now proceed with the facial
elements of the image. There are two facial striking features which establish the identity of the
girl: the eyes and the lips. Upon looking on the advertisement, aside from the text on the
foreground, what really appeals to us is the meaningful stare of the girl on the background. You
will be lured to look at her eyes wonder why is she directly looking at you in a very serious
manner. The eyes, especially the left one, do not offer a blank stare. There is definitely
something controversial yet significant with that look. With this curiosity, you are anticipated to
explore further the elements of the poster to find a concrete answer for this look. Later on, I will
be explaining how these look interrelate with the other elements, especially with the
supplementary text. Let us now describe the lips of the girl. What really is interesting with this
facial feature is the mere fact that it shows no expression. It is neither smiling, nor it is frowning.
The lips are just shut delicately, which highly suggests total silence. The paradoxical
juxtaposition of the meaningful stares and the silent lips creates a very interesting twist in this
image. The eyes wanted to say something, but the lips either cannot or do not want to voice this
out.
With these concise descriptions of these features, we can now form the identity of the
girl, and can elucidate her role in the advertisement. I have established earlier that the specific
target audience of this advertisement is the cheerleaders, the usual people behind the use of
homophobic language. However, the image of the background does not resemble any features
from a typical cheerleader. The round-necked plain tee-shirt and the far-from-perfect
appearance of the lady give no hint that she is a cheerleader. Through the eyes and the lips of
the lady, it is safe to assume that this girl is part of the advocacy promoting the end of the
homophobic language use. Even though she is not gay, I believe that she still feels offended
when others use the word „gay‟ to mean „lame.‟ Her gaze insists to stop the use of homophobic
language. No need to say something. The stare is just as meaningful as the words themselves.
The signifier in this sign is the image of the girl while the signified is the advocates of the
aforementioned campaign (Cook, 1992).
The use of a typical girl to represent the advocates of this campaign elicits compassion
from the female population inside the schools. The mere fact that the advocacy poster has a
young lady of their age as a model assures that they are welcome to that advocacy. Whatever
your gender or sexual orientation is, as long as you believe to the advocacy‟s cause, you will
feel a sense of belongingness with the other advocates.

8. Then, lastly, the supplementary text…
Use of Directives and Mediated Quasi-interaction. Since this is an advocacy inside the
school, it helps that the supplementary text positioned at the bottom-left part of the poster used
an authoritative voice in giving explicit directives. Directives are “type of utterances which aims
to get the receiver to do something” (Lohansen & Larsen, 2002). The supplementary text was
written in a way that it explicitly tells the reader what to do (in this case, to stop using „that‟s so
gay‟ and other homophobic language). A voice of authority is speaking with the readers once
they scan the supplementary text. The sense of authority is detectable in the arrangement of
sentences. The sentences were assembled in a way that the reader will not be able to defend
himself. This is further supported by the use of rhetorical questions at the beginning. The
supplementary text was designed not as a form of communication, but as a one-way
transmission of thoughts. You are not supposed to answer the questions, nor are you not
allowed to defend yourself. You just need to listen, to absorb what the poster is directing you to
do, and to reflect on the past behavior being targeted by the campaign. This type of interaction
is called “mediated quasi-interaction.” Thompson described that mediated quasi-interaction “is a
structured situation in which some individuals are engaged primarily in producing symbolic
forms for others who are not physically present, while others are involved primarily in receiving
symbolic forms produced by others whom they cannot respond, but with whom they can form
bonds of friendship, affection, or loyalty” (Talbot, 2007).
That‟s so “My Personal Reaction on this Advertisement”2
The elements in this advocacy poster are designed to interact with each other. Without
the presence of just one element, the visual will not be as effective as how it seems to look now.
All of the elements cannot stand with their own. The appeal that it elicits from the audience and
the response of the readers are products of the effective interaction of each element.
Each element leads the reader‟s eyes to the other elements in the advocacy poster.
However, it does not incarcerate the mind from going into a linear route. Due to the
interconnection among the elements, any route will suffice. The presentation is non-linear and
one can easily describe the relationship of each elements. Let us take the background as an
example of this. Earlier, I said that the girl‟s gaze is significant in analyzing the whole
advertisement. The look tells the readers to explore further the advertisement and to look at the
other elements. After looking at the girl‟s eyes, if you focus your sight to the supplementary text,
the girl‟s stare will finally be explained. It will be clear that the gaze is a silent request to stop

9. using homophobic language. Even though you will hear a different voice speaking the content of
the supplementary text, the eyes still conveys the same words through her gaze. We deduce
that the stare‟s meaning is the same as what is written in the supplementary text. These
interconnection and relationship fortify the cause of the advocacy campaign, creating a larger
impact on the audience. However, if you look at the foreground after looking on the background,
the gaze‟s effect will be much stronger, given that the text on the foreground is a striking
component in building up the advertisement‟s efficiency. The readers will presume a great
connection between the use of wordplay and the serious look, creating a schema that the stare
is a realization of how mean and how hurtful “that‟s so gay” sounds. The meaning conveyed by
the interplay of the elements is still rooted from the intentions and subjectivities of the campaign.
The relationship among each element is designed to discuss a phenomenon, and to persuade
the audience to believe and to follow to their way of thinking.
However, even though the advocacy poster is for a good cause, the use of stereotyping
is not an equal justification to get the sympathies of the audience. I think that the
advertisement‟s use of stereotyping makes the advocates the new bullies. Yes, the advocacy
may be effective, but the occurrence of such ideology incites a moral and ethical concerns. This
advertisement tells us that in order to protect a specific group of people, it is necessary for us to
harm other particular clique. This advocacy campaign poster strikes a chord as a form of
revenge from the pro-gay advocates to the “anti-gay” groups.
That‟s so “the Conclusion”
Through the interplay with the different elements, the intended audience will surely get
the idea that the advocacy poster wants to convey. However, it is a different matter if the
audience will buy this kind of gimmick. Even though if the advertisement explicitly discusses the
anticipated change in behavior after reading the advertisement, the advocacy poster still lacks
the power to make this change certain. Yes, it has all the elements that it needed to elicit an
emotional appeal to the audience, but its being authoritative in demanding change might not sell
very aptly for the teenagers of the United States of America, a very liberated nation with a much
independent people. However, I think this is a good start for the campaign advocacy. It makes
the audience reflect on the life that s/he had, and gives each and every individual to change for
the better.
For the audience to understand the message being conveyed by this kind of
advertisement, they must look on the interplay and the interconnection among the elements.

10. They must perceive each element as significant to see the advertisement‟s wider view. They
must look at what are the intentions of the creator by coming up with such idea, and the
subjectivities posed by the advertisement. The audience must avoid being swayed by the
presentation of the advertisement‟s subjectivities. They must analyze first the hidden message
between each element and build their own judgments on whether to support such campaign,
knowing that it, in practice, shows the biases of a single group. The audience must be cautious
with how the advocacy attains to reach its goal. The audience must be aware of what they are
trying to do and what they want you to acquire, in this case, the concept of „revenge‟ as a
means to reach success.

11. References:
Allusion. (n.d.). In Wikipedia. Retrieved March 23, 2012, from
<http://en.wikipedia.org/wiki/All>.
Chapman, C. (2010, January 28). Color Theory for Designers Part 1: The Meaning of
Color. Retrieved from <http://www.smashingmagazine.com/2010/01/28/color-theory-for-
designers-part-1-the-meaning-of-color/>.
Cook, G. (1992). The Discourse of Advertising. New York, NY: Routledge.
Lohansen, J.D., & Larsen, S.E. (2002). Signs in Use: An Introduction to Semiotics. New York,
NY: Routledge.
Pastiche. (n.d.). In Wikipedia. Retrieved March 23, 2010, from
<http://en.wikipedia.org/wiki/Pastiche>.
Talbot, M. (2007). Media Discourse: Representation and Interaction. UK: Edinburgh University.
Think Before You Speak. Retrieved March 22, 2012, from
<http://www.thinkb4youspeak.com/GetInformed/>.