So Win.

| Nike
On the top left hand of the screen: So Win. Nike
Interpretation: You (as a woman) hear all the time that you can’t win, you
can’t be confident and so on, but actually you can.
Video this video is for advertising Nike the first picture we have Nike sign on the
left then the word So win:
A girl looking and gazing into the camera with her hair long. She's an athlete. She
has a demanding look and the word below on the screen you can't be demanding.
Ideational Metafunction:
Processes: The video uses the verb win to depict the process of achieving
victory. This is a material process, as it involves an action that affects an
object.
 Ideational Metafunction:
Processes:
(Putting her hand on the track) - Material process (action).
(Looking with confidence) - Mental process (cognition).
(holding a basketball)- material process.
(looking worried) - mental process.

 Participants: The participants are the athlete and the Nike brand. The
athlete is the actor, and the Nike brand is the goal.
 Circumstances: The circumstances are not explicitly stated, but they can be
inferred from the image of the athlete. She is likely in a competitive setting,
such as a sports arena or training facility.
Interpersonal Metafunction:
 Mood: The mood of the video is imperative, though the voice over starts
with a negated sentence. The Nike brand is telling the viewer to "so win."
Textual Metafunction:
 The written text is addressing people who may have difficulty following
spoken language.
 Theme: The theme of the video is negative reinforcement by people
surrounding women. This is established by the word "win" in the first
sentence.
 Rheme: The rheme of the video is winning.
 Cohesion: The cohesion of the video is high. The two sentences are linked
together by the word "demanding." This creates a sense of unity and
purpose.
1. The image of the athlete is used to create a sense of aspiration. She is strong,
confident, and determined.

 The first shot with the girl's hand on the track establishes a sense of
action and potential. The low angle might suggest power and
readiness.
 The second shot with the basketball player, her gaze and expression,
creates a contrast. The gaze is direct, but the expression suggests
unease or vulnerability.
Gaze:
 The first girl's gaze is confident and forward-looking, engaging the
viewer with a sense of determination.
 The second girl's gaze is also direct, but her expression is more
complex, possibly conveying anxiety or discomfort.
 The first girl's body language is active indicating readiness for action.
 The second girl's body language is more passive in the beginning of
the shot then she changes her attitude.
 With the basketball held close, and her facial expression suggesting
internal conflict the image suggests victory after loss.

\Participants:
 Athlete (actor).
 Track, basketball (goal).
 Nike Brand and written text
o Circumstances:
 Implied race track, basketball court.
 Emotional state (confidence, worry).
 Transformation of Gaze and Expression of the first basketball athlete:
o The initial gaze, as described, was worried or awkward, suggesting a
degree of vulnerability or internal conflict.
 o The subsequent action of putting the ball behind her back, followed by
a confident smile, represents a significant shift in her emotional state.
This transformation is visually conveyed through her facial expression
and body language.
 Narrative:
o The action of moving the basketball behind her back can be
interpreted as a gesture of control and mastery. It signifies a shift from
a passive to an active role.
o The confident smile reinforces this sense of empowerment. It
communicates a sense of overcoming doubt, obstacles or challenge.
 Depending on the framing of the shot, the focus may be on the
athlete's face and upper body, emphasizing the change in her
expression.
 The movement of the basketball may also be highlighted, drawing
attention to the physical action that accompanies her emotional
transformation.
 Semiotic Resources:
o The athlete's smile is a key semiotic resource, conveying a range of
positive emotions, including confidence, satisfaction, and
determination.
o The basketball, as a symbol of athletic activity, contributes to the
overall message of empowerment and achievement.
 Modality:
o The change from the worried look to the smile, is a change in the
modality of the image. The modality goes from a low modality,
showing a person with a problem, to a high modality showing a
person that has overcome that problem.
Interpretation:
 The athlete's transformation visually narrates a story of overcoming
adversity. It reinforces the message that challenges can be overcome with
confidence and determination.
 The sequence of images creates a dynamic narrative, engaging the viewer
and evoking a sense of emotional connection.
 The visual elements work together to create a powerful message of
empowerment, aligning with Nike's brand identity.
 The video uses the athletes change in emotion to show that Nike products
can help anyone overcome their problems.
Combined Analysis (Kress & van Leeuwen + SFG Considerations):
 Visual-Linguistic Contrast:
o The visual depicts a moment of confident self-assertion. The athlete's
smile and direct gaze convey a sense of empowerment and self-
assuredness.
o The phrase "you can't put yourself first" directly contradicts this visual
representation. This creates a powerful tension and a sense of
cognitive dissonance.
 Ideational Level (SFG):
o Visual: The athlete is performing the action of "putting herself first"
through her confident demeanor. This is a material process.
o Linguistic: The sentence negates this process, creating a conflicting
representation of reality.
 Interpersonal Level (SFG):
o The phrase "you can't" acts as a directive, attempting to impose a
social or moral constraint.
o However, the athlete's confident expression challenges this constraint,
suggesting a defiance of societal expectations.
o The use of the word "you" creates a direct connection to the viewer,
and creates a feeling that the viewer is being told that they can not put
themselves first.
 Textual Level (SFG):
o The juxtaposition of the visual and linguistic elements creates a sense
of irony or paradox.
o The phrase acts as a counter-narrative, challenging the dominant
visual message.
 Kress & van Leeuwen Modality:
o The high modality of the confident smile, is being contradicted by the
low modality of the phrase.
 Interpretation:
o The video is likely playing with societal expectations and norms. It is
suggesting that women are often told to prioritize others, but that they
also have the right to assert themselves and pursue their own goals.
 o This creates a feeling of rebelliousness, and empowers the viewer to
go against the grain.
o The contradiction between the visual and linguistic elements is
designed to be thought-provoking and to encourage viewers to
question traditional gender roles.
o Nike is showing that they understand the social pressures that female
athletes are under, and that they support them in their fight to
overcome those pressures.
o The commercial is using the phrase to create a conversation.
Visual Analysis (Kress & van Leeuwen):
 Action and Skill:
o The action of rolling the basketball on her finger showcases skill and
control. This reinforces the theme of athletic prowess and mastery.
 Gaze and Representation:
o The profile gaze, rather than a full frontal gaze, creates a sense of
detachment and perhaps a subtle sense of defiance. It's a less direct
engagement with the viewer, but still conveys confidence.
o The fact that the first girl is white and the second is African American
adds a layer of representation. It suggests that the message of self-
assertion is relevant to women of diverse backgrounds.
 Body Language:
o The control displayed in the basketball trick is a form of body
language that conveys competence and self-assurance.
Combined Analysis (Kress & van Leeuwen + SFG):
 Reinforcement and Variation:
o While the phrase "you can't put yourself first" remains a contradiction,
the visual of the second girl reinforces the idea of self-assertion
through skill.
o The variation in gaze and representation adds nuance to the message.
It's not just about frontal, direct confidence, but also about a more
subtle, internally focused sense of self-worth.
 Ideational Level (SFG):
o The action of rolling the basketball is a material process, representing
the athlete's skill and control.
 o The visual representation of both girls shows the action of putting
themselves first, by displaying confidence.
 Interpersonal Level (SFG):
o The phrase "you can't" continues to function as a constraint, but the
visuals challenge that constraint.
o The use of different ethnicities, broadens the interpersonal connection
to a wider audience.
 Textual Level (SFG):
o The repetition of the contradictory phrase creates a sense of emphasis,
highlighting the tension between societal expectations and individual
empowerment.
o The change in the visual, provides a variation on the theme.
 Representation and Power:
o The inclusion of an African American athlete reinforces the idea that
the message of self-assertion is relevant to women of color.
o It challenges the notion that these messages are only for a certain
demographic.
 Modality:
o The high modality of the skill displayed in the basketball trick, and
the confident look of the athlete, directly contrasts the low modality of
the negative sentance.
Interpretation:
 The video is using diverse representation to broaden its appeal and to
reinforce the idea that the message of empowerment is universal.
 The combination of skill and confidence, even with a profile gaze, reinforces
the theme of self-assertion.
 The video is showing that there are many different ways to show confidence,
and that all of them are valid.
 The inclusion of the second girl, further strengthens the argument that the
phrase "you can't put yourself first" is incorrect.
 Nike is showing that they are an inclusive brand, that supports all female
athletes.
Multimodal Analysis (Kress & van Leeuwen):
 Visual-Linguistic Contradiction:
 o The core strategy is the deliberate clash between the negative
linguistic assertions and the positive, self-assertive visuals. This
creates cognitive dissonance, prompting viewers to question the
validity of the limitations being imposed.
o The visuals (confident gazes, skillful actions, strong body language)
act as counter-arguments to the verbal constraints.
 Gaze and Representation:
o Varying gaze (direct, profile) and diverse representation (white and
African American athletes) broaden the message's reach and
demonstrate that empowerment is universal.
o The gaze is used to establish a relationship with the viewer, and the
change in gaze, changes the type of relationship.
 Body Language and Skill:
o Athletic actions (hand on track, basketball handling) function as visual
narratives of competence and control.
o Body language (smiles, posture) conveys emotional states and
reinforces the themes of confidence and self-assertion.
 Modality:
o The modality of the images, is very high when the athletes are
showing confidence, and very low when the negative sentences are
shown. This change in modality is used to show the contrast between
the limitations, and the athletes abilities.
Systemic Functional Grammar (SFG) Analysis:
 Ideational Metafunction (Representation of Experience):
o Visuals depict material processes of action and achievement (running,
basketball skills).
o Linguistic elements negate these processes, creating a conflict in
representation.
o Mental processes are shown through the athletes facial expressions,
and gazes.
 Interpersonal Metafunction (Social Interaction):
o Negative linguistic statements function as directives, imposing
constraints.
o Visuals challenge these constraints, demonstrating defiance and self-
empowerment.
 o The video creates a direct interpersonal connection with the viewer,
by using the word "you".
 Textual Metafunction (Organization of Text):
o Repetition of contradictory phrases creates emphasis and highlights
the central tension.
o Visual variations provide different perspectives on the theme of self-
assertion.
o The video uses contrasting elements to create a dynamic and engaging
text.
Refined Interpretations:
 The video is a powerful statement against societal norms that limit women's
potential.
 It uses multimodal resources to create a complex and nuanced message,
going beyond simple slogans.
 The diverse representation underscores the universality of the message.
 Nike is trying to show that they are a brand that supports the breaking down
of social barriers.
 The video uses the "you can't" statements to create a conversation, and to
empower the viewers to disagree with those statements.
Multimodal Analysis (Kress & van Leeuwen):
 Visual-Linguistic Contradiction: The video's core strategy is the deliberate
clash between negative linguistic assertions ("you can't be demanding," "you
can't be relentless," "you can't put yourself first") and positive, self-assertive
visuals. This creates cognitive dissonance, prompting viewers to question the
validity of the imposed limitations. The visuals (confident gazes, skillful
actions, strong body language) act as counter-arguments to the verbal
constraints.
 Gaze and Representation: The video employs varying gaze techniques
(direct, profile) and diverse representation (white and African American
athletes) to broaden the message's reach and demonstrate that empowerment
is a universal concept. The gaze is used to establish a relationship with the
viewer, and changes in gaze alter the type of relationship.
 Body Language and Skill: Athletic actions (hand on track, basketball
handling) function as visual narratives of competence and control. Body
 language (smiles, posture) conveys emotional states and reinforces the
themes of confidence and self-assertion.
 Modality: The video manipulates modality to emphasize the contrast
between limitations and capabilities. High modality is used when the
athletes are showing confidence and skill, and low modality is used when
the negative "you can't" statements are presented. This shift highlights the
conflict between imposed restrictions and the athletes' potential.
Systemic Functional Grammar (SFG) Analysis:
 Ideational Metafunction (Representation of Experience):
o Visuals depict material processes of action and achievement (running,
basketball skills).
o Linguistic elements negate these processes, creating a conflict in
representation.
o Mental processes are conveyed through the athletes' facial expressions
and gazes.
 Interpersonal Metafunction (Social Interaction):
o Negative linguistic statements function as directives, imposing
constraints.
o Visuals challenge these constraints, demonstrating defiance and self-
empowerment.
o The video establishes a direct interpersonal connection with the
viewer through the use of the word "you," creating a sense of direct
address and shared experience.
 Textual Metafunction (Organization of Text):
o Repetition of contradictory phrases creates emphasis and highlights
the central tension.
o Visual variations provide different perspectives on the theme of self-
assertion, adding depth and complexity to the message.
o The video employs contrasting elements to create a dynamic and
engaging text, capturing the viewer's attention and prompting
reflection.
Refined Interpretations:
 The video serves as a powerful statement against societal norms that limit
women's potential, particularly in sports.
  It effectively utilizes multimodal resources to create a complex and nuanced
message, moving beyond simplistic slogans to engage viewers on a deeper
level.
 The diverse representation underscores the universality of the message,
ensuring it resonates with a wide audience.
 Nike positions itself as a brand that actively supports the dismantling of
social barriers and empowers female athletes to challenge limitations.
 The strategic use of "you can't" statements is designed to spark a
conversation and empower viewers to actively disagree with and overcome
these imposed limitations.
1. Visual: Athlete (woman) with a "demanding" look.
2. Linguistic: "You can't be demanding."
3. Visual: Transition to a more confident or empowered expression.
4. Linguistic: (Implied or stated) "You CAN be demanding."
Analysis:
 Vectors (Kress & van Leeuwen):
o Visual Vectors:
 The athlete's gaze is a primary vector. Initially, it's a vector of
demand, looking directly at the viewer, challenging them. This
creates a sense of direct engagement and confrontation.
 Body posture and facial expressions also create vectors. A tense
posture or furrowed brow can indicate the "demanding" quality.
 The transition to a confident expression shifts the vector. The
gaze may become more assertive, or the body language may
indicate strength and self-assurance.
o Conceptual Vectors:
 The concept of "demanding" itself is a conceptual vector,
directing the viewer's understanding of the athlete's character.
 Participants (SFG):
o Athlete (Woman):
 She is the primary participant, acting as both the visual and
conceptual focus.
 She is the "actor" in the visual representation of being
demanding.
  Her gender is significant, as it challenges traditional
expectations of women's behavior.
o Viewer:
 The viewer is the "receiver" of the athlete's gaze and the
linguistic message.
 The use of "you" directly addresses the viewer, making them a
participant in the message.
o "Demanding" (Concept):
 The abstract concept of "demanding" is also a participant, being
both the object of the linguistic statement and the quality being
visually represented.
 Linguistic Elements (SFG):
o "You can't be demanding":
 Mood: Declarative, but functioning as a prohibition or
limitation.
 Modality: Negative, high modality (strong prohibition).
 Interpersonal: Directly addresses the viewer, establishing a
power dynamic.
 Ideational: Represents a limitation on the viewer's potential.
o (Implied) "You CAN be demanding":
 Mood: Declarative, affirmative.
 Modality: Positive, high modality (strong affirmation).
 Interpersonal: Empowers the viewer, challenging the initial
limitation.
 Ideational: Represents the realization of potential.
 Significance of the Female Speaker/Athlete:
o The fact that the speaker/athlete is a woman is crucial. It directly
challenges gender stereotypes that often portray women as passive or
submissive.
o The shift from negative to affirmative reinforces the message of
female empowerment.
o The negative sentance is used to create a problem, that the company
then solves with the affirmative sentance.
 Negative to Affirmative Shift:
 o This shift is a key rhetorical device. It creates a sense of tension and
release, highlighting the power of overcoming limitations.
o It transforms the initial message of constraint into one of
empowerment.
o It creates a story of a problem, and a solution.
Potential Positive Effects:
 Inspiration and Motivation:
o Men can be inspired by the themes of determination, resilience, and
overcoming challenges. The message of self-empowerment can
resonate regardless of gender.
o The emphasis on achieving goals and pushing boundaries can
motivate men to pursue their own aspirations.
 Challenging Gender Stereotypes:
o Seeing women portrayed as strong, assertive, and skilled can
contribute to breaking down traditional gender stereotypes.
o This can foster a more inclusive and equitable view of women's
capabilities.
 Increased Respect for Female Athletes:
o The advertisement can raise awareness and appreciation for the
dedication and skill of female athletes.
o It can contribute to a greater recognition of women's achievements in
sports.
 Understanding of Social Pressures:
o It can give men an insight into the pressures that women face in
society.
 Positive Brand Association:
o Men who value inclusivity and social progress may develop a positive
association with the Nike brand.
Potential Negative Effects:
 Discomfort or Resentment:
o Some men may feel uncomfortable or resentful if they perceive the
advertisement as challenging traditional gender roles or "attacking"
masculinity.
o They might interpret the message as being exclusive or dismissive of
men's experiences.
  Misinterpretation:
o Some men might misinterpret the message as being about female
superiority rather than equality.
o This could lead to negative reactions or backlash.
 Lack of Personal Connection:
o Men who do not identify with the experiences portrayed in the
advertisement may feel disconnected from the message.
o They may perceive it as being irrelevant to their own lives.
 Backlash:
o In some social circles, men who agree with the message of the
advertisement may recieve backlash from their peers.
 Feeling excluded:
o Men could feel excluded from the advertisement, and therefore from
the brand.
Factors Influencing Effects:
 Individual Values and Beliefs:
o Men's reactions will be influenced by their own personal values,
beliefs about gender roles, and experiences with feminism.
 Social Context:
o The social and cultural context in which the advertisement is viewed
will play a significant role in shaping men's reactions.
 Age and Generation:
o Younger generations of men, who are generally more accepting of
gender equality, may respond more positively to the advertisement.
 Previous Experiences:
o Previous experiences with strong female figures, or with feminist
ideals, will shape a mans reaction to the advertisement.
Influence on Women:
 Empowerment and Validation:
o The advertisement's core message of challenging limitations and
asserting oneself can be highly empowering for women.
o It validates their experiences of facing societal pressures and
encourages them to pursue their goals without apology.
o It creates a sense of solidarity and shared experience among women.
 Challenging Internalized Limitations:
 o Many women internalize societal messages about their limitations.
The advertisement can help them recognize and challenge these
internalized beliefs.
o It encourages them to embrace their strength, assertiveness, and
ambition.
 Redefining Femininity:
o The advertisement contributes to a broader cultural shift in redefining
femininity. It portrays women as strong, confident, and capable,
challenging traditional notions of passivity and submissiveness.
o It shows that women can be emotional, and strong.
 Ideological Implications:
o Feminist Ideology: The advertisement aligns with feminist principles
of challenging gender inequality and promoting women's
empowerment.
o Individualism: It also reinforces a sense of individualism,
emphasizing personal achievement and self-reliance.
o Consumerism: The message is delivered within a consumerist
context, linking empowerment to the purchase of Nike products.
Influence on Children:
 Girls:
o Positive Role Models: The advertisement provides girls with positive
role models who challenge traditional gender roles.
o Increased Self-Esteem: It can boost girls' self-esteem and confidence
by showing them that they are capable of achieving anything they set
their minds to.
o Challenging Gender Stereotypes: It can help girls recognize and
challenge gender stereotypes from a young age.
o Ideological Implications:
 Empowerment: It instills a sense of empowerment and agency.
 Equality: It promotes the idea that girls and boys are equal in
their capabilities.
 Ambition: It encourages girls to be ambitious and pursue their
dreams.
 Boys:
 o Challenging Gender Stereotypes: The advertisement can help boys
challenge their own internalized gender stereotypes.
o Increased Respect for Girls and Women: It can foster greater
respect for girls and women by showcasing their strength and
capabilities.
o Understanding of Equality: It can contribute to a better
understanding of gender equality.
o Ideological Implications:
 Equity: It promotes the concept of equity and fairness.
 Challenging Masculinity: It can subtly challenge traditional
notions of masculinity, encouraging boys to embrace a more
inclusive and empathetic view of gender.
 Acceptance: it can promote the acceptance of strong women.
Highlighting Possible Ideology:
 Intersectionality (Potential): While the advertisement features diverse
representation, it may not fully address the complexities of intersectionality.
Future iterations could explore how gender intersects with race, class, and
other social identities.
 Commodification of Empowerment: There's a risk of commodifying
empowerment, where social change becomes linked to consumerism.
 Individualism vs. Collective Action: The focus on individual achievement
may downplay the importance of collective action and systemic change.
 Corporate Feminism: The advertisement can be seen as an example of
"corporate feminism," where companies leverage feminist messages for
marketing purposes.
Key SFG Concepts:
 Metafunctions:
o Ideational Metafunction: This is about representing experience, how
we depict the world around us. It involves transitivity (processes,
participants, and circumstances).
o Interpersonal Metafunction: This is about social interaction, how
we establish and maintain relationships. It involves mood, modality,
and appraisal.
o Textual Metafunction: This is about organizing language into
coherent texts. It involves theme, rheme, and cohesion.
Applying SFG to the Video:
 Ideational Metafunction:
o The video uses action verbs ("challenge," "dominate," "flex," "break")
to depict processes of achievement and power.
o The participants are the viewers, who are being urged to take on these
actions.
o The circumstances involve settings of high achievement, such as
"filling stadiums." This shows the video is trying to create a world of
action, and accomplishment.
 Interpersonal Metafunction:
o The video uses imperative language ("challenge," "dominate," "stand
out") to directly instruct the viewers, establishing a power dynamic.
o The tone is motivational and assertive, aiming to inspire and persuade.
o The use of words like "emotional" shows that the video is trying to
connect with the viewers on an emotional level.
 Textual Metafunction:
o The video uses a series of short, impactful phrases to create a sense of
urgency and momentum.
o The repetition of strong verbs, creates a cohesive message.
o The video is structured to build towards a climax of achievement and
victory.