Local Wisdom in Indomie and Demae Icchou Video Advertisements:

A Multimodal Analysis

Trisnowati Tanto

and Sri Iriantini

English Department, Maranatha Christian University, Surya Sumantri 65, Bandung, Indonesia

Japanese Department, Maranatha Christian University, Bandung, Indonesia

Keywords: Concepts, Video Advertisements, Multimodality, Local Wisdom.

Abstract: The research focuses on the main concepts revealed in two instant noodle video advertisements; one is

Indomie from Indofood Indonesia and the other one is Demae Icchou from Nissin Foods, Japan. Both brands

are not only the most prominent instant noodles in Indonesia and Japan respectively, but they are also well

known out of the countries. At present instant noodles are a serious business in the two countries; hence, how

the products are advertised throughout the countries becomes highly significant as well. The research aims to

find out these inherent concepts in the advertisements by using the Multimodality approach, focusing more

on the visual and verbal modes. The research uses a descriptive qualitative method as well as a library research

method as the data collection technique. The findings show that these Indonesian and Japanese video

advertisements share some similar main concepts as they both assert their countries’ local wisdom. This is a

smart strategy for it can build the feeling of closeness to the product advertised and people will get to know

the countries much better, which will eventually improve the two countries’ economic growth and the people’s

standards of living, which is one of the UN Sustainable Development Goals.

1 INTRODUCTION

Research on multimodality has existed for over two

decades and it has grown very rapidly. Simply put,

multimodality refers to the multiple means used in

meaning making (Kress, 2003; Kress & van

Leeuwen, 1996; Pan, 2015, p. 206). Thus, in a

multimodal analysis, it is possible and essential to pay

attention to how such various modes as image,

writing, facial expression, body posture, gesture,

gaze, colour, layout, action, movement etc. are used

to make meaning in a particular text.

Many scholars have explored multimodality in

their research and some even use the multimodal

approach in analysing other fields, such as

“psychology, sociology, (social) semiotics, and

anthropology” (Bezemer & Jewitt, 2018, p. 3).

Besides, multimodality has also been widely used

within the linguistics field; for example, linguists

have become considerably interested in using this

approach in “Discourse Analysis, Conversational

https://orcid.org/0000-0001-6569-0784

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Analysis, Systemic Functional Linguistics, as well as

Cognitive Linguistics” (Bezemer & Jewitt, 2018)

Multimodality indeed becomes a thorough and

thus, suitable approach in analysing texts in the form

of videos as practically all aspects can be discussed in

the effort of interpreting the meaning made through

the video. This is most probably one of the prominent

factors why the use of video is more and more

increasing at present. Advertising is one obvious

evidence for this phenomenon as nowadays it has

developed into communication assisted by

multimedia. As such, advertising will depend a lot on

the various possible modes to convey the main

message to the audience so that in the end the main

objective of promoting the product can be reached

optimally.

According to Bezemer and Jewitt (2018), studies

on multimodality have been developed for more than

seven decades. In addition, in advertising these

studies are extensively abundant (Forceville, 2017;

Laurence & Hoek, 1991; Murray, 2020; Pan, 2015;

Svetanant & Okuizumi, 2019). These studies also

512

Tanto, T. and Iriantini, S.

Local Wisdom in Indomie and Demae Icchou Video Advertisements: A Multimodal Analysis.

DOI: 10.5220/0010755000003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 512-522

ISBN: 978-989-758-604-0

show that the scopes of analysis are widely various,

from unveiling the socio-cultural ideologies reflected

in the advertising discourse to its relations to gender

stereotyping and aggression when related to

advertising to children as well as related to the field

of marketing.

This research, despite taking similar directions as

the previous studies which focus on uncovering the

advertisement concepts, will use a different angle as

it aims to compare two video advertisements of the

same kind of product, which is instant noodle, but one

is an Indonesian brand while the other is a Japanese

brand. The research will try to find out how the two

countries’ local wisdom has any influence or impacts

on the video contents.

Studies on the important roles of local wisdom

inherently displayed in advertisements are quite

extensive. Wahyuningsih (2014), using Barthes’

Semiotics theory, analyses how Madurese local

wisdom, such as the cow races or better known as

Karapan Sapi, as well as the Madurese traditional

clothes and Madurese language and dialect, is

inserted in Samsung Galaxy video advertisement.

Another similar research is done by Wicaksono

and Macaryus (2019), in which they believe that there

are some deconstructive processes when the famous

West Sumatra folklore, Malin Kundang, experiences

a media change, from the oral media to video media,

and it becomes the basic plot of two video

advertisements, Cat Avian and Buka Lapak. This

utilization of folklore events is regarded as part of an

effective advertising strategy.

Local wisdom again becomes the centre of

analysis in Siregar’s (2021) research. Using Barthes’

Semiotics approach, she unveils the denotative and

connotative meanings as well as the myth associated

with Acehnese culture in the promotional video “The

Light of Aceh”. The research also focuses on the

social changes that happen in the society which can

be seen through advertising media. In the video some

Acehnese cultural aspects are portrayed, such as its

traditional house, Rumoh Aceh, the customs of

honouring guests by eating together with them, and

the horse race tradition or called Pacu Kude. It is

concluded that the display of local wisdom is

beneficial as it contributes a lot to the increasing

attraction of Aceh as a place of interests for tourists.

Despite dealing with similar points as the above-

mentioned previous studies on local wisdom, this

research is trying to see how local wisdom is used in

food advertisements; to be more specific, instant

noodle advertisements. Besides, it is also different as

this research examines not only Indonesian local

wisdom in an Indonesian advertisement, but also

Japanese local wisdom in a Japanese advertisement.

Instant noodle itself is a serious industry both in

Indonesia and Japan. In Indonesia, according to

Mordor Intelligence (n.d.), the market of instant

noodle is one of the biggest in the world with Indomie

as “…the most selling brand in Indonesia with a

market share above 45% in 2014. Indonesia is

world’s 2nd largest market for instant noodles with

the sale of 13.4 billion units in 2014.” A similar

condition can also be found in Japan as the inventor

of instant noodle. This country is claimed to be the

third largest consumer of instant noodles in the world,

with the sale of 5.5 billion instant noodle units in

2014. In addition, the report states that Nissin is one

of the major instant noodle brands in Japan (Mordor

Intelligence, n.d.).

Seeing that in the two countries instant noodle is

an undoubtedly substantial business, instant noodle

business must be one of the major businesses that

have a huge contribution to the improvement of the

economic growth of the countries as well as the

people’s standards of living. This becomes even more

significant as this is one of the United Nations

Sustainable Development Goals (SDGs), which in

full says “promote sustained, inclusive and

sustainable economic growth, full and productive

employment and decent work for all” (Nations, n.d.).

The United Nations General Assembly first

established the UN SDGs in 2015 and they are

planned to be achieved by the year 2030.

In regard to this, how the two brands promote

their products is equally serious so as to maintain the

reputable condition and if possible, contribute more

to the countries’ sustainable economic growth and

productive employment. Advertisement takes its

important role in this case as it becomes a very

effective medium to deliver whatever messages the

producer has to the target audience.

Two advertisement videos of Indomie and Demae

Icchou are analysed using a multimodal approach,

focusing more on the visual and verbal modes. In the

more detailed and specific analysis of the modes in

the advertisement videos, C. S. Peirce’s Semiotics

theory will be applied.

Peirce (1839 – 1914) is an American philosopher

who offers a triadic model of a sign; it consists of a

sign, object, and interpretant. A sign could signify an

object as long as it is interpreted as such. Based on

this understanding, Peirce divides signs into three

fundamental types, namely icon, index, and symbol

(Atkin, 2010, p. 367).

An icon is a sign in which there are some

similarities or resemblances to what it signifies. An

Local Wisdom in Indomie and Demae Icchou Video Advertisements: A Multimodal Analysis

513

index is a sign having some direct physical or causal

connection with the object. A symbol is a sign

signifying something based on some convention, law,

or general agreement that connects the sign with the

object (Atkin, 2010). Unlike an icon, a sign could be

a symbol when no resemblance between the sign and

the object is found. Thus, the relationship between

them must be learnt (Chandler, 2017).

Through the meaning interpretation analysis of

the signs provided in the advertisement videos, it is

expected that both the explicit and implicit messages

will be clearly shown. Besides, it is also expected that

the analysis will also find out the local wisdom

inherently conveyed to the audience. In this way, the

research will be able to lead to the fact that the two

advertisement videos are produced through careful

and thorough consideration so as to support the

success of the promotion of these two instant noodle

brands as well as promoting the two countries’ local

wisdom.

2 METHODS

This research aims to find out the explicit and implicit

concepts of two instant noodle video advertisements

of Indomie from Indofood, Indonesia and Demae

Icchou from Nissin Foods, Japan. The research

method employed is descriptive qualitative as it deals

with concepts and meaning interpretation based on

non-numerical data (Bhandari, 2020), Besides, in this

research the interpretation of meanings will be

connected further with social phenomena which will

be described in an accurate and systematic way

(Crossman, 2020; McCombes, 2019).

This multimodal analysis will focus on both the

visual and verbal modes in the form of screenshots

taken from the advertisement videos which will later

be analysed in terms of signs. These signs will be

interpreted using Peirce’s Semiotics approach, and as

such, more specifically, they will be related to the

types of signs, namely icon, index, and symbol. In

explaining the meaning interpretation of these signs,

library research method is applied, as the research

uses some supporting references, both printed and

online ones, in order to produce a thorough yet logical

description.

3 RESULTS AND DISCUSSION

The first part of the analysis will show the meaning

interpretation of the visual signs taken from some

screenshots of the advertisement video of Indomie,

which in total lasts one minute. The advertisement

itself consists of some scenes, each of which contains

icons and indexes that show the various parts in

Indonesia with Indonesian people representing

different professions, gender and ages: some

fishermen at sea, some farmers in mountainous areas,

some boys playing on the beach, some women

making batik in a batik studio, some people having

leisure activities in the street market, and some young

men and women working in an office. The seven

screenshots in Figures 1 until 7 below display these

situations.

Figure 1: Fishermen at sea.

Figure 2: Farmers in a mountainous area.

Figure 3: Boys playing on the beach.

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Figure 4: Women drying batik cloth.

Figure 5: People in a street market.

Figure 6: People in a night market.

Figure 7: People in an office.

What is also interesting to notice in the seven

screenshots in Figures 1 until 7 above is the icons of

the beautiful sceneries of various places in Indonesia

being displayed. Despite the relatively short duration

of the video, the advertisement manages to show the

beauty of Indonesia. This is believed to be one main

message of the advertiser that is inherently contained

in the advertisement. This is a smart thing to do

considering that people in many parts of Indonesia as

well as overseas watching the video will realize how

beautiful Indonesia is, and this obviously becomes the

selling point in promoting Indonesia.

Besides, the scenes show some other icons and

indexes in which people are seen eating noodle

together. As this is a video advertisement of Indomie

instant noodle, the noodle must certainly refer to

Indomie. These scenes are also intriguing to pay

attention to due to the fact that the people eating

Indomie come from various professions. They are

fishermen, batik makers as well as office workers, as

seen in Figures 8, 9, and 10 respectively.

Figure 8: Three fishermen having noodle.

Figure 9: Batik makers eating noodle.

Furthermore, Figures 8 until 10 contain some

icons which illustrate that the people eating Indomie

are both male and female, adults and children. This

indicates that Indomie is suitable to be consumed by

people of any gender and all ages.

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Figure 10: Office workers eating noodle.

This is also confirmed by the next screenshots in

Figure 11, which contains the icons of a mother

preparing Indomie for her daughter’s breakfast, and

Figure 12, in which the mother is accompanying her

daughter who is wearing an elementary school

uniform and eating a bowl of Indomie before going to

school.

Figure 11: A woman cooking indomie.

Figure 12: Mother and daughter who is eating noodle.

The next three scenes illustrate people having

Indomie in their leisure time. The first scene is

displayed in Figure 13, in which the icons refer to

some boys having Indomie. Prior to this is the

situation illustrated in Figure 3 so that it can be

understood that the boys are eating Indomie after they

have finished playing on the beach. Through the icons

of the boys’ facial expressions in Figure 13, it is also

clear that they are laughing and smiling widely. This

suggests that they are enjoying their time together

eating noodle.

Figure 13: Boys eating Indomie.

The next scene showing people in their leisure

time can be seen in the screenshot in Figure 14, in

which the icons show one food stall which sells

Indomie.

Figure 14: A food stall selling Indomie.

Next in Figure 15, the icons refer to a man, a

woman, and a girl who are having Indomie in the food

stall. Besides, there are also two women who are

serving them. This suggests that they are ordering

some Indomie that the stall sells.

Figure 15: Customers having Indomie.

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The next scene also illustrates people in their

leisure time, which is in the night market. This is

shown in the screenshot in Figure 16 below, in which

there are a young man and a young woman having

Indomie.

Figure 16: A man and a woman having Indomie.

Through the three scenes of people enjoying

Indomie in their leisure time, it can be indicated that

Indomie is a suitable kind of food to enjoy in leisure

time activities.

The next discussion concerns the meaning

interpretation of the verbal signs in this video

advertisement which can be obtained from the

screenshot at the end of the video advertisement that

contains some verbal signs. This screenshot can be

seen in Figure 17.

Figure 17: Verbal sign of Indomie.

In this screenshot the writing says “Ada semangat

dan kehangatan yang menemani Indonesia” or “The

spirit and warmth that accompany Indonesia.” The

background of this text is the geographical map of

Indonesia with the many islands. Obviously, this icon

supports the idea of the textual sign that Indomie is

produced in Indonesia and is ready to be distributed

to all parts of Indonesia so that it can be consumed by

Indonesian people so as to create the high-spirited and

warm atmosphere.

Besides, the verbal sign can also be found in the

lyrics of the song that becomes the theme song of the

advertisement. The lyrics are in Bahasa and it is

translated into English as follows:

From Sabang to Merauke,

Starting the morning in high spirit

Always bringing cheerfulness

and warmth all day long,

Indomie, Indomie, my taste,

Indomie from and for Indonesia

Indomie, my taste.

The lyrics basically points out two important

things. The first is that Indomie is produced in

Indonesia with the taste of all Indonesian people,

from Sabang, the northernmost and westernmost of

Indonesia, until Merauke, the southernmost point of

Indonesia. The second is that having Indomie in the

morning will also bring cheerfulness and warmth all

day long. Thus, the lyrics also fully supports the text

in Figure 17 which says “The spirit and warmth that

accompany Indonesia.”

Having analysed the visual and textual signs of the

video advertisement of Indomie, there is one concept

that is inherently inserted, which serves as a symbol.

The symbol can be interpreted as the philosophy or

culture of togetherness adopted by Indonesia. This

spirit of togetherness is emphasized a lot throughout

the video advertisement of Indomie, as shown in

many screenshots above, particularly Figures 8, 9, 10,

12, 13, 15, and 16, which clearly show Indonesian

people eating Indomie together. As argued by Minty

(2017), this concept refers to “…the collectivization

of Indonesian cultural ecosystem, understanding it as

a method of addressing the challenges of resource

challenged contexts rooted in the concept of bersama-

sama, a Malay word meaning togetherness, which

also refers to the idea of having a shared goal or

aspiration, collectivization is common throughout

Indonesia and is an integral part of city change

through culture.”

This spirit of togetherness is Indonesia’s local

wisdom that is conveyed in the advertisement. This is

a clever thing to do in order that the audience can be

aware of this great value of Indonesia. Compared with

the studies on local wisdom done previously, this

local wisdom is more covertly displayed. Thus,

understanding the local wisdom in Indomie

advertisement video needs a more scrutinous

examination.

The next part deals with the analysis of the second

instant noodle video advertisement, which is Demae

Icchou produced by Nissin Foods, Japan. The video

is almost five minutes long, which is quite long for an

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advertisement, especially compared to the previous

Indomie advertisement. This Japanese advertisement

contains a storyline about a noodle stall owned and

run by a family consisting of a father, mother, two

children and a grandmother, as shown in Figure 18.

Figure 18: The Family Owning a Noodle Stall.

Figure 18 contains the icons of the family

members as well as a textual sign saying “Demae

Icchou”. As a family business, each member of the

family has their roles. Except for the youngest

member of the family, the other four members have

their roles. The father, as the head of the family, is the

chef who cooks and serves customers. This is shown

in several parts of the video advertisement, as is clear

in one of them shown in Figure 19 below.

Figure 19: The father and son serving a customer.

This screenshot in Figure 19 contains a textual

sign as well. After the customer finishes his bowl of

noodle, he says:

Customer: Kokoro ni shizundeiru kaori.

(The aroma of the ramen deeply touches the

heart.)

This scene actually contains a symbol as it

illustrates a Japanese way of thinking concerning the

concept of omotenashi, which reflects the Japanese

manners of serving their guests wholeheartedly

(Gani, 2019). The customer’s satisfaction as verbally

expressed in this scene is the ultimate goal of doing a

business for Japanese people.

Furthermore, it is also interesting to notice that the

father is shown to have the duty to teach his eldest son

to be his business successor. In Figure 20 the icons

refer to the father teaching his son to cook noodle. In

this scene the father says to the son:

Father: ookiku nattara, tsuzuku n da zo

(When you grow up, you continue running this

business, ok.)

This scene also portrays the fact that in Japan

there are a lot of family businesses like this noodle

stall. As confirmed by Finnigan (2017), Japan is a

nation which “…through exceptional circumstances

has allowed several thousand firms to remain in

family hands for more than a century.” He adds that

Japan is “…home to some of the world’s oldest

family businesses. One of the most notable,

Nishiyama Onsen Keiunkan, a hot spring in the

Yamanashi Prefecture, has been operating since 705

AD. It is a country with such a prolific history of

family-run businesses that today it lays claim to eight

of the world’s 10 longest running” (Finnigan, 2017)

Figure 20: The father teaching his son to cook noodle.

There are also two scenes in which the father is

teaching his son to be careful with handling things. In

Figures 21 and 22, it can be seen how the father is

teaching his son quite hard when the son admits he

does a mistake about some change.

Figure 21: Wrong change.

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Then in the scene shown in Figure 22, when the

son admits having made a mistake with the change,

the father is seen upset and he slaps his son’s face and

he says, “Kono mise, yameteyaru zo...” (I will close

the business). This scene perfectly uncovers the

Japanese attitudes towards money which in principle

state that the small value of money does matter due to

the fact that a big value of money will not be reached

without the small one (Watanabe & Satou, 2010).

Figure 22: The father slapping his son’s face.

A similar scene takes place again, as seen in

Figure 23, in which the icons refer to the son not being

careful when handling a big pot of gomaraayuu,

which is the signature oil made of sesame seeds used

to give a good taste of their noodle. The pot falls down

so that it breaks and the oil spills.

Figure 23: The big pot of gomaraayuu falling down.

Next in Figure 24, the icons refer to the father

being seen slapping his son’s face again for having

dropped the pot and made the gomaraayuu spill. This

confirms the indication that this is how the Japanese

father teaches his son not only to be careful with small

things but also to be tough.

The son’s role itself in the family business is

apparently as the one who delivers food. This is

shown in the next screenshot in Figure 25, in which

the icons show the son coming back to the stall after

delivering the food. On the glass window there is a

verbal text saying Ramen nara, Demae Icchou (If

looking for noodle, Demae Icchou is the best).

Figure 24: Father slapping his son’s face.

Figure 25: The son delivering food.

In the advertisement video, it is obvious that the

son is taught how to run the business by helping his

father run it. It is also seen in the screenshot in Figure

26 below that he works very hard so that he is very

tired and sleeping.

Figure 26: The son sleeping.

How the father teaches the son and how the son

works hard in helping the father running the business

refer to the concept of doryoku. This is an ideology

which refers to the fact that great efforts are essential

to achieve one successful end goal as expected. This

ideology has been instilled since young children.

Doryoku is also applied in business, which concerns

Local Wisdom in Indomie and Demae Icchou Video Advertisements: A Multimodal Analysis

519

the Japanese way of thinking that a successful

business will indeed be fulfilled when one keeps on

working hard (Kobayashi, 2017).

A part of doryoku is gambaru, which is always

said to give encouragement to people so that they will

not easily give up; on the contrary, they will reach the

best result. This is closely related to the wise words

“gambareba dekiru”, which basically means that one

must be able to get something if trying hard.

Besides, it is interesting to notice the headbands

worn by the father and son that appear in many scenes

in the advertisement video. In Japanese that kind of

headband is called hachimaki. This is a symbol of the

Japanese spirit of working. This headband is often

worn around the head in festivals as a symbol of the

spirit of working hard. Moreover, wearing a

hachimaki is believed to be able to concentrate well

in working or studying (Jinjakyosiki, n.d.).

In the next screenshots in Figures 27 and 28, the

icons show that the mother has two jobs in the family

business. She helps serve the food to the customers,

as can be seen in Figure 27. Besides, she helps making

origami, which is used as a decoration for chopsticks.

This is clear as the video advertisement shows a scene

in which the mother is making a lot of origami, which

can be seen in Figure 28. Making decorations like this

is connected with the concept of omotenashi

previously described. In this case, when all the things

are decorated in such a way that they look beautiful,

this becomes part of the service to please the

customers so that it is expected that they will be

satisfied.

Figure 27: The mother serving noodle.

In addition, it seems that the grandmother also

helps in the family business as in Figure 29 the icons

refer to the scene where she is seen holding a broom.

This indicates that she helps clean the food stall.

Figure 28: Mother making origami.

Figure 29: Grandmother helping clean the room.

One more point that cannot be ignored is the

gomaraayuu scene which can be seen in Figure 30.

This scene is displayed very often in the video

advertisement with the voice at the background

saying “Gomaraayuu Demae Icchou”. The

gomaraayuu sachet is always portrayed in a close-up

shot. In the total length of 4 minutes 43 seconds, the

advertisement displays this particular scene of

gomaraayuu as the secret recipe for twelve times. It

is very obvious that the video advertisement wants to

grab the audience’s attention to this scene as this is

considered a very important message. Related to the

product, gomaraayuu becomes the signature oil

which makes this instant noodle product tasty and

different from other brands.

Figure 30: Gomaraayuu sachet.

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4 CONCLUSIONS

The two video advertisements, despite promoting the

same type of product, differ quite significantly in the

length. Indomie video advertisement lasts 1 minute,

whereas Demae Icchou video advertisement lasts 4

minutes 43 seconds. Technically speaking, this

explains why Indomie advertisement is just a

collection of photos of people eating Indomie

together while doing their activities. However,

although Indomie advertisement is short, it is

successful in conveying the main message that it is

the perfect food for all types of people and it can be

consumed in any place and at any time.

Demae Icchou advertisement, on other hand,

contains a story of a family who owns a ramen stall.

The story itself is quite detailed as it shows how the

father and the other family members work together in

running the business. Through the story, the main

message about the tastiness of Demae Icchou, thanks

to gomaraayuu, is perfectly portrayed.

This proves that the length of a video does not

hinder the success of the conveyance of a particular

theme or message. What is more required is a mature

preparation of the video making. By using the perfect

storyline and the right technique, a good video can be

produced.

Furthermore, the long duration of Demae Icchou

advertisement video explains why there are a lot of

aspects of Japanese local wisdom that can be

conveyed. Compared with Indomie advertisement

video and also the other advertisements analysed in

the previous studies, Demae Icchou can be regarded

as the most complete, in the sense that the local

wisdom aspects are both overtly and covertly

displayed.

The two video advertisements, Indomie and

Demae Icchou, are special as they contain their

countries’ local wisdom. Indomie advertisement

portrays the beautiful sceneries of some parts of

Indonesia while at the same time showing the

Indonesian culture of togetherness.

Demae Icchou advertisement, most probably due

to the long duration of the video, contains quite a lot

of Japanese ways of thinking, which become the local

wisdom illustrated in the advertisement: how

businesses in Japan are inherited from one generation

to the next as well as the concepts of omotenashi,

doryoku, and the Japanese attitudes towards money.

Inserting the countries’ local wisdom in the

advertisements is obviously a smart strategy. In this

way, not only do people know the good points about

the products being advertised, but also the good

points about the countries. The logical implication is

that people will get to know the countries better, and

most importantly the positive things about them. The

feeling of closeness will definitely help the promotion

of the product.

When related to Peirce’s Semiotics theory, it can be

said that the advertisements have two layers of

meaning. The first layer is the explicit meaning of the

advertisement, which basically deals with the main

objective of an advertisement, which is to promote a

product. This first layer of meaning is gained through

the use of icons and indexes. This is made simple and

easy to understand. Furthermore, the second layer of

meaning or the implicit meaning of the advertisements

use symbols that refer to the local wisdom of each

country. The use of two layers of meanings in the

advertisement is another outstanding strategy.

The research is expected to be able to enrich the

literature of linguistics studies, especially in the area

of multimodality. Nevertheless, the findings of this

research are still limited in scope as it is based only

on two advertisements. There are in fact a lot more

advertisements of both Indomie and Demae Icchou.

Thus, for future research, this research can be

expanded so as to gain more accurate findings.

Besides, the research can also be made deeper by

relating the findings of the multimodal analysis to

people’s purchase intention in order to really find out

whether or not these advertisements as a marketing

tool are successful.

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