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The aim of this article is to carry out a qualitative multimodal analysis of the codification of verbal and nonverbal politeness strategies in a sub-corpus of five charity commercials aired on British television. Brown and Levinson's (1978, 1987) verbal politeness strategies are taken as a starting point together with a detailed analysis of facework that is realized through paralinguistic and extralinguistic modes of communication (Kress and van Leeuwen, 1996;Machin, 2010). In what we have identified as the problem phase of the commercial, our analysis has revealed that advertisers deliberately attempt to create threats to the viewer's positive and negative face by making him/her feel responsible for the plight of others. In all five ads, through multi-scene montage, positive and off-record politeness strategies are enacted involving vivid case stories, demand images, sad music and serious extradiegetic voices. These strategies also help convey the idea that the suffering of others might also affect viewers at some point in their lives and thus strengthen the bond between the characters depicted in the ads and those watching them. During the solution phase, in which images, melodies and voice-overs begin to become more upbeat, negative politeness strategies are used to soften the actual request to donate while positive politeness strategies are employed to appeal to the presupposed solidarity of the viewers. Our analysis points to the need to carry out further research on the interplay between verbal and non-verbal communication, especially in the field of politeness studies.

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This article aims to unveil how male identities are constructed in a corpus of male toiletry TV ads through a pragmatic and multimodal analysis of a set of implicit assumptions conveyed about the male participants in the ads. The validity of these assumptions is first empirically tested with a group of 10 male informants and then those implied meanings are bundled into thematic cores for their qualitative and quantitative description. Findings reveal that these ads still rely on stereotypical constructs and traditional discourses of what it takes to be a man. For example, men are invited to consume grooming products but reminded to do it the men’s way. Men are also reminded of their sexual power to seduce and attract women with the aid of the product. Likewise, by portraying male ad personae in traditional manly activities while emphasizing their toughness and body strength, or their resourcefulness when faced with challenging situations, the ads portray a rather skewed view of contemporary men, which fails to take into account the myriad roles a modern man can play in contemporary societies.

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