Abstract The aim of this article is to examine the meaning potential of images in the enactment or creation of gender stereotypes in a corpus of contemporary British TV commercials. The dimensions outlined in Goffman (1979) and some aspects of Kress and van Leeuwen’s (1996, 2006) metafunctions are taken as a starting point to quantitatively and qualitatively analyse a sample of 155 ads which depict women and men in working settings. Findings indicate that women are mainly portrayed in non-remunerated scenarios, in home settings and in the company of their children. This view is reinforced thanks to the multimodal dimensions of framing (mostly through close-ups), involvement with other participants through looks, smiling and profuse touching activity. Men, in contrast, are mostly depicted in remunerated scenarios in which they address the audience directly through demand looks, acting as experts in their professional capacity and framed with medium and long shots. When portrayed together in non-remunerated activities, men are found in family scenes, although they are sometimes portrayed as passive subjects and mere objects of contemplation through lack of interaction with children or spouses. This contrasts with women’s more communal role as they are intimately depicted in the company of their children through close-ups, feminine touch, and constant interaction with them. Stereotyped portrayals are less visually patent when both men and women are simultaneously depicted in remunerated scenarios, although some ads emphasize women’s interpersonal skills as better at talking to customers or patients, whereas men are shown in the role of experts in financial and medical issues.

中文翻译：

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分析当代英国电视广告中性别定型观念的一种多模式方法：“工作中的男女”

摘要本文旨在研究图像在英国当代电视广告语料库中制定或创造性别定型观念中的潜在意义。Goffman（1979）以及Kress和van Leeuwen（1996，2006）元功能的某些方面概述的维度被用作定量和定性分析155个广告的样本的起点，这些广告描绘了工作场所的男女。调查结果表明，妇女主要是在无酬的情况下，在家庭环境中和与子女在一起的情况下被描绘的。由于构图的多模式维度（主要是通过特写镜头），通过外观，微笑和大量触摸活动与其他参与者的参与，这种观点得到了加强。相比之下，男人 大多是在有酬的场景中描绘的，在这些场景中，他们通过需求外观直接与受众互动，以其专业能力充当专家，并具有中，远景。当在无酬活动中一起描绘时，在家庭场景中会发现男人，尽管有时由于与孩子或配偶缺乏互动而被描绘成被动的主体和沉思的对象。这与女性的共同作用形成鲜明对比，因为她们通过特写镜头，女性化的感觉以及与她们不断的互动而紧密地描绘在子女的陪伴中。当在有报酬的场景中同时描绘男性和女性时，刻板印象刻画的视觉效果就较差，尽管有些广告强调女性的人际交往能力更擅长与顾客或患者交谈，