INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue XII December 2025

Selling Diversity: The Politics of Representation in Global

Advertising

Herdzawani Hadifah Huzali & Nor Fatin Abdul Jabar

Faculty of Education, Social Sciences & Humanities, Universiti Poly-Tech Malaysia, Malaysia

DOI: https://dx.doi.org/10.47772/IJRISS.2025.91200036

Received: 10 December 2025; Accepted: 18 December 2025; Published: 31 December 2025

ABSTRACT

This study meticulously examines the racial and cultural ramifications associated with Thailand’s 2013

Dunkin’ Donuts “Charcoal Donut” advertisement, which incited international indignation due to its visual

resemblance to blackface. This study utilizes Fairclough’s Three-Dimensional Model of Critical Discourse

Analysis (CDA) to investigate the visual representation of race and identity, and the ways in which these

representations either uphold or challenge dominant social constructs. Data were obtained from the

advertisements and augmented by secondary sources, including international news reports, scholarly analyses,

and audience reactions on social media. The analysis shows that the advertising uses language that is both

inclusive and nationalistic, but its visual design focuses on light-skinned images and follows traditional Thai

beauty standards for colourists. Audience views show a difference between how people in different cultures

saw the picture: some thought it was stylish or original, while others thought it was racist because it used

blackface. At the macro social practice level, the advertisement reinforces the concept of "Thainess," which

promotes unity and a shared identity while obscuring the systemic disadvantages experienced by ethnic

minorities. The study contributes to the existing academic discourse on global advertising by illustrating how

multicultural narratives are selectively adapted to align with local contexts, thereby negotiating and

normalizing prevailing power dynamics. It emphasizes the importance of culturally informed and ethically

sound representation methods in international marketing.

Keywords: Critical discourse analysis; Representation of race; Colorism; Global advertising; Thainess

ideology; Media ideology and identity.

INTRODUCTION

People have always thought of advertising as a powerful cultural force that can change how people think about

their identity, social values, and ties to the rest of the world. As brands go global, it becomes harder to come up

with messages that will appeal to a wide range of people. Modern international advertising requires not only

linguistic translation but also cultural negotiation, as campaigns must align with both global branding

strategies and local societal norms. Researchers such as Camphouse (2025) and Team (2025) assert that the

global marketplace has intensified the necessity for corporations to deliver promotional content that is

culturally sensitive, visually appealing, and strategically adaptable to diverse markets. But these efforts often

run into problems when local stories about race, identity, and inclusion don't match up with bigger global

stories.

A good example of this problem happened in 2013 when Dunkin' Donuts Thailand ran an ad campaign for its

new "Charcoal Donut." The ad showed a woman with a beehive hairstyle from the 1950s putting on dark skin

makeup and bright pink lipstick while showing off the main product. The picture had the phrase "Break every

rule of deliciousness" next to it. Responses from around the world came right away and were mostly negative.

Many people in the Western media called the campaign "bizarre and racist" because the images were so close

to blackface (Gabbatt, 2018; CBS News, 2013). Blackface is fundamentally linked to racial stereotyping and

dehumanization in American history and culture, originating from 19th-century minstrel performances

exemplified by the "Jim Crow" caricature (Smithsonian National Museum of African American History &

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INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

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Culture, n.d.). These historical connections shape contemporary perspectives, particularly in Western societies

where blackface is unequivocally linked to bias and racial violence.

Still, the symbolic meaning of "blackness" in Thai culture is very different. In Thailand, black is not usually

associated with race like it is in Western countries. Instead, it may be seen as a neutral colour that stands for

aggressiveness, uniqueness, or business traits like charcoal flavouring. Thai audiences and local media often

reacted to the Dunkin' Donuts ads with interest instead of anger, praising their creative use of visuals and

unique style. CBS News (2013) and Lopez (2013) said that Thailand has a history of using similar images in

commercial branding, like the "Black Man" home goods mascot. Nadim Salhani, the CEO of Dunkin' Donuts

Thailand, called Western criticism "paranoid American thinking" and said that using the colour black in

marketing is not racist (Lopez, 2013).

These different answers show the main problem with international advertising: the clash between universal

standards for how to show race and local cultural contexts that interpret pictures in different ways. Western

audiences viewed the advertisement through the prism of historical trauma linked to blackface and racial

caricature, while numerous Thai viewers perceived it as visually striking, unconventional, and detached from

racial politics. This difference shows how important cultural context is for making meaning and interpreting

things. This is a main focus of representation researchers like Hall (2020), who says that media texts don't just

reflect reality; they also shape meaning through certain ideological frameworks.

The Dunkin' Donuts ads go beyond cultural interpretation and deal with deep social issues in Thailand,

especially when it comes to beauty standards and racialized aesthetics. Research shows that Thai ads often

show people with lighter skin tones, which are seen as modern, beautiful, and wealthy (Rojratanakiat &

Chantagul, 2022). The emphasis on fair skin in Thai media exemplifies persistent colourism rather than race as

conceptualized in a Western framework. These aesthetic hierarchies, while not always tied to race, still keep

power imbalances and social divisions going. So, even though the ads may not have meant to use blackface,

the way they chose to show things still fits into a culture that values whiteness and pushes darker skin tones to

the side.

Scholarly discussions regarding international advertising underscore the increasing imperative for brands to

promote diversity and ethical representation. Consumers, especially younger ones, are demanding more

marketing content that accurately reflects different identities and respects cultural context (Campbell, 2023;

Eisend, 2023). Research also shows that multinational campaigns still have problems with tokenism,

performative diversity, and stereotypical representations (Rößner & Eisend, 2023). These trends show that

even though surface-level diversity has increased, the basic power structures that control representation have

mostly stayed the same. Additionally, the uniformity within advertising production teams—often consisting of

majority groups—results in blind spots and unintentional biases in campaign design (Association of National

Advertisers [ANA], 2024).

Audience responses to advertising reveal substantial variations in interpretation and meaning construction.

Kucher (2025) notes that people are more likely to respond positively to ads that accurately reflect their

cultural identity. On the other hand, ads that are wrong or offensive could hurt trust and brand credibility. This

dynamic is heightened in digital public spheres, where audiences actively negotiate, challenge, and reinterpret

media messages. The Dunkin’ Donuts case shows that Thai and foreign audiences had very different ideas

about what it meant, which shows how cultural background, media literacy, and social awareness affect how

people interpret things.

This research utilizes Fairclough’s (1995) Three-Dimensional Model of Critical Discourse Analysis (CDA) to

examine the representational, discursive, and ideological dimensions of the Dunkin’ Donuts “Charcoal Donut”

advertisement. Critical Discourse Analysis (CDA) is particularly suitable for this study as it investigates the

interaction between linguistic and visual elements and their connection to social structures and power relations.

Fairclough emphasizes the connection between text, discursive practice, and social practice, allowing scholars

to articulate how micro-level representations influence macro-level ideologies. CDA provides a framework for

understanding how seemingly neutral promotional content can reinforce cultural hierarchies, engage in identity

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INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

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politics, and perpetuate dominant ideologies such as nationalism or colourism in the context of global

advertising.

This research investigates the visual construction of race and identity in advertising (Research Question 1) and

the implications of these representational decisions on broader social and ideological meanings in both Thai

and global contexts (Research Question 2). The research elucidates the interaction between local cultural logics

and global racial discourses by situating the advertising within the frameworks of multiculturalism, national

identity, and global branding.

This study asserts that the Dunkin’ Donuts advertisement represents more than a mere commercial misstep; it

exemplifies the cultural politics of representation that arise at the convergence of global and local interpretive

frameworks. The research illustrates, through Critical Discourse Analysis, the ways in which visual and verbal

methodologies sustain entrenched power structures while simultaneously enabling audience-driven

reinterpretation and resistance. This study contributes to wider discussions about how to portray people

ethically, be sensitive to different cultures, and negotiate different ideas in global advertising.

LITERATURE REVIEW

Academic discourse on international advertising has increasingly emphasised issues of race, identity, and

representation, especially as globalisation amplifies the dissemination of images across cultural and political

borders. Advertising has changed from being just a way for businesses to make money to a major cultural

conversation that affects how people see themselves, how they build their identities, and what they believe.

When international companies enter different markets, they have to balance the needs of their global branding

strategy with the needs of the local culture. This literature review brings together research on how global

advertising changes, how race and colour are portrayed, how audiences interpret things, and how ideologies

are discussed. It puts the current study in the context of established theoretical frameworks that look at how

meaning is created, challenged, and normalised in cross-cultural advertising contexts.

Globalisation has significantly altered the dynamics of advertising production and consumption. People today

don't just passively take in media; they actively think about, negotiate, and challenge ads based on what they

know about their culture, history, and social status. Campbell (2023) asserts that global consumers are

increasingly insisting that advertising demonstrate social responsibility, cultural sensitivity, and ethical

awareness, particularly regarding race and diversity. This expectation is part of larger social and political

movements that have made people more aware of how media companies represent different groups. At the

same time, brands have to deal with the problem of keeping a consistent global character while making ads

that fit in with local cultures. Eisend (2023) calls this conflict the "glocal paradox," which means that

advertising has to find a balance between being relevant to local audiences and being the same everywhere.

While adaptation facilitates corporate engagement with specific cultural contexts, it simultaneously presents

risks of misinterpretation, cultural appropriation, or symbolic offence when images circulate beyond their

intended audiences.

The complexity of cross-cultural interpretation is particularly pronounced in racialised imagery. Race has been

historically conceptualised as a socially constructed category linked to observable phenotypic characteristics,

including skin colour, hair texture, and facial features. In Western societies, racial iconography is deeply rooted

in the history of colonisation, slavery, and systemic discrimination. Blackface, which started in minstrel shows

in the 1800s, was used to make fun of and dehumanise African Americans, which helped keep racial

hierarchies in place and made exclusion seem normal (Smithsonian National Museum of African American

History & Culture, n.d.). Historical legacies continue to shape contemporary Western interpretations of visual

representations of individuals with darker skin tones, rendering such imagery highly sensitive and politically

contentious.

Nonetheless, racial symbolism is not universally constructed or interpreted. In many Asian cultures, like

Thailand, the colour black does not automatically mean a person's race like it does in Western countries.

Instead, it might serve as a symbol for product features, modernity, boldness, or new ideas. According to CBS

News (2013) and Lopez (2013), Thai commercial culture has long used dark imagery without causing any

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INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

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problems at home. This shows a unique semiotic history. This difference supports Hall's (2020) idea that

representation is not just a mirror of reality, but a cultural practice that creates meaning. Images derive

meaning from the sociocultural contexts in which they are interpreted, making global advertising particularly

susceptible to varied interpretations when visual symbols transcend cultural boundaries.

While race is a central theme in Western discourse, the concept of colourism provides a more precise

analytical framework for understanding visual hierarchy in various Asian nations. Colourism is the practice of

giving lighter skin tones more attention than darker ones within the same racial or ethnic group. It is often

linked to ideas of beauty, social status, and modern ideals. Research on Thai media consistently demonstrates a

preference for lighter-skinned representations, reinforcing aesthetic hierarchies that associate fairness with

beauty and success (Rojratanakiat & Chantagul, 2022). These hierarchies operate independently of Western

racial classifications while perpetuating structural inequalities by marginalising individuals with darker

complexions and indigenous populations. When looking at ads from non-Western cultures, it's important to tell

the difference between racism and colourism. Mixing the two can make it hard to see how power works in the

local culture.

Despite the growing awareness of diversity and inclusion in advertising, empirical research indicates that

advancements in representation remain limited. Rößner and Eisend (2023), in their longitudinal study of

advertising content, found that while the representation of minorities has increased in number, it often remains

superficial, stereotypical, or subordinate. This phenomenon, referred to as “performative diversity,” signifies

the strategic employment of varied imagery lacking substantive engagement with systemic injustice. Eisend

(2023) also says that businesses might use inclusive aesthetics to make their image better while avoiding

bigger problems with social norms. These strategies allow advertising to communicate progressiveness while

maintaining existing hierarchies, transforming diversity into a marketable visual asset rather than a genuine

commitment to equity.

The lasting nature of representational constraints is further shaped by the organisational structures within the

advertising industry. The Association of National Advertisers (ANA, 2024) says that creative teams, especially

those that make decisions, often lack diversity, which makes it hard to come up with new ideas for campaigns.

Uniformity among producers can lead to cultural blind spots, increasing the likelihood of stereotyping or

insensitivity in visual and narrative choices. These organisational dynamics influence not only the individuals

depicted in advertising but also the construction and assessment of identities. In global campaigns, these

differences can make it harder to get the message across to the right people, especially if the cultural

assumptions that go into making the ads are not looked into.

To figure out how advertising affects society, it's important to know how the audience reacts. Kucher (2025)

contends that consumers respond more positively to advertisements that align with their cultural identities and

personal experiences, while representations considered inappropriate or offensive may undermine brand trust

and credibility. The identical visual features may provoke varied reactions among audiences owing to

disparities in historical memory, cultural standards, and media literacy. This diversity is especially pronounced

in global advertising, where local and international audiences perceive visuals through distinct ideological

lenses. The varied reactions to the Dunkin' Doughnuts "Charcoal Doughnut" campaign, ranging from local

approval to global disapproval, illustrate the significant impact of cultural context on meaning-making

processes.

Digital media contexts intensify these dynamics by providing platforms for audiences to publicly negotiate and

contest advertising messages. Social media discourse enables users to articulate divergent interpretations,

challenge dominant narratives, and expose ideological conflicts embedded in commercial texts. Fairclough's

(1995) concept of discourse as a battleground is especially relevant, as meaning emerges from the interaction

of producers, texts, and audiences. Online reactions to controversial ads show both personal views and larger

social stories that include different value systems. In the case of Dunkin' Doughnuts, the global outrage was

mostly because of its ties to blackface in the past. Thai reactions were more complicated, showing that

different cultures have different ways of understanding visual symbols.

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In Thailand, advertising representations are intricately connected to the concept of "Thainess," a cultural

construct that emphasises national unity, harmony, and collective identity. Media portrayals of diversity often

operate within this framework, acknowledging differences only insofar as they reinforce a cohesive national

narrative. Hall (2020) asserts that these representational strategies function ideologically by determining what

is displayed and what is obscured. Thai advertising may use multicultural images to show that there is some

variety on the surface, but it often ignores the deeper structural inequalities that ethnic minorities face.

Inclusion, therefore, takes on a symbolic role instead of a revolutionary one, putting branding interests ahead

of social equality.

Critical Discourse Analysis (CDA) offers an extensive analytical framework for scrutinising these

representational processes. Fairclough's (1995) Three-Dimensional Model posits that discourse operates

simultaneously at textual, discursive, and social levels, enabling the examination of the interplay between

linguistic and visual elements and overarching ideological frameworks. CDA is particularly suitable for cross-

cultural advertising research as it examines both micro-level representational choices and macro-level power

structures. Critical Discourse Analysis (CDA) elucidates the production, dissemination, and interpretation of

advertisements, illustrating how commercial texts enable the normalisation of dominant ideologies, including

nationalism, colourism, and performative diversity.

The existing body of literature suggests that advertising does not merely reflect social reality; rather, it actively

shapes cultural knowledge and identity politics. Global advertising campaigns operate at the intersection of

local cultural norms and transnational narratives, making them sites of ideological discourse and potential

conflict. The Dunkin' Doughnuts "Charcoal Doughnut" advertisement exemplifies these complexities, as its

visual strategies are interpreted differently across cultural contexts, revealing tensions among race, colourism,

and national identity. This study underscores the imperative of critically examining the adaptation, circulation,

and challenges of global advertisements across diverse sociocultural contexts.

This literature review integrates research on globalisation, representation, audience reception, and discourse

theory to provide a conceptual framework for analysing the ideological ramifications of the Dunkin’

Doughnuts advertisement. It stresses how important it is to tell the difference between racial and colourist

frameworks, recognise the audience's role in making meaning, and put advertising texts in the context of

bigger power dynamics. This underscores the importance of Critical Discourse Analysis as a means of

clarifying the cultural politics of representation in an increasingly interconnected media landscape.

METHODOLOGY

This research employed a qualitative methodology grounded in Fairclough’s Three-Dimensional Model of

Critical Discourse Analysis (CDA) to investigate the portrayal of race, colourism, and national identity in the

2013 Dunkin’ Doughnuts Thailand “Charcoal Donut” advertisement. CDA is particularly appropriate for this

methodology as it frames discourse as a social phenomenon that both reflects and sustains power relations

embedded in cultural and institutional frameworks (Fairclough, 1995). Advertising, as a multifaceted and

ideologically laden form of communication, functions not only to promote products but also to propagate

values, normalise social hierarchies, and shape public perceptions of identity. This methodological approach

enables a critical examination of how visual and verbal choices in advertising participate in overarching

ideological conflicts at the intersection of global branding and local cultural contexts.

The analytical framework is founded on Fairclough’s tripartite paradigm, which examines discourse through

the dimensions of text, discursive practice, and social practice. These dimensions are viewed as logically

interconnected rather than sequential, enabling a thorough elucidation of meaning-making processes. The

paradigm facilitates the transition from micro-level semiotic elements to macro-level ideological constructs,

making it especially suitable for cross-cultural advertising studies where meanings are contested across

sociocultural boundaries. This research utilises a versatile framework to examine the multimodal aspects of

advertising, recognising that meaning is co-constructed through the interaction of visual imagery, linguistic

components, and audience interpretation.

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The primary data for the study consists of the Dunkin' Doughnuts Thailand "Charcoal Doughnut"

advertisement released in 2013. This advertisement was selected via purposive sampling due to its

considerable public visibility and the international controversy it incited regarding racial representation. The

campaign offers a conceptually significant opportunity to analyse the unique operation of visual symbolism in

various cultural contexts and the recontextualization of global advertising texts upon their distribution beyond

their original locale. The research situates the advertisement within a comprehensive discursive framework

shaped by media commentary and audience engagement, rather than perceiving it as an isolated artefact.

The study incorporates secondary data, including global and local news articles, opinion pieces, and publicly

available audience feedback from digital platforms such as Facebook, YouTube, and X (formerly Twitter), to

enhance contextual understanding and enrich analytical insight. The sources were selected based on their

relevance to the advertising and their impact on public discourse regarding the campaign. International media

coverage clarified Western interpretive frameworks influenced by historical discourses of race and blackface,

whereas Thai media responses reflected local aesthetic norms and narratives of national identity. Audience

comments were included to show how different people interpret things and how those interpretations were

negotiated, challenged, or made normal by different social actors.

The analytical process involved a thorough scrutiny of the advertisement's visual and verbal characteristics,

informed by the principles of multimodal discourse analysis. We looked at visual elements like skin tone,

colour contrast, lighting, facial expression, posture, styling, spatial arrangement, and compositional hierarchy

to see how aesthetic choices affected the creation of identity and difference. The arrangement of lighter and

darker skin tones in the visual composition and how these choices fit with Thai media culture's beauty

standards were given special attention. We looked at linguistic elements like slogans and written signs that

promote unity and national identity to see how they fit into the bigger picture, especially since inclusive

language can hide social differences.

The study focused on the creation, dissemination, and interpretation of advertising across diverse cultural

contexts at the level of discursive practice. Media narratives were scrutinised to identify dominant discursive

frameworks, such as the celebration of innovation, the defence of cultural identity, and the condemnation of

racial insensitivity. Thematic analysis of audience responses was employed to discern recurring interpretative

patterns, including support, critique, humour, indifference, and moral outrage. This part of the analysis showed

how cultural context, historical memory, and social consciousness affect how we interpret things. It showed

that meaning is not fixed in the text, but comes from the interaction between the creators and the listeners. The

simultaneous existence of diverse interpretations illustrates what Fairclough refers to as discursive struggle,

wherein various meanings concurrently circulate and contest one another.

The analysis placed the advertisement within the broader ideological frameworks existing in Thai society and

the global advertising culture. The study centred on the notion of “Thainess,” an ideological framework that

emphasises harmony, unity, and a shared national identity. The study examined the congruence of the

advertisement's visual and linguistic strategies with this ideology by representing diversity in symbolic and

depoliticised ways that enhanced national unity while sidelining structural inequities. The study looked at how

the campaign reflected global corporate stories that say diversity is good for business, showing that inclusivity

can be a marketable quality instead of a true commitment to fairness. The analysis identified a correlation

between representational choices and overarching societal norms and institutional practices, linking micro-

level semiotic elements to macro-level power dynamics.

To ensure analytical rigour, triangulation was utilised across various data sources, including the advertisement,

media discourse, and audience feedback. The analysis's reliability was strengthened by the fact that different

sources all had the same themes of unity, beauty standards, colour symbolism, and racial sensitivity. The

research utilises a reflexive methodology, acknowledging the interpretative nature of Critical Discourse

Analysis and the researcher's role in influencing analytical interpretations. The analysis prioritises transparency

and theoretical consistency over the pursuit of objectivity in a positivist framework.

Ethical concerns were addressed through careful handling of publicly available data. The comments from the

audience were made anonymous, and only the parts that were relevant to the study questions were included.

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The study avoided reinforcing harmful stereotypes or sensationalising racialised material, tackling challenging

topics with critical insight and cultural awareness. The study relied exclusively on secondary data and did not

involve direct interaction with human subjects, thereby mitigating concerns regarding informed consent, while

still conforming to ethical standards for qualitative research.

The study's limitations stem from its focus on a single advertising example and its reliance on secondary data.

Consequently, the results are not intended to be statistically generalisable. The case is considered analytically

enlightening, offering insights into the overarching dynamics of representation in global advertising. The

method focused on visual and linguistic elements, neglecting other multimodal factors such as music, sound,

and gesture. The articulated limitations present prospective pathways for future research, which may employ

comparative methodologies, incorporate additional multimodal elements, or directly engage advertising

professionals and marginalised communities to further examine production processes and lived experiences.

This analytical framework enables a comprehensive and contextually nuanced examination of advertising as a

site of ideological negotiation. By integrating textual, discursive, and social analyses within Fairclough’s

Critical Discourse Analysis framework, the study establishes a robust foundation for investigating the cultural

politics of representation in global advertising and for understanding how meanings are constructed, contested,

and normalised across cultural boundaries.

FINDINGS

This section presents the results of the Critical Discourse Analysis of the 2013 Dunkin’ Doughnuts Thailand

“Charcoal Donut” advertisement, concentrating on the visual and linguistic representations of race, colourism,

and national identity, and their resultant ideological ramifications. Employing Fairclough’s Three-Dimensional

Model, the results demonstrate that the advertising simultaneously promotes narratives of unity and inclusivity

while reinforcing hierarchical visual standards rooted in colourism and national ideology. Audience

interpretations demonstrate that the meanings attributed to the campaign differ significantly across cultural

contexts, highlighting the instability of representation in global advertising.

The ads mostly use colour symbolism and visual composition to get their message across. The pictures are

artistically refined, using warm lighting, stylised poses, and pleasing compositions to create a feeling of

community and celebration. These graphic choices help the brand show that it is aware of and includes

different cultures. However, a thorough examination of compositional hierarchy reveals a subtle but enduring

bias towards lighter skin tones. People with lighter skin tones are more prominently featured in the frame,

often in the centre or foreground, while people with darker skin tones are either pushed to the side or stylised

in ways that make them less connected to their physical identity. This graphic hierarchy shows how Thai media

culture tends to favour lighter skin, which is often associated with beauty, modernity, and higher social status.

The difference between inclusive language and a hierarchical visual structure shows how colourism works in

commercial photography. Darker skin is shown not as a group of people, but as an aesthetic effect that goes

along with originality, taste, or visual contrast. In this context, colour functions symbolically rather than

representationally, emphasising the concept that lighter skin remains the unmarked standard against which

differences are evaluated. These results support current research on Thai advertising practices, showing that

colourist hierarchies still exist even in campaigns that seem to celebrate diversity. The visual design gives the

impression of being inclusive, but it actually keeps differences that favour certain looks over others.

Linguistic parts make this stress even worse. Slogans that promote unity and a shared national identity say that

all citizens are part of one national community and that diversity is peaceful and without problems. The

language paints a perfect picture of national unity, suggesting that differences in ethnicity and culture

disappear when people share a common identity. Even though these statements seem general, they still serve

an ideological purpose by hiding socioeconomic inequalities. The ad shows unity as a current reality instead of

a goal, which normalises social peace and downplays the experiences of communities that are left out. This

finding supports Hall's claim that representation actively shapes meaning by deciding which facts are

highlighted and which ones are hidden.

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The results show how meaning is made through production, circulation, and interpretation at the level of

discursive practice. The campaign was widely spread through many channels, such as TV, print, and digital

media, so that people from both the US and other countries could get involved. Most Thai media coverage of

the ad focused on how new and visually appealing it was, emphasising its modern look and festive tone. These

opinions are in line with the dominant national stories that stress unity, creativity, and pride in one's culture.

Most people saw the ads as a good way to build a brand, not as a place for intellectual debate.

In Thailand, people had a wide range of reactions to the audience, from strong support to quiet criticism. Many

people praised the ad for its creativity and visual appeal, seeing the images as art rather than as a racial issue.

Some Thai people saw that the characters looked different, but they didn't think these representations had any

political meaning. Some offered nuanced critiques, noting that while diversity was visually suggested, it

remained superficial and failed to authentically represent marginalised ethnic groups, including indigenous or

minority cultures. These responses indicate that although the advertisement largely adhered to dominant

cultural standards, it was not entirely immune to scrutiny.

On the other hand, people from other countries, especially Western ones, were very angry about it. People who

saw the darker skin and stylised image thought of blackface in a historical context, connecting the image to

racial caricature and dehumanisation. Western media coverage called the campaign racially inappropriate and

pointed out how it was similar to tactics used in the past to oppress people. The interpretations spread quickly

through international news outlets and social media, turning the ad into a symbol of racial conflict. The

significant divergence between Thai and Western interpretations underscores the culturally contingent nature

of meaning construction and illustrates how global dissemination exposes advertisements to contradictory

discursive frameworks.

These different interpretations show what Fairclough calls "discursive struggle," which means that meanings

are always being fought over by different social actors. Thai audiences primarily engaged with the campaign

through local aesthetics and national contexts, while Western audiences perceived the same imagery as

objectionable, invoking a racialised history. The commercial became a site of ideological conflict, illustrating

how global advertising texts are recontextualised as they cross cultural boundaries. This discovery highlights

the limitations of advertiser influence on meaning and demonstrates how globalisation intensifies the potential

for representational conflict.

The results show that the ad reinforces the dominant ideological frameworks in Thai culture, especially the

idea of "Thainess." This worldview emphasises unity, harmony, and collective identity, often depicting

difference as symbolic rather than significant. The ad brings people of different looks together in an appealing

way and uses words that are welcoming to everyone, which fits with national stories that praise diversity but

don't address inequality. Difference is acknowledged only to the extent that it reinforces a unified national

identity, thereby concealing systemic inequalities.

When looking at identities that are missing or not very important, the ideological role is most clear. The poster

hints at diversity, but it doesn't clearly show ethnic minorities who face systemic discrimination in Thai

society. Their absence indicates a selective representation strategy that prioritises aesthetic harmony over social

realism. Hall calls this the "politics of representation," and it happens when inclusion works through controlled

visibility that supports existing stories instead of challenging them.

The results also show how the campaign fits in with global advertising trends that see diversity as a marketable

asset. Multinational brands are increasingly employing inclusive imagery to exhibit ethical awareness and

social responsibility. However, as this example shows, these kinds of strategies often stay shallow, showing off

visual diversity while keeping existing inequalities. The Dunkin' Doughnuts ad is a good example of this trend

because it uses diversity as a symbol while still promoting colourist standards and national ideology.

Inclusivity functions as a branding strategy rather than a transformative movement.

The results clearly show the difference between racial rhetoric and colourist discourse, which helps us

understand how different situations can lead to different interpretations. From a Western perspective, the

controversy surrounding the advertisement is rooted in racial discourse, where darker skin tones evoke

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connotations of blackface and racial violence. In Thailand, images mostly work within a colourist aesthetic

framework, where skin tone is more about beauty, originality, or style than race. This difference is important

for understanding why people reacted to the ad in different ways. The findings demonstrate that, despite the

advertising not being designed with racist intent, its global distribution provoked racial connotations that

extended beyond the local context.

The study indicates that the advertisement's representational approach ultimately preserves rather than disrupts

existing power dynamics. The marketing portrays diversity as visually appealing and socially acceptable,

thereby circumventing the scrutiny of disparities linked to ethnicity, class, and skin tone. The combination of

inclusive discourse and hierarchical aesthetics shows how advertising can promote progressive values while

also supporting reactionary norms. This difference is important to the results and shows how complicated the

ideas behind global advertising strategies are.

The results show that the Dunkin' Doughnuts "Charcoal Doughnut" ad tells a complicated story in which unity

and hierarchy coexist and inclusion and exclusion work together. Visual and verbal elements work together to

create meanings that fit with national ideology and corporate branding goals. However, how people interpret

these meanings shows how they can change depending on the culture. The analysis, employing Fairclough’s

framework, demonstrates how advertising functions as a site of ideological negotiation, where global and local

discourses intersect, conflict, and evolve. The results serve as a foundation for the subsequent discourse, which

examines these patterns in relation to broader theoretical discussions regarding representation, power, and

ethics in global advertising.

DISCUSSION

The findings of this study indicate that the Dunkin’ Doughnuts Thailand “Charcoal Donut” advertisement

operates as a complex discursive space where global branding strategies, local cultural aesthetics, and

historically situated racial connotations intersect. The campaign, despite its assertions of inclusivity and

celebration, is perceived to reinforce entrenched hierarchies linked to colourism and national ideology through

its representational strategies. This analysis situates the findings within comprehensive theoretical frameworks

concerning representation, discourse, and power, while also investigating the tensions that emerge when

advertising texts cross cultural boundaries.

A major conclusion of this study is that the advertisement suggests a superficial alteration in representational

discourse rather than a profound transformation. The campaign superficially adheres to contemporary global

advertising trends that advocate for diversity, unity, and inclusivity. Using language that is inclusive and

images that are visually different shows that the company is aware of the growing public need for ethical

representation. Still, this openness mostly stays symbolic. The preferential representation of lighter skin tones

and the aesthetic enhancement of darker complexions indicate that existing colourist standards endure. This

pattern supports research that says diversity in advertising has become more obvious but not more meaningful.

This is what is known as "performative diversity" instead of "structural change."

From a Critical Discourse Analysis point of view, this conflict shows how ideology is built into

representational behaviours. Fairclough's idea explains how advertising can seem progressive while also

making inequality seem normal. The Dunkin' Doughnuts campaign portrays unity as an achieved condition,

thereby obscuring the persistent social and ethnic inequalities within Thai society. The ad shows variety as

peaceful and non-controversial, which takes difference out of political discourse and puts it in the realm of

aesthetics. This ideological strategy allows the advertiser to promote national unity without getting into

problems with power, marginalisation, or being left out of history.

It is important to know the difference between race and colourism in order to understand the different ways

people interpreted the ad. In Western contexts, the imagery was primarily examined through a racial discourse

shaped by the historical legacy of blackface. When viewed through this lens, a darkened complexion means a

history of racial caricature, dehumanisation, and institutional oppression. The worldwide condemnation of the

campaign exemplifies this interpretive legacy, in which visual representation is inherently connected to

historical calamity. In Thailand, on the other hand, the ad mostly works within a colourist aesthetic framework.

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In this situation, skin tone is more of a sign of beauty, innovation, or style than of ethnic identity. The criticism

arises not from the image itself, but from the conflict of divergent cultural histories of meaning-making as the

advertisement disseminates globally.

This disagreement shows that Hall is right when he says that representation is culturally specific and that the

meaning of a text is never fixed. The Dunkin' Doughnuts campaign is an example of how global advertising

texts lose their ability to be understood as they move between different cultures. What is seen as creative or

popular in one place may be seen as rude or harmful in another. This instability shows the limits of global

branding strategies that assume visual symbols can easily cross borders. The results show how hard it is to

advertise globally, especially when campaigns rely on aesthetic abstraction that separates visual cues from their

social and historical meaning.

Reactions from the audience support the idea that customers are active participants in creating meaning rather

than just passive receivers of commercial messages. Thai audiences mostly understood the ad through local

cultural ideas that stress national unity and visual beauty. While some viewers offered nuanced critiques, the

campaign was largely perceived as aesthetically innovative. International audiences, on the other hand, started

counter-discourses that questioned the validity of the images and looked closely at the brand's moral

obligations. These differing responses exemplify what Fairclough describes as discursive struggle, in which

competing interpretations coexist and compete for dominance within public discourse. The ad turns into a

place for ideological negotiation instead of a clear way to communicate.

The ad talks about the idea of "Thainess," which is about unity, harmony, and a shared identity at the level of

society. This ideology promotes social unity while also hiding differences by making it hard to look closely at

them. The campaign's depiction of diversity operates within this ideological framework, acknowledging

differences only insofar as they reinforce a unified national identity. Ethnic minorities and marginalised

populations frequently remain unrecognised, suggesting that inclusion is conditional and selective. This

finding aligns with Hall's concept of the politics of representation, wherein visibility is regulated to sustain

dominant narratives while excluding marginalised voices.

This study also contributes to the dialogue regarding corporate ethics in global advertising. Even though more

and more international brands are trying to show that they care about social issues, the story of Dunkin'

Doughnuts shows how a lack of cultural reflexivity can make ethical intentions less important. The ads show a

bigger trend where diversity is seen as something that can be sold instead of something that needs to be

understood in context as a complex social issue. This highlights concerns expressed in the literature that global

advertising often prioritises market appeal over representational accountability.

Despite these important findings, the study has flaws that need to be recognised. The analysis focusses on one

advertising campaign and mostly uses secondary data, like media reports and audience feedback that is

available to the public. This approach aligns with CDA's focus on discourse as socially contextualised,

although it restricts access to production-side viewpoints and the lived experiences of marginalised

populations. The approach emphasises visual and linguistic elements, neglecting other multimodal aspects like

music, sound, gesture, and narrative sequencing that could enhance audience comprehension. Incorporating

these elements in future research could enhance the understanding of how meaning is constructed in

audiovisual advertising.

The issue of generalisability also necessitates consideration. The findings of this single-case study are not

intended to be broadly applicable. The Dunkin' Doughnuts campaign is viewed as philosophically

enlightening, offering insights into the broader dynamics of representation, ideology, and global circulation.

Comparative analyses across diverse cultural contexts or advertising campaigns would clarify whether similar

representational patterns occur elsewhere and how they are perceived by different audiences.

In conclusion, the discussion shows that the Dunkin' Doughnuts "Charcoal Doughnut" campaign is a perfect

example of the contradictions that come with global advertising methods. The campaign aims to align with

contemporary standards of inclusivity while simultaneously reinforcing aesthetic hierarchies and ideological

norms rooted in local cultural contexts. This study employs Critical Discourse Analysis to illustrate how

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advertising operates as a significant cultural text that both shapes and is shaped by competing discourses of

race, colourism, national identity, and global ethics. The results underscore the necessity for advertisers to

engage critically with the cultural histories embedded in visual symbols and to recognise that representation

carries ideological ramifications that extend beyond mere economic objectives.

CONCLUSION

This study examined the 2013 Dunkin’ Doughnuts Thailand "Charcoal Doughnut" campaign to explore the

formulation and challenge of race, colourism, and national identity in global advertising. The research utilised

Critical Discourse Analysis to demonstrate that commercial imagery regarded as benign or cheerful within a

local context can acquire profoundly transformed meanings when transmitted across cultural and historical

boundaries. The analysis reveals that advertising serves not only as a marketing instrument but also as a crucial

cultural text that navigates the complexities of identity, ideology, and ethical responsibility within an

increasingly interconnected media landscape.

The study's main contribution is that it makes clear the difference between race and colourism in an analytical

way. The findings suggest that the international controversy regarding the advertisement stemmed not from a

singular, immutable interpretation within the text, but from the conflict of culturally distinct interpretive

frameworks. In Western cultures, the portrayal was scrutinised through a racial discourse shaped by the

historical legacy of blackface and racial oppression, rendering the visual representation ethically indefensible.

In contrast, the advertising in Thailand operated primarily within a colourist aesthetic framework, where skin

tone signifies attractiveness, originality, or stylistic uniqueness rather than ethnic identity. This study

empirically demonstrates the intersections and divergences of various frameworks, thereby augmenting the

comprehension of representation while averting the conflation of culturally specific activities into universal

categories.

The analysis shows that the campaign is an example of a larger trend in global advertising: the rise of symbolic

inclusivity without any real change in the structure. The campaign uses physical references to variety and

inclusive language to promote national unity, but it also reinforces aesthetic standards that favour lighter skin

and push differences to the side. This contradiction shows that diversity can be used as a branding tool while

the underlying power dynamics are still not being dealt with. The study highlights critical concerns in media

and advertising scholarship regarding performative diversity, demonstrating how inclusion can ideologically

sustain inequality rather than contesting it.

This study theoretically enhances Critical Discourse Analysis by demonstrating that ideological meanings

extend beyond textual purpose, being activated through circulation, reception, and recontextualization. The

Dunkin’ Doughnuts campaign exemplifies how global advertising texts function as platforms for discursive

conflict, where meanings are challenged by producers, media organisations, and audiences across cultural

boundaries. The research underscores the importance of Critical Discourse Analysis (CDA) in examining

multimodal texts and monitoring the propagation of ideology at both local and global scales through the

amalgamation of visual, linguistic, and interpretive components.

The outcomes have substantial practical implications for advertising and media professionals. This study

emphasises the necessity for brands to move beyond superficial representations of diversity as they

increasingly claim their social responsibility and cultural inclusivity. Global marketing must recognise that

visual cues are historically contextual and culturally specific, and that images deemed acceptable in one

context may result in harm or exclusion in another. Ethical advertising requires the ability to adapt to local

cultures and an understanding of historical sensitivities across national boundaries. Doing cultural audits

before circulation, putting together diverse creative teams, and keeping in touch with cultural experts on a

regular basis may help reduce the risks that come with global media circulation.

The research possesses multiple deficiencies that necessitate scrutiny. The study focused on a single

advertising campaign and employed secondary data, thereby constraining the scope of generalisation. The

results are not intended to represent all global advertising techniques but to offer conceptually illustrative

insights into the dynamics of representation and interpretation. Moreover, while the study focused on visual

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and verbal components, it excluded other multimodal dimensions, including auditory elements, music,

gestures, and narrative progression. Future research may utilise comparative designs across various cultural

contexts, incorporate additional multimodal elements, or directly involve advertising professionals and

marginalised populations to deepen the understanding of production processes and lived experiences.

This study demonstrates that global advertising constitutes a contentious cultural sphere where commercial

objectives, national ideologies, and historical narratives intersect. The Dunkin' Doughnuts "Charcoal

Doughnut" ad shows how openness and exclusion can exist at the same time, how unity can hide differences,

and how pictures can change meaning as they cross borders. This study rigorously examines these matters,

enhancing ongoing dialogues concerning representation, ethics, and power in global media. The research

underscores the responsibility of advertisers, scholars, and media entities to critically evaluate the cultural and

ideological implications of representation in a global landscape where images surpass borders, while history

remains restricted.

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