Sample Researched Analysis Papers

Here's a sample analysis that I wrote up. This isn't the entire paper, only about 3 pages, but it should give you a basic idea of what I'm looking for.

TEXTING WHILE DRIVING

Texting while driving is a growing problem in the United States. According to the National Highway Safety Administration, “Around 28 percent of all crashes in 2008 were caused by drivers in the age group of 18 and 29, who admitted to texting while driving” (Kellar par. 5). In fact, a study by the Virginia Tech Driving Institute says that people are 23 times more likely to get in an accident if they text while driving (par. 4). While public service announcements regarding this problem tend to be a bit sanitized in the United States, some Europeans have a different approach. The British PSA, “Texting While Driving,” uses striking visuals, sad background music, and close ups to convey its message that texting while driving can be potentially fatal not only to you, but perhaps more importantly, to the innocent people around you. This message--viewed on the internet by people all around the world--also relies on shock value and a very graphic, realistic depiction of a car crash, and seems to be geared especially towards teenagers.

The PSA begins with footage of three teenage girls in a car, driving on an interstate. The driver is texting and talking to her friends, clearly not paying attention to the road. Her car strays into the oncoming lane (Youtube, 0:08) and has a slow-motion, graphic, head-on collision with an oncoming car. The driver’s friends are shown being thrown about and cut by flying glass (0:16). One passenger even puts her head through the window (0:23). This early, realistic depiction of injury catches the audience’s attention and sets them up for the even more graphic visuals to follow.

Something especially striking happens next. The driver and one of her friends—both bloody and injured—share a dazed look, right before another oncoming car strikes the passenger side (Youtube, 0:23). This causes further injury, most likely killing the driver’s friend. The meaning of this is clear: if you text while driving, you may not be the one who dies. Instead, you might only be injured, then have to deal with the fact that your actions caused the death of others.

The PSA also makes deliberate use of pacing, as seen immediately after the crash, when the driver slowly stirs and looks around (Youtube, 0:45). The slow pacing forces the viewers to notice her bloodied face and scared, dazed expression. She looks around, sees both her friends unconscious (probably dead) and starts screaming (0:56). The screaming continues, punctuated by about ten more seconds of striking visuals of her bloodied friends.

In the next scene, the makers of the video make further use of visuals and symbolism. The camera shows a bright blue sign that reads Tredegar Welcomes Careful Drivers—a darkly ironic reminder of the need for safe driving (Youtube 1:09). This is followed by a good Samaritan getting out of his car and rushing to help (1:11). Interestingly, the man’s shirt matches the color of the sign. While this could be a coincidence, it could also be a deliberate choice to subconsciously reinforce the message of the sign.

Reinforcing the point that those who text while driving may cause injury or even death to innocent bystanders, several scenes show the graphic injuries and pain of other drivers involved in the accident. For example, a little girl is shown in the backseat of a car, crying for her parents to “wake up” (Youtube 2:01). Both are shown unconscious and possibly dead, the implication being that this child may now have to grow up without her parents because someone else felt it was necessary to send a text message on a busy interstate. The PSA also ends with the image of the driver who caused the accident—alive but with blood all over her face—being air-lifted to the hospital (4:10). The implication is that she will live but the real pain (coping with the damage she has caused) has only just begun.

There are other striking scenes in this PSA. One example is a scene of a baby looking up, completely oblivious to what’s happened, including the fact that he or she may now be an orphan. The camera then moves to a close up of the baby’s bright blue eyes (Youtube, 2:06). This has a powerful emotional impact because it drives home the child’s innocence and creates sympathy, while also creating more anger towards the driver who caused the accident and—by extension—the act of texting while driving itself. Also, the fact that the baby’s eyes are blue may be another reference to the blue sign seen earlier in the PSA, encouraging safety.

[THEN FROM HERE, THE AUTHOR COULD GO ON TO GIVE MORE BACKGROUND STATISTICS AND INFORMATION ON THIS ISSUE]

Here are some sample analysis papers from past classes. These may still have a few small mistakes but in general, these are pretty solid and all fell in the A or B range. Note in particular how several students cited the exact time during the video in which something happened. Also, notice how specific these thesis statements are!

Realization

            Society casts the misconception to women that beauty is only skin deep.  Women view beauty as specific guidelines to follow instead of traits that they already acquire.  Society tells us what clothing to wear, how we should wear our hair, what makeup to put on, and even what shape our bodies should be.  The average woman will tell you that they have tons of flaws and dislikes with their body’s appearance.  Shockingly, only 2% of women consider themselves beautiful ("Self Esteem Toolkit and Resources").  That statistic is completely depressing when you think about what it is doing to women’s confidence, self-esteem, and happiness.  Beauty Sketches by Dove is a documentary that should be viewed by all women.  The Dove commercial allows women to realize that they need to embrace their natural beauty and be confident with who they are instead of basing beauty off of photo shopped images of other women. 

            The documentary started out with forensic sketch artist, Gil Zamora, blindly sketching portraits of women.  The women could not see Gil and Gil could not see them.  He asked vague questions about their facial structures and their most prominent features.  The women gave negative descriptions of their facial features such as protruding chin, fat rounder face, and big forehead.  After he completed their self-portraits they were asked to leave the room.  While they were in the waiting room they were paired up with another woman and were asked to exchange in conversation.  The women who had talked with the models then had to go into the room with the sketch artist.  They each had to describe the woman they had previously met.  The sketch artist asked them the same questions such as, “The length of her nose, what was that like” (Youtube, 3:01)?  The women gave positive descriptions of the models such as pointing out their smiles, cute noses, and beautiful eyes.   After the women were finished describing the models the sketch artist placed the two drafting boards side by side of each woman he had drawn.  He then showed the women the sketch that they described to him of themselves personally and the sketch that someone else had described of them. 

The models instantly started crying in amazement when they saw the differences in the two pictures.  The picture they had described of themselves was not as accurate as the picture that the complete stranger had described of them.  When one of the models, Kela compared both of her portraits she said, “The first one looks closed off and fatter, sadder too.  The second one looks more open, friendly and happy” (Youtube, 4:21).  The first one she was referring to was the portrait that she described of herself.  When another model, Florence, compared both of her portraits she said, “I should be more grateful of my natural beauty.  It impacts the friends that we make the jobs we apply for how we treat our children It impacts everything.  It couldn’t be more critical to your happiness” (5:38).  After the sketch artist let them compare their portraits he asked them, “Are you more beautiful than you say” (5:14)?  All of the women replied, “yes” (5:39).  Another one of the models said, “We spend a lot of time as women analyzing and trying to fix the things that aren’t quite right and we should spend more time appreciating the things that we do like” (6:10).  Society indirectly picks us apart. Falling into its negative tendencies can lead to depression.  Women all over the world need to be introduced to this topic at some point in their lives.    

This documentary has such a powerful message for women.  The reason that there were drastic differences in the two drawings of each woman is because when humans think they have a flaw they dwell on it and it eats them alive.  The definition of a flaw in society is any characteristic that is not considered the “norm”.  Women are never content with their bodies because society does not allow them to be.  Confidence issues are a huge topic in America resulting in suicide, eating disorders, and cosmetic surgeries.  Societal norms start influencing humans as soon as they are born.  Pre-teens look up to images of flawless women who do not exist (Ball par. 7).   They are exposed to so many images, videos, and ads on a regular basis that they are not even aware of the social influence that is taking control of their lives. 

“Be not ashamed women,….you are the gates of the body, and you are the gates of the soul” (Walt Whitman).  This topic is speaking directly to women because women are often taught that the most important thing in life is to get married and have children.  In order to get married you have to find a partner.  In order to find a partner you have to be attractive.  To be attractive you have to wear expensive clothing, be thin, wear makeup, and have the perfect skin. The real beauty is actually behind all of these components.  Beauty should be based on characteristics such as personality, character, friendship, dedication, and many other personal qualities.  Everyone is beautiful in their own way.  It is not up to someone else to decide what level of beautiful you are or place you under any specific category.  Being confident in your own skin and being able to express confidence, is one of the most powerful feelings a woman can have.

                        Women who have blindly fallen into this misconception can easily gain back or build up their confidence.  According to Yahoo Voices there are 5 easy steps to become comfortable with yourself and your body ("How to Become Comfortable with yourself and Your Body").  The first step is to not compare yourself to others (Par. 1).   Comparing yourself will only end in you having a negative attitude.  Everybody is different in their own personal way.  The next step is to ignore the media (Par. 2)  Watching the media sets you up for an automatic loss.  The people in the media have professional people who maintain their entire life.  Step number three is to reverse your negativity (Par. 3).  Instead of pointing out your personal flaws, start complementing yourself and giving yourself positive feedback and self-talk.  Step number four is to change your conversation (Par. 4).   When you are talking with your friends are they are complaining about their bodies do not point out your flaws to make them feel better.  Instead reassure them and compliment them.  The last step is to find what you love (Par. 5).  Finding things that make you happy is very important for your confidence.  Doing things that you enjoy not only reduces stress but it is also one of the best self-esteem boosters that are out there.  When the women in the documentary compared the two sketches of themselves, they instantly realized what should be important to them.  They understood that their self-worth did not need to be determined by others but simply by themselves. 

                        Women need to embrace their beauty and never compare themselves to the “norm.”  The documentary, Beauty Sketches is one of the most influential films that could change any woman’s life.  The documentary was a very simple experiment, yet it has such a great emotional lesson.  Women need to realize that they are their own worst critics.  The little imperfections that they dwell on such as wrinkles, moles, and teeth are only viewed as imperfections to themselves.  Most likely society does not even notice.  Sometimes I think women focus on the little things so much that they start to convince themselves that an imperfection exists when in reality there is nothing wrong.  Focusing on the little things is waste of time because when you look at the big picture everyone is beautiful regardless of the type of clothing they wear, the amount of makeup they apply, or their body shape.  Being harsh on yourself only gives you negative feelings and a poor attitude.  The documentary is very successful at relaying its message to women.  It is successful because it was an actual experiment.  The message did not have to be spelled out for the audience.  It was written all over the models faces when they compared their two sketches. This documentary is very heart wrenching and really puts beauty into a whole new perspective.  The models in film are taking home a new positive outlook on life.   Happiness is a fundamental key to living a healthy life and it must start with being happy within.  “You are more beautiful than you think” (Youtube 6:29). 

Works Cited

Ball , Aimee L. . "Women and the Negativity Receptor." O. The Oprah Magazine . (2008): 1-6. Print. <http://www.oprah.com/omagazine/Why-Women-Have-Low-Self-Esteem-How-to-Feel-More-Confident>.

Dove Real Beauty Sketches. Youtube, 2013. Film. 20 Sep 2013. <http://www.youtube.com/watch?v=litXW91UauE>.

"How to Become Comfortable with yourself and Your Body." Yahoo. N.p., 10 Oct 2009. Web. 20 Sep 2013. <http://voices.yahoo.com/how-become-comfortable-yourself-body-4621421.html>.

"Only 2% of women think the'yre beautiful." Self Esteem Toolkit and Resources. n. page. Web. 20 Sep. 2013. <http://www.dove.co.uk/en/Tips-Topics-and-Tools/Articles-and-Advice/Only-2per-of-women-think-they-are-beautiful.asp&xgt;.

Whitman, Walt  "30 Greatest quotes about Women." Thought Catalog . n. page. Print. <http://thoughtcatalog.com/2013/30-greatest-quotes-about-women/>.

Embrace Life

               Every advertisement has one goal: to convey its message to its audience. In a sea of media, audiences are drenched in ads. Everywhere you look there seems to be a television commercial or neon-pink flyer. Even people are walking billboards when they wear a logo on their clothing. According to Jay Walker-Smith, President of the Marketing Firm Yankelovich, the average person sees about 5,000 ads in one day (Walker-Smith 15). Even if people see that many advertisements, which ones are able to stick with an audience? Producers can use several different approaches in order to try and grab and hold a viewer’s attention such as colors and jingles, but the Embrace Life commercial uses visual, emotional, and auditory appeal to connect and motivate its audience to wear a seat belt.

               Embrace Life uses visual elements to connect to its audience. A middle-aged father sports a black button-down shirt and jeans. As he sits in his chair, he pretends to drive an imaginary car (YouTube 0:10). As he is pantomiming, his wife and young daughter sit on the couch, laughing at his act (0:14). He continues to drive the car until he visualizes an incoming car (0:23), and crashes into the other vehicle (0:50). The father’s body responds to the crash like a body would in a real-life collision, arms, legs and head snap forward as a response. The mother and daughter leave their seats and embrace the father, acting like his seatbelt and eventually saving his life. The video ends with only six words throughout the video: “Embrace life; always wear a seatbelt” (1:20).

What is interesting about this commercial is that, at a normal speed, the video would most likely not exceed a minute. Embrace Life is unique in that it uses slow motion to enhance certain aspects of the video. According to The Effects of Slow Motion on Viewers’ Emotional and Cognitive Processing, slow motion gives the audience more time to process the information (Lee p. 23). During the first few seconds of the film, it is easy to distinguish the father’s hand and foot movements as actions related to driving a car (YouTube 0:05). At around 35 seconds into the commercial, the father turns the wheel to avoid a crash and at 50 seconds, the father makes impact with another vehicle. Both scenes are portrayed in slow motion. If the scenes were at normal speed, the video would be too fast for the audience to register that the father was swerving and crashing into another vehicle, the video would be over, and the audience would be left to question what they saw.  

The commercial also uses emotional elements to connect to its audience. During several parts in the clip, each family member’s face is highlighted at some point. The facial expressions are shown when the father is happily driving the car (YouTube 0:10), when the mother and daughter smiles, almost on the brink of laughter, are portrayed (0:19), and when the dad’s face registers shock and horror right before the collision (0:23). These portrayed emotions stir a reaction in the audience called empathy. According to Emotional Cognition authors Elaine Hatfield, John Cacioppo, and Richard Rapson, empathy is “…ability to accurately detect the emotional information transmitted by another person, as well as to be able to react emotionally to… the emotional expressions of other persons” (p. 1). 

 When a person sees someone else as upset, angry, or enthusiastic, the brain’s natural response is to empathize with the other person. The facial expressions of the actors on the screen are meant to evoke some sort of response from the audience. When the daughter gasps as her father is about to crash (YouTube 0:28) the audience gasps with her because of what is about to occur on screen. The audience members see an expression and create a response in reaction to that emotion, more than likely the same emotion portrayed in the video. Combined with the visual elements, the emotional aspects of the film are more pronounced (because the video elements are in slow motion) in order to enhance the reactions of the audience. 

 Lastly, the auditory techniques are an accent to the visual and emotional aspects of the commercial. According to Mary S. Wagner, author of Dimensions of Music: The Effect of Music/Brand Congruity on Advertising and Brand Evaluations, music in advertising is used to match the actions on screen. In the first twenty seconds, the father is playing the driver while the mother and the daughter watch him from the couch. All three family members are smiling and the music matches those actions; major keys and soft tones can be heard in the background. As the video progresses (Youtube 0:23), the father’s face turns to horror and the music starts to take on a darker, richer tone. The music starts to crescendo and create more tension as the dad’s facial expression changes.                                                                                         

When the climax of the video hits (Youtube 0:50), the music becomes a second main element to the video. At that time, the father “crashes” into another car and the music transitions into a minor, dark, and powerful tune. It has reached fortissimo, or very loud. It would seem that the musical “punch” acts like the car that the dad crashed into, a very intense, powerful bang as he collides into the other vehicle. Later, the music turns into a brighter tune once the audience realizes that the father is safe because of his seatbelt (1:03) and finally the music recedes into background. 

               Wagner stated that music is used as an “emotional inducer.” People use sad music when they are sad, fast tempo music to get excited for something, and so on. In this video, the audience feels what they hear. In the first twenty seconds, the music is calming, comforting, and warm, but as the music reaches the transition portion of the music, it starts to transition to a minor key. This causes an uneasy feeling in which the audience would want release from being uncomfortable, making the audience listen until they find that release (the end portion of the video, also known as the resolution).

               Embrace Life commercial uses visual, emotional, and auditory appeal to connect and motivate its audience to wear a seat belt. Instead of going a traditional route with graphic footage, conversations or statistics, the commercial uses a more in-depth approach. Combining visual, emotional, and auditory elements allows the audience to recognize important aspects of the film that might be disregarded if not enhanced by slow motion, facial expressions, and music. With all three parts, the audience is more likely to retain the message that Embrace Life wants viewers to keep: always wear a seat belt because it will save your life.
                                                                                                                                      

Works Cited                  

                                            

1.     Cox, Daniel. “Embrace Life.” YouTube. Web. January 2010.

2.     Walker-Smith, Jay. Interview by Caitlin A. Johnson. Cutting Through Advertising Clutter. CBS News. 11 February 2009. Web. 30 September 2012.

3.     Lee, Seungjo. “The Effects of Slow Motion on Viewers: Emotional and Cognitive Processing.” 25 May 2009.

4.     Hatfield, E., Cacioppo, J. T., & Rapson, R. (1994). Emotional contagion. New York: Cambridge University Press.

5.     Wagner, Mary S. Dimensions of Music: 
The Effect of Music/Brand Congruity on Advertising and Brand Evaluations. 2008. 

Everything Starts With One

  

            In early 2012, the trailer for The Bully Project was released. The Bully Project is a documentary aimed at creating awareness of the bullying problem America faces today. It also provides suggestions for action, and advice for people who are being bullied or know someone is being bullied. This trailer opts for a purely emotional appeal, rather than bog down the short time-span with lots of statistics. These statistics are hardly necessary, because this is hardly an argued topic. As stated by The Atlantic, "…apart from a contingent of kids-will-be-kids voices who are perhaps in denial about problems as serious the film portrays, it would be hard to find anyone to advocate for the pro-bully side of the aisle" ('Bully' and the…, par 8). It is particularly effective in its use of emotional testimony, shocking footage, and meaningful music. By inciting a strong, poignant connection with the audience, they are able to convince them to come see the full film in theaters, or purchase it afterward.

            The trailer opens up with footage of a sunrise over a field (Youtube, 0:05). This is probably meant to set the scene for the start of the school day, which is the general setting of the documentary. The music is lively and pleasant, which contrasts the testimony that the trailer opens with. This is an important element of the trailer, preventing it from being too heavy and too dark, which may turn people away immediately.

            It then starts a pattern of footage that displays multiple different stories that are presented in the documentary. The first segment shows video clips of a young boy playing with his dad, while playing an audio clip of the father describing the bullying his son went through (Youtube, 0:10). He explains that his son had been slammed into a locker, and had been called a geek. He foreshadows what will be revealed later in the trailer by explaining that these things happened "The last couple days." The trailer then interrupts this story by showing the logo for The Weinstein Company, which is the first indication in the trailer that this is in fact advertising a film. At this stage of the trailer, only 15 seconds in, most of the audience already has all of the information they need to understand the general message of the trailer and film. This is almost like the thesis statement of the trailer. From this point forward, the role of the content is to expand on the message and really drive it home.

            After this, we see footage, presumably, of a school administrator speaking to some kids about his concern that they are making other students feel uncomfortable (Youtube, 0:18). This is followed by some scenes of social school activities. This small break in between footage is approximately as long as the Weinstein Company clip, which creates a nice visual rhythm that syncs with the audio. This rhythm helps impact the audience. It makes the information easier to remember, but elicits an emotional response from the audience (Alpert, par 15).

            The next scene begins with some testimony from a student, talking about how he is nervous at school, and how he has trouble making friends (Youtube, 0:25). This is joined by some footage of him eating lunch at school. This is the last scene shown in this visual pattern, and together they tell an important message about the documentary. The first scene tells the story from a parent's perspective, the second scene tells it from the school's perspective, and the third tells it from the victim's perspective. This is a message to the audience, telling them that this problem will be explained from many sides. This also gives people an opportunity to relate to the problem. If it had only been told from the school's perspective, students and parents might feel alienated. If it had only been told from a student's perspective, it might seem like they were ignoring the complications schools can face by trying to solve the problem.

            This is where the trailer picks up speed. We see a screen that explains that "13 million kids will be bullied in the U.S. this year" (Youtube, 0:30). This is followed by three clips of kids getting hit in quick succession, each emphasized by a violent sound effect. These are startling, depicting kids getting punched and shoved in a vicious manner. The statistic appeals logically, explaining that this problem is large and relevant, but combined with this shocking footage, it elicits a far more emotional response

            After this, the dialogue with the father picks back up. This is possibly the most pivotal scene in the whole trailer, the part that really tugs on the audience's heartstrings. The father, speaking of his son, explains that, "They said he was a geek. Some kids had told him that he was worthless, to go hang himself. And I think he got to this point where enough was enough." This is joined by footage of his son, very reminiscent of the first scene with him. However, as the dialogue progresses, these turn from happy footage to sad, the last clip showing his son apparently crying (Youtube, 0:40). We get a look at the father's face as he stares past the camera, and some supplemental information is presented, in the form of a radio broadcast. It explains that the young boy was found dead after taking his own life. This scene is huge. It is practically the climax of the trailer. I, personally, can hardly keep it together whenever I watch this part, and I know from experience that it is practically infamous. If anyone in the audience was not worried about bullying, they probably are after that scene.

            The trailer then strikes while the iron is hot. Most of the audience was probably hit pretty hard by that scene, which makes this a perfect time to really drive some points home. The happy music stops, replaced by a somber guitar. A black screen shows up, explaining that, "The problem is real" (Youtube, 0:50). A clip is shown of a man on some sort of board waving the problem away. The placement of this clip is perfect, because many people in the audience will probably assume he is speaking directly about the young boy that committed suicide. He may be, but there is no indication of what in particular he is talking about, so its largely left up to the audience to decide. This is driven home by a black screen that reads, "The problem is being ignored" (0:55). This is joined by more apologist audio of a man saying, "Kids will be kids, boys will be boys, they're just cruel at this age." A woman, presumably the deceased boy's mother, is then shown giving her side of the story, explaining that the school had told them that "everything was fine."

            Next comes another important clip in the trailer, depicting the young student from earlier being punched, choked, and shoved around while riding the bus (Youtube, 1:10). A kid on the bus can be heard saying, "Give it to him hard!" After these clips, his mother is shown appealing to a woman at the school, telling her that her son is not safe on the bus. The woman responds to the mother saying, "I've been on that bus…" Her dialogue is interrupted by a short clip of a boy punching the student. "…they are as good as gold." These scenes of parents seeking help and school officials waving them away make something very clear. The officials that are in charge of stopping this problem are not enough. This is the audience's issue to solve. However, if the trailer were to end now, most people would not know where to start or what to do. They probably wont do anything as a result. This leads to the conclusion of the trailer.

            At this point, the music picks back up. Not only is it happier, but it's faster paced. It implies action and progress. A black screen shows up that says, "This spring" (Youtube, 1:18). The font is livelier, and the color has changed from white to green. Anyone who's wondering when change will start will find their answer here. They then listen to the father promise that he will not stop fighting for change until it is made. This gives the audience a sort of leader; knowledge that there is someone out there passionately fighting for this cause that they can at least observe.

            Another man is shown, explaining how they had, "Reached out to parents that had lost kids, parents of kids who are being bullied around the world. And it took off like wildfire." This is joined by imagery of a huge crowd of students all walking together (Youtube, 1:30). Students begin to give testimonies, saying that "All it takes is for one person to stand up" (1:42). Students are shown holding photos, presumably of kids who had committed suicide related to bullying. A voice speaks to the crowd of kids, advising them to find kids who are being bullied and make friends with them to help them cope. And the crowd of people just keeps getting bigger. A voice declares that, "Everything starts with one and builds up." A large crowd is shown holding candles in the dark, and a final voice says, "If we all do it together, we will change the world" (1:50).

            The trailer ends with the most important part. A black screen cuts in with the title of the film, "Bully" (Youtube, 2:05). This last segment of the trailer serves some important purposes. It informs the audience that there is a solution, and that it is working. It shows that a lot of people are already working on the problem. But it holds back just enough information to cause people to want to go to the film. With luck, the audience agrees that bullying needs to be stopped, and most of these people are willing to work for it. However, its not particularly specific about how it intends to solve these problems, so these people will turn to the film in order to find answers. This fulfills the ultimate goal of the trailer, which is to convince people to watch the film.

            Bullying is a legitimate and very real problem in America today. According to bullyingstatistics.org, suicide results in the deaths of about 4,400 young people, and among these about half are related to bullying, according to a British study (Bullying Statistics, par 3). This film, and trailer, are fighting to change that. This resulted in a high quality trailer that captured the attention of a huge audience, successfully raising awareness of an important film. This trailer successfully combines music, testimony, and footage in order to work together and create a cohesive and convincing message.  This trailer is an example of why removing any seemingly small element from the whole would render it altogether less effective. 

Work Cited

Alpert, Judy I., and Mark I. Alpert. "Background Music As an Influence in Consumer Mood and Advertising Responses." Advances in Consumer Research 16 (1989): 485+.Association for Consumer Research. Web. 9 Oct. 2012. 

"'Bully' and the Plight of the Well-Intentioned Documentary." The Atlantic. The Atlantic, 30 Mar. 2012. Web. 9 Oct. 2012. 

"Bullying and Suicide." Bullying Statistics. N.p., 2009. Web. 9 Oct. 2012. 

Bully Official Trailer #1 – Weinstein Company Movie (2012) HD [Video]. (2012).

Retrieved September 23, 20102, from http://www.youtube.com/watch?v=

W1g9RV9OKhg

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The Making of a Nazi

As Adolf Hitler began his rise to power it quickly became obvious that in order to control the world, he would first have to successfully manipulate the children of Germany. In his 1935 speech at the Reichsparteitag Hitler addressed that “he alone, who owns the youth, gains the future!” (Hitler’s Youth p.1). This belief played a large role in the effectiveness of the Nazi takeover of Germany. Germany, however, was not the only country to have this perspective. Many other nations, including the United States, saw the importance of children’s minds. In 1943 Walt Disney created a propaganda film to teach the children of the United States about the horrors of the Nazi party, this film was entitled “Education for Death.” Since the film is created by Walt Disney, children are able to relate this show to other cartoon’s that they have seen throughout their young lives. In fact this film was created by the person who also directed “Peter Pan” and “Lady and the Tramp”(Education p.3). By using simple techniques such as dehumanizing Nazis through livid body motion and a harsh tone of voice, portraying evil by the use of the color red, and relating Nazi Germany to stories that children have heard before, “Education for Death” is able to create an effective propaganda film that persuades children of the horrors of Nazism.

The beginning of the film immediately establishes the color red as a signal of evil, maliciousness, and cruelty (YouTube 0:35). All that is shown on the screen is a red Swastika portrayed in front of a black background. By setting off the red Swastika the director, Clyde Geronimi, is able to instill a sense of fear and apprehension of the color red, as well as the Swastika, which represents the entire Nazi party. By setting apart the color red as a symbol of corruption early in the film, the audience can become more familiar with this theme.

The story now begins, and the film portrays a young German couple walking up to a large desk, that is surrounded by Swastikas and other Nazi insignias (YouTube 0:57). As the couple approaches the desk, they stop to pay their respects to their ruler as they each raise their arm to “Hail Hitler.” In reply the Nazi sitting at the desk also hails to Hitler, but does so in a much more furious manner. Here the audience begins to notice the violent manner of the Nazis. All actions that are made throughout this scene serve as a representation of how all Nazis will move throughout the entirety of the film. Eventually it becomes apparent that the couple has come to the desk to ask the Nazi party permission to name their forthcoming son Hans. In this scene there is an obvious contradiction between the sweet and calm voice of the wife and the harsh and demanding tone of the Nazi. This instills a belief into the viewer that all Nazis are violent, and seemingly inhuman, as if they are not even Germans at all.

In an attempt to better relate the films teachings more directly towards children the directors decided to use stories that are familiar to them. After the young couple gains permission to name their son Hans, the focus then switches to a “Nazi fairytale” that is known to children around the world as “Sleeping Beauty” (YouTube 1:52). As the fairytale unfolds we see a clip from the movie “Sleeping Beauty” where the wicked witch stands over Princess Aurora. In this version of the film however, the wicked witch is actually democracy, being the root of all evil in the eyes of the Nazi Party. Princess Aurora is a representation of Germany, who is unconscious and subject to the perils of democracy. Prince Charming is none other than the Fuhrer himself, Adolf Hitler. By using a story that all children can relate to, this film is able to demonstrate to a very young audience what it is that the Nazi party was teaching German children of their own age.

This fairytale also has many other implications within it. Immediately after “Prince Charming” breaks the spell with a kiss, Princess Aurora is then shown as the film portrays Germany. Princess Aurora, as Germany, is depicted as overly obese, and above that a drunk (YouTube 2:34). Prince Charming, as Hitler, is wild and convulsive. As soon as the princess wakes up from the spell she immediately begins to hail Hitler. Seeing this, Hitler begins to salute her back in the same way. Just like the Nazi at the front desk in the beginning of the film his actions are livid, and violent. He works himself into such a rant that his face turns red, and in his exclamation begins to pound himself on the head (3:00).

Throughout the film the only characters who’s faces turn red are the Nazis. The reddening of the face is a clear indication of anger amongst the Nazi’s but also a sign of evil, just like the red Swastika in the opening of the film. By using these commonly known characters to describe the tendencies and behaviorisms of both Germany and Hitler “Education for Death” is able to communicate a lesson to children that could not be easily taught through basic teaching alone.

Eventually Hans grows up, and gets enrolled into school; however, he has contracted a sickness that hinders him from attending (YouTube 4:25). The audience is given a glimpse of the love that Hans’s mother has for him when she is shown hugging and caring for him while he is in bed, sick. She feels a sense of urgency because she knows that the unfit children are taken away from their homes by the Nazi government and are never heard from again. Shortly after, a Nazi soldier bursts through the door of Han’s bedroom. The soldier ferociously asserts that unless this “mollycoddling” stops then the state will take him away. Hans’s mother is portrayed as a very compassionate woman; her character is foiled by the Nazi soldier that enters the room. He is vicious with both his actions and his temperament. He is shown as having no feelings of sympathy, or any regards to human decency. He is intended to depict all members of the Nazi party; therefore, his main role in this film is to give Nazi party members inhuman qualities.

Hans gradually starts to feel better, and eventually starts back at school. The criteria that is being taught that day was a lesson in “natural history” (YouTube 5:40). This consisted of a story of a rabbit and a fox. When the two met each other, the fox quickly ate the rabbit, the moral of the story being that only the strong will survive, and the weak deserve to die. This quick lesson may be the most familiar of all stories to the viewers of this film. During the story the two creatures come to life on the chalkboard, and many of the same noises, and musical numbers are used during this lesson as are used in the normal everyday cartoons that children of that time period watched. It becomes a story of the hunter and the hunted, much like when Elmer Fudd chases Bugs Bunny. When Hans is asked what he has learned from the lesson he replies that he feels bad for the rabbit. This enrages the teacher, who in turn yells until he turns red at the face, another signal of anger and evil. Hans is sent into the corner while the other children explain what they have learned. After hearing the correct answers Hans then exclaims how much he hates the rabbit because of its weakness (7:18). This segment is intended to show the “brainwashing” that occurred in the Nazi schools. By taking away common feelings such as sympathy, empathy, and compassion the children are being formed into finely tuned soldier for the Nazi regime.

The final scene of the short film shows a group of Hitler’s youth marching under a red sky (YouTube 9:00). In the middle of the camera is Hans, marching in complete unity, showing total conformity to the ways of the Nazi party. As the marching goes on the soldiers turn from boys to young men. At this point the narrator comments about Hans “In him is planted no seed of laughter, hope, tolerance, or mercy” (9:06). The creators of this film are obviously showing that the Nazis have no capacity for these common traits, traits that we hold all cultures to obtain, therefore leaving them inhuman. As the young men keep marching they gradually turn into full grown men. Now their transformation is complete and there is no turning back. The narrator explains: “He sees no more than the party wants him too, he says nothing but what the party wants him to say, and he does nothing but what the party wants him to do” (9:28). As each of these comments are made, a physical limitation is placed on each soldier. As the narrator talks about seeing only what the party wishes, blinders are placed on the soldiers so they can only see straightforward. When the explains that Hans says nothing but what the party wishes, a muzzle is placed on each soldier. And finally when he implies that Hans will do nothing but that of which the party wishes, there is a collar placed on him. These limitations all serve to show the Nazi’s as more like robots than human beings, living only for the purpose of serving the Nazi party.

Throughout WWII all nations used propaganda as a way of pushing forth nationalism and portraying their own thoughts on the actions of their enemies. Walt Disney’s “Education for Death” is a great example of how the United States wished its children to see Germany’s Hitler Youth program. By the use of a common theme of red standing for evil, relating difficult lessons to familiar stories, and dehumanizing the Nazi party members, this film successfully captured the minds of children, and further promoted 1943 United States ideals.


Works Cited

"Education for Death." Youtube. February 15, 2010 .

"Education for Death 1943." IMDB. February 15, 2010
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"Hitler Youth." Historical Boy's Uniforms. December 5, 2009. February 15, 2010

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Visual Rhetoric Analysis

The image of beauty young girls have developed through television and the media is incredibly flawed. The media is a beast that will do anything to make money, and in its pursuit, has taken perfection to the next level. These seemingly perfect people are what the population wants to see and with whom society is obsessed. Young girls have been brainwashed into thinking they need to strive for the flawlessness that is seen on magazine covers, television, and throughout society. The female’s definition of beauty is skewed in a torturous way. Dove’s ‘Onslaught’ commercial ambushes the viewer, namely young girls, with a look into the appearance-based addictions that are plaguing the minds of youth across the country and attempts to educate parents on the influence of the media over their children. Young girls, many of whom have an unclear definition of true beauty, are quickly being turned into teens with too much attitude and not enough independence and individuality. The unrealistic images of “perfect” bodies, weight loss fads, plastic surgery, and excessive working out, which are each portrayed in the video, are the impractical visions of perfection currently robbing girls of their self worth, the chance to define their own personality, and are placing unnecessary insecurities into their easily manipulated minds.

Represented in this clip by Dove is the pressure that every teen girl faces to fit the thin, big breasted, “hot” stereotype. The clip begins with an innocent red-headed girl, standing self-assuredly in front of the camera with a simple grin on her face. She appears to be approximately ten years old and has a simpleness about her that one would expect to see in a child her age that has not succumbed to the medias influences. Her natural red hair, pulled back in an effortless clip, blows in the wind as she smiles at the camera. Her clothes cannot be seen, but one can assume that her outfit matches the rest of her appearance. She is most likely wearing something uncomplicated and age appropriate. She does not seem to have a care in the world. Girls that have fallen victim to the media would not be able to accomplish the look of confidence and innocence that the red head exudes standing in front of the camera. Most would be wondering if they had applied enough make up, spent enough time on their hair, or if the outfit they had chosen for the day made their hips look wide. Girls impacted by the media lack the confidence and the ability to be carefree, which are both qualities the little girl possesses in the opening clip (YouTube – Beauty Pressure, 0:23).

After several seconds, the music cues. “Here It Comes” from the U.K. group Simian’s “La Breeze” commences (YouTube – Beauty Pressure, 0:09). The music starts at a slow pace and begins to set the mood. The slow music deceives a first time viewer. One would not be prepared for the onslaught of images that are to appear next by hearing the slow music and seeing only the innocent, baby faced child on the screen. Suddenly, a rapid bombardment of the images many of us have come to accept as normal, flash across the screen (Hollis, 3). Along with these photos, the music gets louder and picks up in tempo. This sudden change catches the viewer off guard and results in a much stronger viewing experience. Few would have been prepared for the hundreds of powerful images that flashed across the screen within a matter of thirty-five seconds. Some of these images are things we see every day and are not negatively affected by, but when they are placed in the sequence in which Dove has chosen and combined with other harmful practices, these practices seem much less acceptable. This is the effect Dove was seeking.

Within the ambush of images is a mirage of items that refer to sex appeal and anything but the true definition of beauty. Within the first six seconds of the picture reel, there is an abundance of pictures that include women not wearing much in the form of clothing and exposing their bodies in way that leaves nothing to the imagination (YouTube – Beauty Pressure, 0:29). Modesty is much less common today than it was in previous generations. The ease with which women expose their bodies, depicted easily in this commercial, proves just how little women respect their femininity. Following the scantily clad women, is a series of pictures that reveal words such as sexy, hot, irresistible, diet, transform, and stay slim (0:35). Each of these words are very typical in the television industry. Dove makes a point to bring them front and center within the video. These are the stereotypes young girls allow to define their lives and go hand in hand with the images of the nearly naked women that precede them.

The female gender often settles for less than the best and rarely bothers to put her “best foot forward”. Instead, girls attempt to put their “sexiest foot forward” because they feel as though that is what society wants and expects from them; it almost feels normal. The media has helped to put these thoughts into the minds of young girls and girls of all ages are hearing them loud and clear. The question now is: Will they hear the message from Dove just as loud and as clear? Until modesty is what is hip and cool, the answer is probably no. Society’s priorities are way out of line; everyone is looking for the “quick fix” (The Pressure to be Beautiful). Girls obsess over a toned stomach, flawless skin, shiny hair and everything else society tells them is imperfect and capable of looking better (The Pressure to be Beautiful, 4). A winning personality, a confident smile, or a kind hand are not qualities that are highly regarded among the current generations; keeping up with the hot trends have taken precedence.

Following the stereotypes, a collaboration of images display today’s popular weight loss techniques. A plethora of diet pills promising to deliver unbelievable results, clips of women running endlessly on treadmills and struggling to keep off undesired weight, flash across the screen (YouTube – Beauty Pressure, 0:49). These are all techniques women use on a daily basis to obtain the body society tells them they should achieve and maintain. While these pictures cycle through, a voice can be heard in the background making promises that pledge to help achieve the media’s definition of real beauty: “You will look younger … smaller … lighter … firmer … tighter … thinner … softer” (0:45). Each of these things are what young girls strive for in order to reach that unrealistic level of perfection.

The last segment of the commercial depicts the agony women are willing to put their bodies through to work towards what society has deemed “perfect”. The remaining seven seconds is a very blunt display of the effect plastic surgery has on society (YouTube – Beauty Pressure. 0:59). Dove holds nothing back in the images used to portray the realness of the situation. Seeing the women marked with black lines, lying in a surgical room, and allowing doctors to cut them open and sew them back together as a different person seems much less acceptable and mildly inhumane after watching this commercial. Ending with these disturbing photographs allows the point of the commercial to hit home and leaves the viewer wondering what they and their family have done to their bodies in the name of beauty.

As the music slows again and the images cease, the innocent red-headed little girl walks across the screen with the attitude of a media-crazed teen. No longer is it the fresh face of a young girl, but rather the over-processed, fake, stereotypical image that is taking over the younger and easily influenced generation. The little girl has succumbed to society’s pressures and is now following a group of girls her age, instead of maintaining the independence displayed at the beginning of the commercial. In addition, her clothes have changed and she is now covered from head to toe in the latest and most hip fashions. Her look is complete with too much make-up and hair too stiff from hairspray to blow in the wind. There is little of the innocent, baby faced child from the beginning of the commercial left in the diva that walks across the screen at the end of the segment. The clip closes with a final word of advice: “Talk to your daughter before the beauty industry does” (YouTube – Beauty Pressure, 1:19).

Over the past several decades, women have worked hard to achieve their current social standing, but like a recently published article in iVillage commented, what has really changed? The author states, “I am still rarely ‘subject’ and mostly object, mostly a thing, to be judged, inspected, possessed and consumed like so many other objects in our consumer culture” (The Pressure to be Beautiful, 8). Women are locked into a definition of beauty in which they had no part in writing. Feeling adequate among all the other women means assimilating. The Dove commercial is attempting to showcase the fact that the media is stretching the truth in order to make money. This assimilation is completely unnecessary when girls learn at a young age to write their own definition of beauty instead of having it written for them (YouTube – Beauty Pressure).

Dove presents a united front in attempting to define what true beauty is. It is important for girls to realize life is about more than just their physical appearance. So much of today’s society is based on what is on the outside and neglects to focus on the heart of the matter; what is on the inside. Beauty comes from within and includes characteristics such as personality, intelligence, charm, integrity, and elegance (Beauty). These are traits that are valued much less often than the stereotypical measures that are common in the world today. The flashes of “perfection” in the video do not portray elegance or personality. The video shows an attempt to conform into the kind of sex object the media portrays as acceptable and normal. Women and young girls believe this is what they need to be in order to be attractive and accepted by the opposite sex. The media should not be setting the standards for beauty. The only requirement to be beautiful is to be you; no one can do it better.





Works Cited

"YouTube - Beauty Pressure." YouTube - Broadcast Yourself. Web. 15 Feb. 2010. .



Hollis, Nigel. Web. 14 Feb. 2010. .



"Beauty | Definition of Beauty at Dictionary.com:." Dictionary.com | Find the Meanings and Definitions of Words at Dictionary.com. Web. 15 Feb. 2010. .



"The Pressure to Be Beautiful - iVillage Beauty & Style." Beauty Tips, Hair Styles and More at iVillage.com. Web. 15 Feb. 2010. .



Visual Rhetoric Analysis


The responsible drinking tips from Alcoholstats.com suggest that, “fifty-four percent of American adults (or 115 million Americans) drink beer. Of those American adults who drink beer, 94 percent indicate they drink responsibly and in moderation” (Alcohol 2). This leaves six percent of the population that drinks to make mistakes. Driving while intoxicated, domestic violence, and child abuse are all major problems that are a result of drinking irresponsibly. There are thousands of nonprofit organizations that are set up to reduce irresponsible drinking. Mothers Against Drunk Driving (MADD) and Students Against Drunk Driving (SADD) are just a few organizations that work tirelessly to reduce irresponsible drinking. There are also many television ads that try to persuade Americans to not binge drink. “It’s Not the Drinking, It’s How We’re Drinking” is a series of commercials whose course of action is to monitor how we drink alcohol. This series of commercials convey their message through transitioning camera shots, facial expressions, and the people and environment around the drinker.

All of the “It’s Not the Drinking, It’s How We’re Drinking” commercials follow a drinker as he consumes alcohol through the day. In one of the commercials, the setting is at an outdoor barbecue. There is a variety of people at the barbecue including both adults and small children. The adults at the party are dressed in casual clothing such as polo’s and t-shirts and consuming alcoholic beverages. This environment is important because it is a common place where adults would be drinking around small kids. The commercial starts out with a man swinging a child through the air. Everyone around, including the child, seems to be humored by this act. This is evident because the other guests of the party are smiling and laughing. In the other commercial, the setting is at a bar. Friends are gathered around a table, conversing with one another and drinking beer. The men are also bantering back and forth with one another. They are dressed in athletic uniforms and dress clothes. I believe this is an important setting for adult males to hang out, drink alcohol, and poke fun of each other. All of the commercials start out innocent and care free, then the individuals keep consuming alcohol and the problems start to emerge.

After the man in the barbecue commercial is done playing with the child, he goes to a cooler and grabs a beer. When the man gets his beer, he throws it behind his back and catches it. This act shows that he is smooth and is trying to impress the guests around him. Three men laugh and smile at the man after he accomplishes this amazing feat. Then, the commercial uses a great transition from the man drinking beer in the daytime to him drinking at the party at night. The man is still drinking beer, but now it is apparent that he is intoxicated. This is evident because the man approaches two men that are grilling, and he dumps his beer onto what is being cooked. After the grilling incident, he walks away and takes someone else’s beer and chugs it. The director is showing how people’s personalities progress as they consume more and more alcohol.

As the man continues to drink, he walks through the house messing with pictures and yelling at people. The little boy from the beginning of the commercial finds the man and asks to be swung again. This time the man is drunk, and everyone is nervous when the boy is being swung through the air. The director has the party guests that are sitting around appear to be nervous and worried. All of the party guests were correct to worry. As the man is swinging the child, he accidentally lets go and the child gets thrown in to the wall. A look of sadness appears on the man’s face as the other guests start yelling at him, telling him to leave. He stumbles outside and sits against a fence with his hands over his face. The scenario that is used is important because it grabs the audience’s attention. People can relate to the event on an emotional level because nobody wants to see any harm come to a child.

I believe that the view of this commercial is traditional by today’s standards. In the past, drinking was more of a taboo act to the majority of our nation. Now, we have come to accept the social act of consuming alcoholic beverages, however how we consume the alcohol is still a major problem. Congress has passed many bills that combat irresponsible drinking: drunken driving laws, public intoxication laws, and the minimum drinking age being twenty-one. These laws are set up to deter Americans from consuming alcohol in an irresponsible manner. According to Alcoholstats.com, “over 1.46 million drivers were arrested in 2006 for driving under the influence of alcohol or narcotics” (Alcohol 4). Irresponsible drinking is also seen on college campuses across the nation.

The main character in this commercial is stereotypical of a frat boy. When I first viewed the commercial, I immediately thought of Jim Belushi in Animal House. An Indiana University study presents, “over two out of every five of all college students are binge drinkers” (Engs 5). Some of the man’s actions are outrageous and over the top because he is trying to please those around him. An example of this is when the main character throws his beer behind his back and catches it. Another example is how the man is obnoxiously loud throughout the whole commercial. A change in the man’s personality occurs as he continues to drink more and more. Lowered inhibitions are the change of personality that is being portrayed in this commercial. The man starts to care less about how his actions are starting to affect those around him as he continues to consume more alcohol. An example of this is when the main character steals another party goers’ drink. These are actions that can be overlooked, but a more serious problem arises when the man continues to drink.

Violence as a result of binge drinking is a major problem in the United States today. Indiana Universities study on drinking responsibly found, “In 2002 more than 70,000 students between the ages of 18 and 24 were victims of alcohol-related assault in the US” (Engs 8). Binge drinking is a key contributor to alcohol-related violence. Domestic violence, child abuse, and negligent violence are all forms of violence that are affected by binge drinking. In this commercial the act of violence was negligent. The man was not competent enough to realize that his actions could be harmful to the little boy that he was playing with. Drinking alcohol irresponsibly was the contributing factor that leads to the man’s negligence. Using a traumatic event is not the only angle used by the media to encourage American’s to drink responsibly.

Using humor is another tactic that is used to promote responsible drinking. There are many commercials that show adults in awkward situations due to irresponsible drinking. Some commercials show men trying to play it smooth with women. However, their attempts of being suave are derailed because they are too intoxicated to make any sense. Whether the media uses humor or a tragic event to portray its message, responsible drinking is an important lesson that needs to be learned.

This television ad conveys its course of action through the message “It’s not that we’re drinking, it’s how we’re drinking” (Lynne). It is making an argument. The argument is to consume alcohol in a responsible manner, and know when enough is enough. Clever camera transitions, a variety of facial expressions, several drinking environments, and a tragic event are used to paint a picture of what can happen when people are drinking irresponsibly. An adult male starts to consume alcohol early in the day. At the beginning his actions are responsible as he tries to impress the other party guests around him. He swings a child through the air, does a trick with a beer bottle, and jokes with those around him. The man’s actions at the beginning of the commercial are portrayed to be responsible because he has not yet consumed a large quantity of alcohol. As the man continues to drink, he becomes less and less responsible. A child is eventually injured as a result of the man’s irresponsible consumption of alcohol. This piece of rhetoric is implying that if we consume alcohol in the wrong manner, then bad things can start happening to us and the people around us.


(Sorry, don’t have the Work Cited page for this one)