Before We Begin Taking Second Looks! Taking a Second Look Often, we miss things the first time we look at things. This is especially true when we analyze texts of any kind. Taking a second look requires us to find things in the text that may have escaped our attention the first time. For Example: For Example: 1
For Example: For Example: Rhetorical Appeals & Persuasion Persuasion is the art of making someone act, do, or believe something. 2
5 Key Concepts 5 Key Concepts to Persuasion and Media (Media Literacy) Key Concept #1 ALL MEDIA ARE CAREFULLY WRAPPED PACKAGES. Media texts come to us like carefully packed suitcases. This means that all media texts are carefully put together. Our job is to unpack or deconstruct the text to know what really is going on. Key Question: What techniques are used to attract my attention? 3
Here s a commercial example. Key Concept # 2 MEDIA CONSTRUCTS VERSIONS OF REALITY. 4
Much of our view of reality is based on media messages that have been Constructed. What the media construct for us is not reality itself, but only a version of reality. The media, to a great extent, give us our sense of reality. Like a book, all media has an AUTHOR. Here s a commercial example. Key Question: Who created this message? 5
Key Concept # 3 DIFFERENT PEOPLE EXPERIENCE THE SAME MESSAGES DIFFERENTLY. We are the audience. Media helps us to create our own reality based on personal needs and anxieties, values and norms, racial and sexual attitudes, family and cultural background. Some messages are intended, some are unintended. Key Questions: How might different people understand this message differently from me? What did you learn from the text? How close does it come to what you experienced in real life? Here s a commercial example. 6
Key Concept # 4 MEDIA PROMOTE AGENDA. All media products are advertising, in some sense, in that they contain content that proclaim values and ways of life. Explicitly or implicitly, when you experience media text, you can tell what it stands for, what It believes, what view of the world it is trying to present to you. Key Question: What lifestyles, values, and points of view are represented in or omitted from this message? (What is not being said?) Here s a commercial example. 7
Key Concept # 5 MEDIA MESSAGES ARE CONSTRUCTED TO GAIN PROFIT AND/OR POWER. Media has great influence on politics and on forming social change. Media has the subtle and overt power to persuade you to buy, feel, believe, love, hate, support, and deny. Emotions are key. There is a motive and purpose behind every single message sent. Often it s just about money. Key Question: Why was this message sent? 8
Persuade Inform Entertain Here s a commercial example. QuickTime and a decompressor are needed to see this picture. 9
Reasons to Persuade There are four (4) reasons that you would want to persuade. We call these reasons claims. Types of Claims 1. A Claim of Fact or Definition This claim argues what the definition of something is or whether something is a settled fact. Example: What some people refer to as global warming is actually nothing more than normal, long-term cycles of climate change. 10
Types of Claims 2. A Claim of Cause and Effect This claim argues that one person, thing, or event caused another thing or event to occur. Example: The popularity of SUVs in America has caused pollution to increase. Types of Claims 3. A Claim about Value This is a claim about what something is worth; how we would rate something. Example: Global warming is the most pressing challenge facing the world today. 11
Types of Claims 4. A Claim about Solutions or Policies. This claim argues for or against a certain solution to a problem. Example: Instead of drilling for oil in Alaska, we should be focusing on ways to reduce oil consumption, such as researching renewable energy sources. Persuasive Strategies Persuasive Strategies There are four (4) types of persuasive strategies, otherwise known as: Rhetorical Appeals 12
The Rhetorical Triangle Ethos Rhetoric may be defined as the faculty of observing in any given case the available means of persuasion. Speaker Kairos Situation Pathos Audience Message Logos Aristotle (384 BC - 322 BC) DWG Credit: static2.hbr.org Persuasion When he wasn t busy delivering pizzas with Plato, Aristotle understood that in order to persuade a reader or listener, you must create a text that appeals to them on many different levels. Appeals These persuasive appeals are: Logos: the proof that demonstrates the truth of the argument. Pathos: the right frame of mind of the audience. Ethos: the right appearance of the speaker s character. *Kairos (not traditionally attributed to Aristotle, but he was groovy with the word). Credit: philosophy-eastanglia.org.uk 13
Credit: d.lib.ncsu.edu All three appeals help us to understand the SITUATION of an argument! Logos = Text The Appeal to Logic: Facts Case Studies Statistics Experiments Logical Reasoning Analogies Anecdotes Authority Voices In Arguments: Logos Logos refers to the structure and content of the text (argument) itself. The idea or argument makes sense from the audiences point of view. This is different than from the speaker s point of view. Logos Logos asks: Can you Prove it precisely? 14
Here s a commercial example for LOGOS. Pathos = Audience The Appeal to Emotion: Beliefs in fairness Love Compassion Greed Frustration Revenge Fear In Arguments: Pathos Pathos is an appeal to any of an audience s sensibilities, an audience s state of mind. This is the emotional connection between the audience and the speaker. Is the audience ready to hear the message? 15
Pathos Pathos asks: How does this apply to me? Here are commercial examples for PATHOS. Does this reveal the truth? QuickTime and a decompressor are needed to see this picture. QuickTime and a decompressor are needed to see this picture. 16
Ethos = Author The Appeal to Character: Trustworthiness Credibility Reliability Expert Testimony Reliable sources/fairness Compassionate Reasonable Ethos In Arguments: Ethos focuses on the writer or speaker, presenting him or her as a person worthy of the reader s trust. Reputation: What you are know for. Credibility: do you look and act appropriately? Trustworthiness: are your motives clear? Do you show that you care about the listener as much as you care about yourself? Authority: are you confident with a clear and concise message? Strong voice? Ethos Ethos asks: Why should I listen to you? Ethos This is the only appeal that can quickly turn into a fallacy. More about that in a bit, but first 17
Here are commercial examples for ETHOS. QuickTime and a decompressor are needed to see this picture. QuickTime and a decompressor are needed to see this picture. Kairos* Traditionally, Aristotle s Rhetorical Triangle was view as the influences of three elements: Ethos Pathos Logos 18
Kairos* However, I think the traditional triangle is clumsy and weak. Kairos is defined as the window of opportunity during which something could happen. Kairos* Kairos is the knowledge of when to say what. It s the opportune moment for action. Kairos* It refers to the way a given context for communication both calls for and constrains one s speech. It takes into account: The given place and time. The specific context of words appropriate to the moment (best approach). The audience AND culture. Sometimes, when we try to persuade, we use arguments that sound logical and plausible, but are in fact wrong. We call these wrong arguments: Logical Fallacies. 19
Logical Fallacies A fallacy is when the logic sounds correct, but it really is wrong. There are seven (7) that we ll talk about. 1. Questionable Cause This is concluding that one thing caused another, simply because they are regularly associated. Example: Every time I go to sleep, the sun goes down. Therefore, my going to sleep causes the sun to set. Here are two commercial examples for Questionable Cause 20
2. Appeal to Fear When fear, not based on evidence or reason, is being used as the primary motivator to get others to accept an idea, proposition, or conclusion. Example: The Volkswagen Beetle is an evil car because it was originally designed by Hitler s army. Here are three commercial examples for APPEALS TO FEAR 21
3. False Analogy This assumes that because two things are alike in one or more respects, they are necessarily alike in other respects. Example: To say humans are immortal is like saying a car can run forever. Here are two commercial examples for FALSE ANALOGY 22
4. Slippery Slope This assumes that if you let A to happen, then Z will eventually happen, too; therefore, A should not happen. Example: Today, you re late for ten minutes, tomorrow late for an hour, and then someday you will simply cease to show up. Here are two commercial examples for SLIPPERY SLOPE 23
5. Non Sequiter What is presented as evidence or reason is irrelevant and adds very little support to the conclusion. Example: People generally like to walk on the beach. Beaches have sand. Therefore, having sand floors in homes would be a great idea! Here are two commercial examples for NON SEQUITER 24
6. Appeal to Emotion When emotion is used in place of reason in order to attempt to win the argument. It is a type of manipulation used in place of valid logic. Example: Luke didn t want to eat his sheep s brains with chopped liver and brussel sprouts, but his father told him to think of about the poor, starving children in the third world countries who didn t have anything to eat. Here is one commercial examples for APPEALS TO EMOTION 25
7. Appeal to Authority This is where having an authority say something or think something, it must therefore be true. Often, celebrities are big appeals to authority. This fallacy should not be used to dismiss the claims of experts or scientific community. Here are two commercial examples for APPEALS TO AUTHORITY 26
Figures of Speech Figures of speech become the tools by which you can persuade and manipulate an audience. There are seven (7) figures of speech we ll talk about: Metaphor Simile Hyperbole Personification Oxymoron Rhetorical Question Irony (which isn t really a figure of speech; more like a method of speech). Metaphor Definition: a figure of speech in which a comparison is made between two unlikely things. Example: His teeth were hardened blue cheese nuggets, speckled with green and blue. 27
Here s a commercial example for METAPHOR. Simile Definition: a figure of speech in which a comparison is made between two unlikely things using the words: like as if than Here s a commercial example for SIMILE. Example: My new job fits me like a glove. 28
Hyperbole Definition: a figure of speech that uses deliberate exaggeration. QuickTime and a decompressor are needed to see this picture. Example: If I ve told you once, I ve told you a million times. Here are two commercial examples for HYPERBOLE. 29
Personification Definition: a figure of speech that gives human characteristics to anything nonhuman. Example: My computer hates me. The camera loves me. Here s a commercial example for PERSONIFICATION. 30
Oxymoron Definition: a figure of speech that combines contradictory terms. Examples: Jumbo Shrimp. Military Intelligence. Here s a commercial example for OXYMORON. Rhetorical Question QuickTime and a decompressor are needed to see this picture. Definition: a figure of speech where a question is asked just for effect or emphasis; no real answer is expected. Examples: If a tree falls in the forest and no one hears it, does it make a sound? If a man speaks in the forest, and there is no woman there to hear him, is he still wrong? 31
Here are commercial examples for RHETORICAL QUESTION. Irony Definition: a term referring to how a person, situation, statement, or circumstance is not as it would actually seem. Many times it is the exact opposite of what it appears to be. There are three (3) types of Irony 32
Verbal Irony What is it? It s when a speaker means something different than (and often the opposite of) what he means. It means saying what you don t mean. Sarcasm. Here s a commercial example for VERBAL IRONY. Example: I enjoyed the movie as much as getting a root canal. What is it? Situational Irony It s when the outcome of actions or events is different than the desired or expected result. Examples: A fire station burns down. The marriage counselor files for divorce. Posting on Facebook complaining how useless Facebook is. 33
Here are commercial examples for SITUATIONAL IRONY. 34
What is it? Dramatic Irony It s when the reader or audience has important knowledge which is withheld from the character(s). Example: In a scary movie, the character walks into a house and the audience knows the killer is in the house. Here s a commercial example for DRAMATIC IRONY. QuickTime and a decompressor are needed to see this picture. 35
SOAPSTone SOAPSTone Analysis Doing a SOAPSTone Analysis is one of the quickest and cleanest ways to analyze a text s message and rhetorical appeals. S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. 1. 36
S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. Logos? Ethos? Pathos? 2. S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. 37
Logos? Ethos? Pathos? 3. S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. Logos? Ethos? Pathos? 38
4. S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. Logos? Ethos? Pathos? 5. 39
S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. Logos? Ethos? Pathos? 6. S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. 40
Logos? Ethos? Pathos? 7. S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. Logos? Ethos? Pathos? 41
8. S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. Logos? Ethos? Pathos? 9. 42
S: What is the subject? What is the text talking about? O: What is the occasion? What is the time and place of the text? A: Who is the audience? P: What is the purpose? What is the message behind the text? S: Who is the speaker? Tone: What is the speaker/writer s attitude towards the subject. Logos? Ethos? Pathos? The Process Watch each commercial, at least twice. More is better! Using the Venn Diagram, list everything that you notice in each commercial. - People - Events - Colors - Product - Location - Song - What the camera is doing - Actions - Etc. 43
The Process Next, list the similarities between both commercials. Then, perform a SOAPSTone analysis for each commercial. Explain the CLAIM for each commercial. Explain the LOGICAL FALLACY for each commercial. Finally, write a SEXY Paragraph to the given prompt. Big, Mongo Hints! The CLAIM for the Coke Hilltop ad is: A CLAIM OF VALUE The CLAIM for the Pepsi Kendall Jenner ad is: A CLAIM OF SOLUTION Now, explain why using LOGOS, PATHOS, and ETHOS as your support. Big, Mongo Hints! The FALLACY for the Coke Hilltop ad is: AN APPEAL TO EMOTION The FALLACY for the Pepsi Kendall Jenner ad is: AN APPEAL OF AUTHORITY Now, explain why using LOGOS, PATHOS, and ETHOS as your support. Research Tips: Wikipedia: Viet Nam War Black Lives Matter 44
Bottom Line Analysis is a process. Feel free to help each other, but all work must be your own especially the SEXY Paragraph! What You ll Turn In: The SOAPSTone analysis for each commercial. The analysis of CLAIM for each commercial. The explanation of the LOGICAL FALLACY in each commercial. The SEXY paragraph response to the question. Assessment: The Rubric of Quality & The SEXY Paragraph Rubric. 45
Kendall Jenner Iesha Evans - Baton Rouge 46