Visual Rhetoric- pomegranate

“Everything You Do and Say”


At the beginning of the ad, it shows a short picture of a building. The director probably did this so that you get a feel for the setting, so you can understand the ad further. Also so you don’t ask the question, where is this taking place, when you’re watching the ad.


The next second, we are showed a bird’s eye view of the scene. It looks like an empty lobby. It looks as if two people are dancing in the middle, and a man is recording them. Why is this? There are people around. Some spectating, some minding their own business. The purpose of this is I guess to set the story in place. To show the background for the authors next move.


The next second we come to find that it is in the middle of a school, and those two people in the middle were not dancing. One boy was actually throwing another boy around, almost fighting. However, the one being thrown was not fighting back. The author shows this as an example of bullying.


The next second is the bell ringing indicating its time for class but as the the next second rolls around, it shows him hiding in a bathroom, then of people looking at him in the hall with his head in the locker. The author probably did this to show that when one person bully’s you, it’s kind of hard to go out there and actually be yourself.


The next frame is the boy standing by a train, almost isolating himself from everyone else. Bullying can make you feel so alone and you want to, again, isolate yourself from everyone. That any thought of getting away from it won’t even scare you. The next frame is a storm, setting the scene for a gloomy, yet kind of scary night.


Then, a Spider-Man costume appears, and the boy who was bullied reflection slowly shows in front. The author might be showing the reader that even people that do the most saving have problems of their own. Why Spider-Man, though? Why not any other superhero. 


It then shows him in a whole different costume, showing that he is not exactly Spider-Man, but he is too a superhero and wants to help people along side of Spider-Man. This shows that he cannot be Spider-Man, but he can do and help people just as Spider-Man does. 


He has a conversation with Spider-Man, who is probably giving the bullied boy advice. It can either be about his personal life, or it could be about the fact that he is too a superhero and he needs help on how and who to save.


It shows bullied boy taking off his mask, almost out of breath, giving us the vibe that he almost got caught or that he just did some insane activity that calls for him to take a breather. The author probably does this to send the message of, “even if you are a superhero, and are able to do things out of the ordinary, you still might not be able to keep up with what life throws at you.” The real Spider-Man continues to have a conversation with him and he’s holding up one finger. This could be hes telling the boy he has to worry about one thing at a time. Being a superhero is clearly rough enough, so you have to worry about fixing only one thing at a time.


He bumps into a girl at school in the next frame. It looks like one of those moments in a movie where the two people unexpectedly bump into each other and its love at first sight. It then turns to another with him talking to someone who we can assume to be his dad. He is probably asking for advice on what to do about the girl. It transitions to the girl sitting in class, laughing or smiling, showing that he is thinking about her. Then, it goes to the to the bullied boy fist bumping another boy who looks kind of scared. The boy almost looks shocked that bullied boy is a super hero. You wouldn’t expect someone who gets beaten physically, emotionally, or mentally to have the capability of being able to try and save anyone more than himself.


We see superhero boy sitting on the side of the building. It then goes to the boys hand punching a window and then jumping, falling, and flying in the air. Looking like he’s almost about to hurt himself, or potentially end his life.Bullying can make people think they are not worth their lives and can lead them to do bad things to themselves that can affect not only them but the people around them.


It then goes to him and the girl in school. He puts his hand on her shoulder and says something. He has a half smile/ grin on his face indicating that he is either excited or nervous. She says something back, while looking down at his hand. This can either mean she is excited that he is engaging in physical activity with her or she is nervous and afraid of what is going to happen next.


It then turns back to the scene of him falling, where he shoots a web to save himself right before he hits the top of the building. This can mean that just one person can save you from doing things that can totally hurt yourself and potentially end your life, which is something no one should have to do. Then the information for the bullying foundation appears, and the ad is over.

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3 Responses to Visual Rhetoric- pomegranate

  1. davidbdale says:

    Pomegranate, I need a link to the Ad Council spot you’re analyzing here, and I’m looking for the time stamps that will let me know what happens every second or so.


  2. davidbdale says:

    Thanks for posting early, Pomegranate. This will give us the ability to share feedback with your classmates who might not know how much detail to provide to fulfill the assignment. Keep in mind you are to accomplish two goals.
    Visual Goal: Describe the video in enough detail so that your readers can easily visualize the frame.
    Rhetorical Goal: Analyze why the director designed the visuals to be exactly as they appear.

    With that in mind, I’m going to describe the first One Second of your chosen Ad Council video. I’ve never watched this video you chose, and I won’t view it past the first second. I also haven’t read your post, so your choices won’t influence my analysis. Afterwards, we can compare notes.

    Very briefly, we see a building exterior in an urban setting. We’re looking at a gray granite structure maybe two or three stories high but with very tall window, giving the impression that indoors we would find a very high-ceilinged room. Cars travel the street in front of the building, and pedestrians stand or walk on the sidewalks. We’re positioned across the street from the building, which is identified as VISIO on a signboard on the street corner.

    In less than a second, the color scheme and design of the buildings behind the VISIO building make it apparent that this is not natural video. Instead, we’re looking at good computer animation, good enough to fool us momentarily, but not SO GOOD that it’s trying to deceive us. In other words, it’s about 3/4 realistic. Judging by the shadows under the cars, the time is noon. The day is bright and sunny. The sky is pale blue. The overall impression is of a very pleasant day in a nicely animated town.

    The scene cuts abruptly to an interior of a building. We’re up about 20 feet above the floor, looking down on a big open space with a slate floor and bright shadows that continue the impression that this is probably the same day in the same general location: indoors at the VISIO Building. The height of the space confirms what we believed looking at the building from outside: it’s a very tall two-story interior space. Huge steel support beams angle up vertically from the floor in V shapes. People sit on benches at the base of these Vs, or stand and talk in small clusters around the big room.

    A big wide staircase, storage racks against the back wall, hallways leading off to other spaces, all give the impression that the space is commercial or industrial, perhaps a technical school or a repurposed space turned into art studios, some sort of mixed-use space, probably not residential, not a bank, not a store.

    Now we see more clearly that we’re not intended to believe in the reality of the people. They’re well-drawn computer characters but clearly not real human beings. They appear to be youthful, dressed casually, some with knapsacks, not business people, not families with kids.

    In the middle of the scene, where our eyes naturally go, two characters are engaged in a physical act of some kind. Something like a book is on the floor at their feet. They could be dancing if the setting were different. Their arms are engaged above their waists. It’s also possible they’re fighting: they’re simply too small for us to know. Nearby, one onlooker has a raised phone aimed in their direction, probably making video of whatever they’re doing.

    After a few more frames, it seems the two are fighting. The onlooker has definitely moved to capture the confrontation on his phone. It’s possible some of the periphery figures have turned to watch. Maybe the “fighters” are making noise.

    So, we’re going to watch two animated characters fight in public. This could have been shot with actors and live action photography, so why wasn’t it? Maybe the violence would be too graphic if it were shot with real people. Certainly the animation will give the director greater control over every image. It will also be easier to set the tone . . . and probably much more economically . . . with animation than with actors and a complex set. This is not a humorous looking “cartoon,” so we expect the tone to be serious. The rest, we’ll have to wait and see.

    How does that compare to your Notes on the first second, Pomegranate?


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