Ad AnalysisArt Herbig & Ric Winston, University of Maryland Kerry/Edwards "Doesn't Get It"
Getting It : Vision and Presidential Leadership This ad, which resembles other Kerry ads, “Issues,” “Wrong Choices” and “Different Story,” asserts that Bush is out of touch with the actual situation in Iraq . While other ads have targeted this gap as created by deception, this ad simply declares Bush lacks awareness. Such a perspective leaves him unaware of the tragedy and peril that faces American forces in Iraq . The ad also suggests that he does not perceive the scope of the problem. This misguided perception is reflected in the absence of a plan for Iraq . The ad narrative shifts to Kerry who in fact has a plan for the war that acknowledges the issues in Iraq . According to “Doesn't Get It,” Kerry has vision while Bush is blinded to reality. Narration & Music This ad is narrated by a man with a deep voice who speaks slowly and deliberately during the Bush segment of the ad. His tone is foreboding and accusatory while he questions the Bush administration's decisions and his ability to lead in the future. The opening quip, “There he goes again,” is a clever historical allusion. In a 1980 presidential debate, Ronald Reagan used the line to frustrate President Jimmy Carter. Reagan again tried to utilize the tactic against Walter Mondale in 1984, but was rebuffed by a prepared Mondale. The use of this phrase could be understood as an implied critique of the Bush campaign attempting to cast itself in the image of Ronald of Reagan. During the Kerry section of the ad, the democratic candidate immediately offers a more hopeful tone and his rate of speech quickens. He is no longer accusatory but optimistically assertive and distinctively upbeat. The accompanying music is sharply dichotomous. This is a common political technique, in which the music reflects the intended tone and indicates good from bad (West 8). The segment that features President Bush expresses an ominous score with basal tones and one that creates a slow deliberate tension. In contrast the section that highlights Kerry is more up-tempo and introduces more light music fair with softer percussion, a subtle flute as well as a subdued string section. Both of these elements serve to cast Kerry as a heroic figure that communicates comfort and optimism compared to the tension and stress felt when Bush is in focus. Light & Dark : The Power of Shade Similarly, the background colors are useful in shaping the message. The central Bush segment is framed entirely in black to cast a villainous association. The articles and images are cast against this background, thusly, increasing their power and effectiveness. The color “black” is often associated with “witchcraft, darkness, fear and evil” (Pomerance 11). In contrast the Kerry segment is set on a pure white background for the alternate effect. White is generally associated with “truth, light, justice and purity” (Pomerance 11). Kerry supplements the power of the white background with a robustly vibrant American flag, the ultimate sign of patriotism. Performing the Presidency: The Battleship Shot The ad opens and closes with two powerfully contrasting images both shot in close proximity to naval vessels. The infamous image of Bush on the carrier is shown in a freeze-frame shot to highlight the “Mission Accomplished” banner. This was a Bush press opportunity designed to help create his image as “Commander-in-Chief.” Erickson asserts the reason for this technique: “Typically, president's enhance their political attributes by posing as bigger-than-life, simultaneously casting themselves as strong, active, decisive, and compassionate” (142). The still image is shown initially in a wide angle shot that narrows with increasingly sullen musical tones. This will be the first of three different Bush shots in which the President was actually speaking but is silenced by the editing of the ad. The ad's last shot is John Kerry walking proudly and smiling with a U. S. Naval vessel in the background and a triplet of American flags to complete the image. He offers a large smile and a salute that is directed at troops who are off screen but the camera positioning makes the salute look as though it is directed at the viewing audience. Here Kerry is attempting to appear Presidential by using a technique of situational power cues. Erickson states: “sites, rituals, and occasions that serve as markers of culture, power, and/or authority” can be co-opted to the advantage of a politician or leader (141). Who's Talking About the Ad Howard Kurtz of The Washington Post, September 28, 2004, "In New Ads for Bush and Kerry, Personal Attacks on War Views" “All told, Kerry and the Democrats have put out three response ads in 48 hours, underscoring their determination to quickly return fire but also allowing Bush and his allies to set the parameters of the battle.” http://www.washingtonpost.com/wp-dyn/articles/A55177-2004Sep27.html Associated Press, September 27, 2004, "AdWatch: Kerry Ad Asks About Iraq Solution" “Kerry is trying to persuade voters that he deserves to replace a sitting president during wartime, Bush is out of touch with the reality of the turmoil overseas - and to make the case that things are so bad in Iraq that only a new president can fix problems there.” http://www.mercurynews.com/mld/mercurynews/news/special_packages/election2004/9774746.htm?1c Richard Benedetto and Martin Kasindorf of USA TODAY, September 29, 2004, "Bush and Kerry Question Each Other on Iraq, War on Terror" “Touching on his frequent contention that Bush is incompetent, Kerry said America needs ‘a leader who actually knows how to fight a war and get things done.'" http://www.usatoday.com/news/politicselections/nation/president/2004-09-27-bush-ohio_x.htm Works Cited
(October 11, 2004)
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