PARC Analysis "Stare"

The DNC and the Kerry-Edwards campaign have worked diligently to set a campaign agenda that includes the discussion of domestic issues. As Election Day draws near, a blitz of advertisements criticizing Bush on various fronts have appeared. Bush's domestic policies, especially the tax cut he gave, are framed as major mistakes that have hurt the country. However, this ad is unique to other types that are being released in the last few weeks of the campaign because children populate the advertisement. The use of children in campaign advertisements is not a new concept from ads of past campaigns; the DNC, thus, borrows this strategy to visualize the victims of Bush's plans for the future.

The major premise of this ad is the notion that Bush's economic and tax plans have ruined the progress made (by Democrats) and he is taking the country down the worst economic path in history—at least since the earliest days of the Great Depression under President Hoover. Instead of focusing explicitly on how the economy is hurting Americans today, the ad shifts the worry and guilt to the next generations. While it does mention that the country cannot afford Bush's plans today, the visual elements provide a sense of children's vulnerability and symbolize the future.

Nelson and Boynton (1997) discuss a similar use of children as visuals, pointing to how Paul Wellstone (D-MN) successfully portrayed children as powerful visuals when running for the U.S. Senate. In his ad, school children looked into the camera while writing checks with crayons as the narrator made charges against the opponent's voting record on education (p. 49). This ad is an updated version of this concept, as the victims of Bush's plan are shown.

The ad begins with the intent stare of a young girl, who appears to be around 10- years-old. She gazes into the camera, her mouth slightly open, looking serious yet depressed. The camera uses a gray filter, muting any sense of color. Her pale white skin, brown hair, and checkered shirt make her appear as an “average” American (white) child. Behind her is a window and bookcase, muted by the filter. The ad arguably begins with a young girl to stress the vulnerability and weakness of Bush's victims; historically, young girls often function as a sign of significant weakness and are viewed as in need of the more vigorous protection by the U.S. government (Parry-Giles & Parry-Giles).

The scene changes to a younger boy, seven or eight years old, staring into the camera. The gray filter is so apparent here that his mop of brown hair, yellow polo shirt and white skin appear incredibly pale. The indignant look on his face arguably implies that he is not happy about having to pay for the Bush plan. The narrator is reinforced as large, white text appears, “Under President Bush Largest Deficit in American History” under the boy.

A young, African-American boy, 11 or 12 years old, appears in the next scene. He looks particularly distressed as he stares into the camera. The gray filter is still in full effect as bold white letters, “2.7 Trillion Deficit” appear below him. While the first boy appeared slightly indignant, the audience can see that the boy feels betrayed and is incredibly saddened by the narrator's charges.

The shortest glimpse of a child follows, as a four- or five-year-old girl is shown gazing into the camera. She does not look upset, but rather innocent and is arguably oblivious as to what Bush is doing to her future. The gray filter works to make her appear vulnerable and pale. She is quickly replaced by a teenage girl, also with dark-hair and and pale skin, staring into the camera. She arguably has the strongest stare, looking upset and angry about the bill she is going to have to pay. White, bold letters appear saying, “ America can't afford four more years.”

The direct address of the children looking into the camera toward the viewing public, makes the ad even more powerful. It appears as if the children are trying to get our attention—they are talking to us about their future.

Throughout the ad, the camera moves in to capture the emotional state of these children, creating a sense of an interpersonal relationship through the distance of the shots. Meyrowitz (1982) argues that the use of camera framing and angles builds an intimacy between the subject and audience (p. 226). Americans want their children to be protected and happy; these children appear vulnerable and sad. The powerful visuals work to reinforce the “mistake” of Bush's tax and economic plan. In addition, these children are not unique and arguably could be any American's children or grandchildren. The ad seeks to associate these children with all children. While public opinion polls show Americans want lower taxes, they do not want that to come at the cost of their children's future.

The ad ends with a black-and-white crowd photo highlighting a boy, three or four years old, holding a Kerry campaign placard over his head. As the commercial closes, the camera zooms in to get a closer glimpse. The scene is “cute” and contrasts the visuals of the oppressed-looking children. It appears that this child knows better than to support Bush, an idea the children in the ad were learning. The ad arguably works to show that children would not support Bush if they had the power to vote because he is not supporting their future. The implicit argument is that those with the power to vote, who care about children, should vote for John Kerry—the candidate who would liberate their future.

The narration and music work to support the powerful visuals of this ad. An articulate, deep male voice levels charges in a strong manner, yet a sense of worry can be heard in his voice. His pace is slowed, especially when leveling specific charges against Bush. Each sentence matches a different frame, allowing the viewer to absorb the powerful images and listen to the narration. The visual element of white text works with the narration to reinforce the negative effects of the Bush economic plan.

The word choice stresses the dramatic situation future generations face. The narrator says, “George Bush's budget deficit,” implying that he is responsible for causing all of it. Stating that three years ago there were only surpluses reinforces this notion. This arguably implies that Bush's mismanagement, not outside factors such as 9/11 or the war on terror, is entirely to blame for hurting children's futures.

The narration is also subtly able to build in the idea that America cannot afford Bush today. Not only will children suffer under the crippling budget deficit, but the economic plans are negatively affecting people of this voting generation. The narrator never has to say, “Vote for John Kerry,” but the implicit argument is so strong that it is not necessary to be so explicit. The last still of the child with the John Kerry sign reinforces the notion that “a picture if worth a 1,000 words.”

The music builds a sense of horror and sadness within the ad. Synthesized tones work together in a non-melodic pattern to reinforce the gravity of the situation. A hint of a children's choir can be heard at various points in the ad, singing a note and then fading away. The background music serves as just that, supporting the overwhelming visuals and powerful narration of the ad.

Who Is Talking About the Ad and the Issue

Transcript from October 12, 2004 PBS NewsHour with Jim Lehrer, report from Paul Solmon of WGBH-Boston:

If old fogies like me are going to get all the resources, let's face it, that's about the past. Sesame Street is about the future in the ultimate sense, but so is elementary education and science education, engineering education. And that's the key point that we've got to understand here. If we don't cut down these utterly unsustainable obligations, it's our kids that are ultimately going to pay the price.

President Bush Has Outlined Plan For Personal Retirement Accounts For Younger Workers. “With the huge Baby Boom generation approaching retirement, many of our children and grandchildren understandably worry whether Social Security will be there when they need it. We must strengthen Social Security by allowing younger workers to save some of their taxes in a personal account - a nest egg you can call your own, and government can never take away.” (President George W. Bush, Remarks At Madison Square Garden , New York , NY , 9/2/04)

Posting on Kerry's website discussing the importance of fiscal responsibility:

Over the last three years, record surpluses have turned into record deficits, with more deficits stretching into our children's future. Today, we face unsustainable foreign borrowing, rising interest rates, and sinking consumer confidence.

http://www.johnkerry.com/issues/economy/fiscal_responsibility.html

Works Cited

Meyrowitz, Joshua. “Television and Interpersonal Behavior: Codes of Perception and Reponse.” In Inter/Media: Interpersonal Communication in a Media World, edited by Gary Grumpert and Robert Cathcart. New York : Oxford University Press, 1982, pp. 221-241.
Nelson, John S. and G. R. Boynton. Video Rhetorics: Televised Advertising in American Politics . Chicago : University of Illinois , 1997.
Parry-Giles, Shawn J., and Trevor Parry-Giles. "Gendered Politics and Presidential Image Construction: A Reassessment of the ‘Feminine Style.'” Communication Monographs 63 (1996): 337-353.

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