Ad Analysis Cardin "Big"

Originally airing on August 21, 2006, “Big” is among the first campaign ads released by Ben Cardin for the U.S. Senate. The ad preceded the September 12, 2006, Maryland primary and serves to orient constituents with Representative Ben Cardin as a Democratic candidate for the U.S. Senate. The advertisement draws from Congressman Cardin's experience serving in the House of Representatives and thus encourages viewers to relate Ben Cardin's political history to his promise to represent all of Maryland's constituents in the U.S. Senate. Released early in the campaign, “Big” does not attack a particular electoral opponent; rather, viewers are encouraged to get to know Representative Cardin as an honest, values-based politician who will continue to “take on” the “big” foes on behalf of his constituents (namely, drug, oil, and insurance companies).

Two key assumptions exist in “Big.” First, the advertisement assumes that the goals and interests of “big” industry conflict with the goals, interests, and well being of Maryland constituents. Representative Cardin opens the advertisement with the assertion, “I always try to do what's right. What's in the best interest of Maryland families.” Next, Representative Cardin describes “taking on” the companies that act in an unjust manner at the expense of constituents. Juxtaposing Representative Cardin's goals and actions with those of big industry situates industry as the enemy of constituents. This relationship sets up another key assumption in the advertisement: the average constituent needs a mediator who can understand the situation of all Maryland residents and “take on” big industry. Establishing these two assumptions allows Representative Cardin to embrace the position of citizen advocate, a role that taps into mythic notions of heroism. Ads that connect to mythic archetypes like the citizen advocate can create a common ground for all viewers, since myths “are our associative networks of personal experience and thought” (Nelson and Boynton, 1997, p. 204).

An examination of “Big” calls attention to the ways in which Representative Ben Cardin can be likened to a heroic citizen advocate—approachable, understanding, and able to effectively lead as a U.S. Senator. The ad labels but does not visually identify enemies of the public, heightening Congressman Cardin's need to serve as a public advocate without significantly compromising the positive tone of the ad.

“Big” opens with the seated Representative Cardin speaking to the viewer in what looks like the kitchen of a residential home. The scene is bright and cheerful; the walls are painted white and behind Representative Cardin we see windows and green trees suggestive of a suburban backyard. The camera is located at Representative Cardin's eye level as if the viewer is sitting close to him at the table, having an informal chat. Representative Cardin does not look directly into the camera, but just to the right of it. This relaxed setting gives the impression that Ben Cardin is speaking to the viewer honestly, and that his message involves the type of plain-speak approach that he would use with a neighbor or friend. At these “kitchen” moments of the ad, there are no overt signs of Representative Cardin being a “big”-time politician; instead, he appears to be the reliable guy next door. Nevertheless, “Big” is an example of a talking head ad, which illustrates a candidate's ability to speak coherently to voters and, therefore, effectively speak on behalf of voters while in office (Jamieson, 1999).

Representative Cardin's presence and conviction in the ad furthers a notion of a professional and common-sense message that is re-enforced with more emotive background music. Representative Cardin wears a dress shirt and tie, and his voice has the slow and steady cadence of leadership. A stirring, somewhat sentimental score accompanies Representative Cardin's conversational tone. The candidate appears both approachable and respectable. While the viewers see and hear Representative Cardin appealing to them directly, in a familiar and intimate space, his appearance and the presence of moving, patriotic background music remind us of his professional achievement. In Video Rhetorics, Nelson and Boynton (1997) assert that “people hear musics in terms of popular conventions, associations, or histories well known to most citizens” (128). Such an introduction to Representative Cardin encourages a sense of connectedness with the viewer on both a personal and political level.

In “Big,” Ben Cardin expresses a desire to act in “the best interest of Maryland families.” Representative Cardin also mentions his hope to “provide for the education of all of our children” and “provide opportunity for every family in Maryland.” Narrating the ad himself, Ben Cardin speaks to his audience and his address refers to all Marylanders. The ad is sprinkled with scenes of Representative Cardin meeting with and working for his constituents—a diverse range of individuals. Each of these scenes is a cut-away from the original setting of Representative Cardin speaking at the kitchen table. The first cut takes the viewer to another familiar space. Ben Cardin is seated at a large dining room table, surrounded by three mature adults. The camera is behind the shoulder of a fourth elderly gentleman who is talking to the politician. Both men and women are featured and the group also is ethnically diverse, yet all are older adults. Prescription medication bottles line the table, suggesting that the topic of conversation relates to Medicare prescription drug benefits. The camera frame is tight and Representative Cardin is sitting elbow to elbow with his constituents. The scene suggests that this politician has the interest and willingness to listen to individual stories, which will impact his decisions if elected as Maryland's next U.S. Senator.

Near the end of the ad, we again see Representative Cardin sharing space with his constituents. In this scene, a female African-American teacher has stepped aside to let the candidate speak with her class. As the camera pans across the classroom one sees a young girl raise her hand. The viewer is behind the girl and looking toward Representative Cardin from her eye level, becoming part of the classroom; Ben Cardin points to the girl, presumably soliciting a question or an answer from her. The viewer's implied inclusion in this diverse classroom illustrates the candidate's claim that he is concerned with the needs of all children, as he verbally stresses in his voiceover.

The next scene shifts from the classroom to an outdoor picnic. Representative Cardin, now in more casual clothing and rolled up sleeves, is situated between two families. Following the camera as it pans across the picnic setting, the viewer first sees a Caucasian family with a toddler and then sees an African-American family with a young boy. During the pan, Representative Cardin proclaims, “we can provide opportunity for every family in Maryland.” Again, the candidate sits elbow to elbow with his diverse constituents, sharing familiar space and presumably listening to their needs and concerns. Viewers witness an approachable Representative. Throughout all three scenes the background music swells and crescendos, accompanying Representative Cardin's promises for a hopeful future.

Listening to Congressman Cardin's words (addressed to the viewer) and virtually sitting across the table from him allows the viewer to share space with this people-centered politician in an intimate manner. Nelson and Boynton (1997) note that “camera placement, focus, and movement put viewers unusually close to the characters,” and that, “the effect is to push viewers into the characters' settings and situations” (221). Representative Cardin and the viewer not only share the same space, but also share a similar reality, with similar concerns, including the concerns of constituents include healthcare, education, and the wellbeing of Maryland families. Here it is important to remember the two critical assumptions of the advertisement. First, the advertisement assumes that the goals and interests of “big” industry conflict with the goals, interests, and well being of Maryland constituents. Additionally, the advertisement purports that constituents need a mediator who can empathize with all Maryland residents and “take on” the “big” foe.

Representative Cardin speaks of taking on industry giants while the viewer sees glimpses of him in the political sphere. As the music speeds up with a staccato punch, the viewer sees Representative Cardin walking quickly down an office hallway, handing a manila folder to a young white woman. The two are talking and another young African-American man follows closely behind them. This muted, black-and-white professional setting contrasts sharply with the pleasant and colorful home scenes just shown. The viewer has no way of knowing the contents of the folder or the subject of the meeting. The viewer only hears Ben Cardin explain that he is “taking on” the “oil companies.” The pace of the scene and the music that accompanies it impart a feeling of action. Representative Cardin appears to be turning the concerns of his constituents into action. This same tone and feeling continues with the next image, which shows Representative Cardin speaking into microphones at what looks like a press conference. While the setting is ambiguous, the wall of books and American and Maryland flags behind the candidate suggest a persona of an educated and knowledgeable candidate and allude to his patriotism on behalf of not only of Maryland but as the United States as a whole. The camera is placed among those who Representative Cardin addresses, and the viewer sees the candidate emphatically moving his arms to accompany his address. His voiceover reminds us that he is “taking on” the “insurance companies.”

The viewer does not see the face, or even the corporate logo, of the people's foe thanks to Representative Cardin's mediation. The act of “taking on” the enemy might be a long, arduous, and painful process. Yet, “Big” relieves the potential fears of the viewer by telling, showing, and aurally confirming Representative Cardin's ability to act on behalf of his constituents. Representative Cardin emerges as a mythic hero, willing to fight the “big” guys on behalf of us. The decision to mention the enemies but keep them nameless allows the overall tone of the advertisement to remain more positive than the typical attack ad. As Nelson and Boynton (1997) suggest, “the best distinction between ‘negative' and ‘positive' ads. . .is the difference between direct and indirect characterization of the opponent” (100).

The hero association culminates when the viewer is immediately taken back to the kitchen scene, where Representative Cardin admits that he “stood up against the President and voted against the Iraq war.” While the background music continues to swell, we see Ben Cardin's serious face, furrowed brow, and still body, suggesting that this act of doing “what's right” was a weighty decision. The screen momentarily goes black, giving the viewer a moment to reflect on the significance of the Congressman speaking out against President Bush. When the candidate reappears, still sitting across the kitchen table, he expressively adds that “speaking out on what matters is how you make a difference.” Throughout these scenes, Representative Cardin has explained and illustrated his role as mediator and, subsequently, hero for Maryland. The viewer remains distanced from her/his foe, and Representative Cardin relates the story of single-handedly and directly opposing these “big” entities on behalf of his constituents. The viewer is left wondering who or what is bigger, the industry giants and the President of the United States, or the Maryland Representative who follows his conscience and the feedback of the people he serves. The ambiguous title of the advertisement only exacerbates this question.

“Big” generally crescendos, both in musical score and action, until the final moments of the advertisement. Again, the viewer returns to the kitchen table, where Representative Cardin now states, “That's what I'm fighting for. That's what I believe in.” Here we see the candidate speaking passionately and moving his hands to emphasize his message. The background instrumentation has dropped, leaving a solitary, regal horn accompanying this climactic moment. The camera zooms in to frame a much tighter shot of the candidate, seemingly drawing the viewer closer to Representative Cardin and, subsequently, “evidencing a strategy of engagement” (Parry-Giles, 2000, p. 215). This is the culmination of Representative Cardin's message, and the aural and visual cues suggest that the viewer is now hearing the candidate's most critical and most powerful assertion. As Representative Cardin refers to his beliefs, the distance between viewer and speaker, constituent and candidate, is diminished as he makes a values-based promise to the viewer. As the ad comes to a close, this scene is replaced with a new image of Representative Cardin looking down at something (presumably a document) as we hear his endorsement of the advertisement. Representative Cardin's energetic voice and the final visual image leave the viewer with the feeling that this heroic candidate will follow through on his convictions and promises.