ASPCA Advertisement Analysis
Chapters 1-4 Essay All commercials appeal to a person using at least one of three ways: logos, pathos and ethos. When I think of an ad that displays pathos, I think of the disheartening commercial for the ASPCA (American Society for the Prevention of Cruelty to Animals). It is an advertisement that is on TV often whose purpose is getting its audience to support its cause through donations. Because the video shows such resilient emotional appeal, it more effectively targets women who tend to be more susceptible to sentimental propaganda than men. The video is saying that many animals have been helped, but more has to be done. There are still animals out there in need of being rescued from their abusive homes. More donations are needed. The
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In terms of composition, both dogs are shown in a narrow depth of field. The shot is taken from the front. The dogs take up the whole frame so that there are no distractions. They and their injuries can be clearly identified. The shots are taken in natural indoor light to show that there is no need for any extra camera tricks to convey the pain the animals go through. The contrast between the stark white bandage and the dark brown fur of the second dog is effective by itself. The shots are very candid. The pained look in the big eyes of both dogs is enough to convince any viewer of what they have been through. The sequence moves from images of rescued dogs to who have suffered injuries to a statement about how there are still more. It is almost as if the advertiser is trying to say, “Yes, this kind of animal cruelty exists, and there is more where that came from.” In this frame, the text is white and set to a black background. The text is also a standard font. It is centered with no other images or text to show that it is the main focus of the frame. The simplicity of the image allows for the reader to focus on the words themselves. The words are powerful themselves; so adding any extra color or pictures would be redundant and even detract from the statement itself. The black and white could also be symbolic. The white represents the pure, innocent animals surrounded by the cruel black world. “Angel” by Sarah McLachlan is still playing in the background. The viewer is not only moved visually, but audibly. The phrase “you are pulled from the wreckage” is sung and coincides perfectly with the images of the hurt dogs. At the moment that the text comes up, the phrase “silent reverie” comes up. Those animals that were never saved had dreams, but those dreams have died, have been “silenced.” Sarah lingers on the word “silent” to
In terms of composition, both dogs are shown in a narrow depth of field. The shot is taken from the front. The dogs take up the whole frame so that there are no distractions. They and their injuries can be clearly identified. The shots are taken in natural indoor light to show that there is no need for any extra camera tricks to convey the pain the animals go through. The contrast between the stark white bandage and the dark brown fur of the second dog is effective by itself. The shots are very candid. The pained look in the big eyes of both dogs is enough to convince any viewer of what they have been through. The sequence moves from images of rescued dogs to who have suffered injuries to a statement about how there are still more. It is almost as if the advertiser is trying to say, “Yes, this kind of animal cruelty exists, and there is more where that came from.” In this frame, the text is white and set to a black background. The text is also a standard font. It is centered with no other images or text to show that it is the main focus of the frame. The simplicity of the image allows for the reader to focus on the words themselves. The words are powerful themselves; so adding any extra color or pictures would be redundant and even detract from the statement itself. The black and white could also be symbolic. The white represents the pure, innocent animals surrounded by the cruel black world. “Angel” by Sarah McLachlan is still playing in the background. The viewer is not only moved visually, but audibly. The phrase “you are pulled from the wreckage” is sung and coincides perfectly with the images of the hurt dogs. At the moment that the text comes up, the phrase “silent reverie” comes up. Those animals that were never saved had dreams, but those dreams have died, have been “silenced.” Sarah lingers on the word “silent” to