Rhetoric Class assignment about Visual Analysis about Ad. (College level, 1400-1600 word)
This essay assignment selects and watches one commercial from “commercial and Visual Source Suggestions” (at attachment file). After that, we write an essay(college level, 1400- 1600 word) about what “visual source” is used in this advertisement to deliver efficient advertising. Please clearly mention what the rhetorical Appeal and Argument styles is used at “visual source”. (See RHET 1302 # 2 Visual Analysis attachment file. and Rhetorical appeal and Argument style file.)
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Rhetoric Class assignment about Visual Analysis about Ad. (College level, 1400-1600 word)
Please follow some of the rules that prof. mentioned about when writing the essay.
Writing Rules
1) Begin your essay introduction with an interesting story about your brand, not directly related to advertising video.
Ex) Nike logo is a copy of one of the Greek god wing …….
2) In the last part of the introduction, tell us your story in advance with the Thesis statement.
3) In each body paragraph, make a clear topic sentence in the first sentence.
Please clearly mention what the rhetorical Appeal and Argument styles is used at “visual source”. (See RHET 1302 # 2 Visual Analysis attachment file. )
4) In conclusion, the first sentence of the conclusion paragraph that summarizes the essay write one or two concise sentences. From the next sentence, please explain one more advertisement and video with similar visual sources or lessons.
5) Please follow MLA format.
ps) If you don’t understand the above explanation, please see 3 sample essays that I attached.
RHET 1302
Essay #2: Visual Analysis
Submit: Upload online through the TurnItIn assignment button.
You will also upload your draft this way.
Length: 3-4 Full pages
Sources: Two: one will be your visual source, the other will be the
company/ brand/ organization website.
Purpose: Communication exists in mediums outside of the written word. Just like a written
text, a visual text communicates meaning on a deeper level beyond merely the literal. For
example, photographs, print advertisements, posters, paintings, and movies all convey messages.
In this class, we will spend several days focused on “reading” and analyzing visual texts.
Requirements: This assignment asks you to select a visual source like a television commercial,
a printed advertisement, or a music video and analyze its rhetorical features. You must compare
the visual source to the company/ brand/ organization mission statement and purpose as given on
their website. How does the visual source effectively or ineffectively represent what the brand
claims to stand for? What are the specific visual examples that support this? You will
accomplish this by discussing the visual source’s use of rhetorical appeals, devices, strategies,
and the optional argument style.
Audience: Your audience for this assignment is your instructor and your classmates. Although
your readers are familiar with the text, you should thoroughly represent its main ideas and key
points, and provide accurate textual evidence throughout.
Things to consider:
How does the source use specific rhetorical strategies such as pathos, logos, and ethos?
You can also consider the argument style and various formal elements like metaphor,
personification, irony, symbolism, etc. that you think are relevant.
Who seems to be the targeted audience?
If you have chosen an advertisement, then what product or service is being advertised?
Make sure you choose wisely with your source. You need to choose something that has
enough content to sustain a 3-4 page analysis.
Gillette,“We Believe, The Best Men Can Be”
https://www.youtube.com/watch?v=koPmuEyP3a0
Burger King, “Bullying Jr.”
https://www.youtube.com/watch?v=0e8fcpYX5us
Nike, “Dream Crazier”
https://www.youtube.com/watch?v=whpJ19RJ4JY
Vick’s Vapor Rub Philippines: Learning to Love
Budweiser, “Stand By You”
https://www.youtube.com/watch?v=c68drZD5Jyo
Nike, “What Will They Say About You?”
2020 Jeep Gladiator, “Seats”
https://www.youtube.com/watch?v=U8tssKsqEVI
Dove Real Beauty
https://www.youtube.com/watch?v=XpaOjMXyJGk
Music Video: Simple Plan, This Song Saved My Life
2018 RAM Trucks: God Made a Farmer
https://www.youtube.com/watch?v=AMpZ0TGjbWE
Vick’s Vapor Rub India: One in a Million
Proctor and Gamble, “The Talk”
Detroit Ad for Amazon Move: Move Here, Move the World
84 Lumber controversial 2017 Super Bowl spot
Vick’s Vapor Rub India: Generations of Care
Animal Adoption PSA from the Netherlands
Levi’s Go Forth to Work
Thailand Life Insurance: Unsung Hero
Hong Kong MetLife: My Dad’s Story
https://www.youtube.com/watch?v=3bdm4NBYxII
Apple Watch: Dear Apple
Always, Like a Girl
https://www.youtube.com/watch?v=XjJQBjWYDTs
https://www.youtube.com/watch?v=koPmuEyP3a0
https://www.youtube.com/watch?v=0e8fcpYX5us
https://www.youtube.com/watch?v=whpJ19RJ4JY
https://www.youtube.com/watch?v=c68drZD5Jyo
https://www.youtube.com/watch?v=U8tssKsqEVI
https://www.youtube.com/watch?v=XpaOjMXyJGk
https://www.youtube.com/watch?v=AMpZ0TGjbWE
https://www.youtube.com/watch?v=3bdm4NBYxII
https://www.youtube.com/watch?v=XjJQBjWYDTs
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Sally Smith
Professor Riley
RHET 1302
Date
The Hidden Message
In April of 2013, the Aid to Children and Adolescents at Risk (ANAR) Foundation
publicized their powerful billboard advertisement regarding child abuse to the streets of Spain.
The intent of this Spanish advertisement is to spread awareness of child abuse, raise money for
their campaign, and to promote the use of their confidential hotline for children and adolescents.
There are two different target audiences for this ad and two appropriate messages. One audience
is anyone willing to donate to their charity, so particularly, adults, and the other, main targets, are
children who are abused but unaware of their hotline. Given that most child abuse victims will be
accompanied by their aggressors, ANAR sought to creatively use technology to deliver the
message of their hotline in secret to only the children. GREY Spain, the advertising agency that
formed this MUPI (standing for “informational street furniture” translated in English), or poster,
for ANAR, used lenticular technology to effectively display two messages. As the average height
for a ten-year-old is four feet five inches, they designed the MUPI so that a different message
will be viewed to those shorter than four feet five inches than those who are over said
measurement. So, in the eyes of an adult, the close-up image of a “normal” young boy and the
words “Sometimes, child abuse is only visible to the child suffering it” floating over his head are
the main components visible. For children though, they will see the same boy, but with a bruised
cheek and cut lip, and the white text “If somebody hurts you, phone us and we’ll help you” next
to the boy’s face along with their hotline number. By using text, lenticular technology, and
Velmurugan 2
simple visuals, through the proper use of ethos, logos, pathos, and Aristotelian argument style
aimed at children and Toulmin argument style directed at adults, this unique double-ad presented
by ANAR effectively raises awareness about child abuse and promotes its hotline for young
victims of abuse.
ANAR establishes their credibility the same ways in both child and adult view of the
MUPI. One way they build ethos is through their logo printed on the bottom right corner of the
billboard. Their logo consists of a child like stick figure drawing and the foundation’s name. By
including their logo, they showcase that they are an organization, and their name “Aid to
Children and Adolescents at Risk” clearly states what their organization is for. Since they are a
specialized foundation and their name correlates to the ad for spreading awareness about child
abuse, they gain credibility and viewers are able to trust the information they receive from the
MUPI. Also, right below the logo is ANAR’s website in a bold black font, “anar.og.” The
existence of a website for this organization indicates that ANAR is at least established at a basic
level, if not well established, thus boosting their ethos. At the very top of the poster, the text “25
of April is International Day of fight against child abuse” is written and according to GREY
Spain, they wanted to “turn April 25 ‘World Day Against Child Abuse’ into a day for ANAR to
speak and be news in all media” (Grey). The month of April was already coined “Child Abuse
Awareness Month,” but the fact that this advertisement was published in April and is also
prompting a specific day in the month for further spreading of awareness, shows ANAR’s
dedication for a fraction of their purpose which is to “collaborate with other institutions in order
to raise awareness of children’s needs” (SAS). Their credibility is also strengthened through the
use of lenticular print to display two messages. On their website, ANAR claims that one of their
missions is to help children and adolescents “through current technological means and new
Velmurugan 3
communication systems” (ANAR). Given the risk that a victim of child abuse may be
accompanied by their abuser and consequently be unable to explore a billboard that notably
displays tools that can help them, ANAR uses lenticular technology, a fairly new advancement in
advertising, to secretly inform children of their hotline. ANAR significantly reinforces their
ethos by maintaining their mission statement through the advertisement.
This entire advertisement is formed around logos since its main component is that it is
organized to display two posters. The two differing images of the boy in the ad, between the
view of a child and that of an adult, creates a powerful metaphor and proves the text “sometimes,
child abuse is only visible to the child suffering it” very literally in this case since, only from a
child’s height is the boy with bruises and cuts visible. Apart from the overarching metaphor, in
both the child and adult views, the poster has more elements of logos. In the child’s perspective,
the poster shows a young boy with a red bruise on his right cheek and a bleeding lip through a
few cuts. Since the rest of the poster is composed of neutral and bleak colors, the bruise and split
lips are the only bright details, so naturally, children’s attentions are drawn to that general area.
And, right beside the bruised cheek is ANAR’s “hidden message” to victims of child abuse,
encouraging them to contact ANAR through their hotline so kids will most likely notice it.
GREY Spain, confided that, in creating this MUPI, “the challenge was to maintain the perception
of invisibility and confidentiality perceived by the minors who use the ANAR telephone” into
the advertisement (Grey). They did overcome this task through the use of lenticular technology,
but since the children do not know they are viewing something different than the adults (no
invisibility) the poster also prints the “hidden message” in white print. Since the background of
the advertisement is a light color and the text meant for only kids is in white, hence making the
“hidden message” very faint, it simulates the invisibility GREY wanted to portray to the children
Velmurugan 4
and possibly also to ensure that adults are unable to view the message in case the lenticular
printing did not work entirely. In both the child and adult perspectives, while the rest of its
sentence is written in black text, the phrase “child abuse” at the top of the poster is highlighted in
black and written in white to draw attention to it and signify that that is the issue being addressed
in the ad. The black highlight could also symbolize the negative light surrounding child abuse
and thus discouraging it while spreading awareness to adults and children alike so adults know
that this is a problem people still face and children understand that being abused is not okay.
ANAR’s advertisement embeds pathos through the simple images presented to the adults
and children. In both views, the boy wears a shirt in the same color as the dull and gloomy
background making it seem as if he is camouflaging into it. This signifies how hard it may be to
differentiate an abused child from everyone else. Especially since the adults are unable to see the
boy in the ad as “abused,” they are left to contemplate what the purpose of the vague poster is,
hence connecting them to the ad since they do not see, just as the ad intended them to. Also in
the adult’s view, the young boy seems to have full round cheeks, so to them, they may interpret
the boy to be well fed and healthy, but, in the poster viewed by the children, it can be seen that
the puffiness in the boy’s cheeks are actually caused by a bruise. Due to this pattern, adults may
view the boy’s unkempt hair, which is cut jagged across the front, to be the determining source
of child abuse and sympathize to a small extent since they do not know what other physical
characteristic may categorize this boy as “abused.” This advertisement poses as a microcosm for
the misunderstanding that occurs in the real world regarding this topic while it also aims to
spread awareness of some of the signs (or lack of) pertaining to child abuse. For the purpose of
this poster, it is significant that the object of emotion is a young boy rather than a young girl. If a
young girl were used instead, the ad will provoke more sympathy from adults even if the girl did
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not seem to be injured. As opposed to young boys, young girls are generally thought to be more
fragile and delicate, therefore naturally posing a greater object of emotion than boys. So,
because, partly the motive of ANAR’s advertisement is to prove that sometimes child abuse is
not easily noticeable, it is purposeful a boy is portrayed in the ad since adults will not typically
see a boy to be fragile or think of him to be abused.
Directed at children, the MUPI follows an Aristotelian style argument to promote
ANAR’s hotline, but at adults, it follows the Toulmin style argument to spread awareness of the
misconceptions of child abuse. Compared to the adult view, the child perspective of the poster is
direct as it gets straight to the point without including a metaphorical idea for children to decode.
In the child view of the advertisement, the absolute language used in the text of “phone us,”
rather than “can phone us,” is revealed through the “hidden message,” thus displaying ANAR’s
assertiveness but with a gentle nudge since their intended audience consists of children with
history of abuse. It is important that this view of the poster does not harshly demand the children
of a task, as it can come off as more threatening rather than helpful. This is accomplished partly
through the soft white font used for the message. The softness of the color the message is written
in is reflected as the softness portrayed in the message so children feel comforted by the
advertisement’s motives, instead of frightened. In fact, no part of the child’s view of the
advertisement is meant to be frightening. One of ANAR’s objectives through their hotline is to
provide children “with a safe, confidential space in which they feel heard and respected” and
they showcase this in their advertisement by mimicking the confidentiality through the hidden
message directed only towards children (ANAR). The purpose of the bruise and cuts visible only
to the kids is not to scare them, but to indicate possible signs of abuse since child abuse victims
may have lived through so much mistreatment that they have grown accustomed to it. The
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purpose of ANAR’s use of Aristotelian argument for children is so they do not misinterpret the
foundation’s intentions to “empower them in a comprehensive way in all their needs, making
them part of the solution to their own problems” (ANAR). The billboard is direct, but gentle and
provides the children the tool of their hotline so they feel that they are in control of their steps to
escape child abuse as intended by a part of their mission statement. Opposed to the child
perspective of the MUPI, the adult view is far more vague as is utilizes the Toulmin argument
style to mainly spread awareness of their campaign along with child abuse and raise money. The
poster viewed by adults can be described to be detached and intellectual since the boy in the ad
seems disconnected from the world and above him is the ambiguous line regarding the visibility
of child abuse. Given the very little information, adults can presume that the ad is meant to
simply spread awareness of child abuse or the foundation-the interpretation is up to the
individual therefore is a Toulmin style argument. Either way, through the child’s poster view or
the adult’s, ANAR’s MUPI advertisement achieves its purpose in promoting its hotline to young
victims and raising awareness of child abuse.
Today, the ANAR Foundation continues to thrive and provide aide to numerous children
and adolescent victims of child abuse in Latin America. Similar to the ANAR Foundation, in
America, organizations were formed to prevent child abuse. Some of the big foundations include
The United Nations Children’s Fund (UNICEF), National Children’s Advocacy Center (NCAC),
National Alliance of Children’s Trust and Prevention Funds, and Prevent Child Abuse America.
These organizations raise money and fund strategies to prevent child abuse, support community
networks meant to aid children, develop new programs, and promote services that improve the
lives of children. Each of these organizations reaches out to approximately hundred thousand
families each year and continues to strengthen their child abuse and neglect preventive strategies.
profile is brightened somewhat to direct the viewer’s attention to his actions. While the original
scenes that include the shooter’s suspicious behavior cannot qualify as “foreshadowing” due to
the concerted effort of Sandy Hook Promise’s filmographers to obscure and distract from the
actions, there is a retroactive logos implicit in repeating scenes. Namely, warning signs are self-
evidently easy to avoid, and that even the viewer of a video about school shootings and gun
violence would not pick up on these signs without retracting their steps. The meaning behind this
retroactive logos is complemented by Sandy Hook Promise’s “Know the Signs Guide,” which
lists in clear terms warning signs exhibited by the shooter in the “Evan” PSA: “a strong
fascination or obsession with firearms,” “exhibiting excessive over-reaction or aggressive
behavior for a seemingly minor reason,” recently bullied or picked on, and making overt threats
of violence on social media. This logos is a powerful tool in elevating the video’s argument to a
place of personal responsibility as the viewer understands how easy it is to miss clear warning
signs, and suggests to the viewer that they are empowered to stop potential tragedies such as
Sandy Hook from happening again if vigilance is maintained.
The “Evan” video invites the viewer to view Sandy Hook Promise’s website, which
establishes ethos by describing the number of people the organization has reached. According to
the website, more than 2.5 million parents, educators, community leaders and students have
trained with the Sandy Hook Promise program since its founding. Moreover, the video
emphasizes not direct ethos but an ethos that is easily discoverable if one is to inform oneself by
visiting the website. The focus on a seekable ethos ties in generally with Sandy Hook Promise’s
goals of the eventual autonomy of their trainees. The argument is, more broadly, that while
Smith 4
Sandy Hook Promise can inform citizens who want to prevent school gun violence how to take
proactive measures, it is ultimately up to the citizens themselves to carry out these lessons and
measures in the real world to save lives. As stated in Sandy Hook Promise’s mission statement,
an end goal is “educating and empowering parents, schools and communities on mental health &
wellness programs that identify, intervene and help at-risk individuals,” which does not imply
total oversight from the organization itself, as that would be unreasonable.
While the denouement of the video itself is shocking, the “Evan” PSA is not
confrontational along ideological lines, but employs an Toulmin-Aristotelian hybrid argument
style to attempt to establish a consensus. With respect to the aforementioned pathos, the overall
message of the video focuses on the sanctity of human life rather than on fractious, purely
political issues. At the end of the video, white text reads on a black background “gun violence is
preventable if you know the signs,” a statement totally devoid of ideology. This message
effectively resonates with the views expressed on Sandy Hook Promise’s website. However,
there is some discordance between the video and the website in terms of how the message is
delivered. While not politically confrontational, the imagery and content of the video is
emotionally confrontational. It represents the terror of senseless of gun violence in schools and
the jarring imagery is designed to shake the viewer into action and preventive measures. The
website is gentler in approach, and utilizes Toulmin argumentation to back up dry, statistical
claims. A mission statement on the website includes “uniting people of all beliefs and
backgrounds,” suggesting that the organization does not seek reform based on ideology but
instead on consensus and “common sense” gun reform. With special respect to language like
“common sense,” the creators of Sandy Hook Promise’s “Evan” video and the website seem to
comprehend the divisive nature of debates over guns, and try to move the focus away from issues
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of constitutionality and towards solidarity in the face of a gun violence epidemic. The content of
the video plays heavily on juxtaposition, an element intrinsic to Aristotelian-style argument and
one which enhances it in the video. Soft acoustic guitar music plays as Evan and Emily begin to
plan to meet each other, and evokes the innocence of high school romance. These elements clash
heavily with the brutal reality of gun violence when the shooter opens the gym door and cocks
the gun, ready to fire. This visually reinforces the inhuman nature of gun violence, and
furthermore abstractly references the arresting forces on humanity and empathy of mental illness
and isolation. The inhuman imagery at play in the final scene before the review of warning signs
provides more groundwork for a non-ideological coalition effort to stop gun violence, as such a
scene in real life would negatively affect an entirely dogmatic gun rights voter at a similar
gravity to an anti-second amendment voter.
Unfortunately, even since Sandy Hook Promise’s “Evan” video was released, school
shootings still remain an ugly part of American life. In February 2018, a gunman of a similar age
to Sandy Hook shooter Adam Lanza killed a similar number of people at Marjory Stoneman
Douglas High School in Parkland, Florida. The need for proactive reform and outreach, without
regard for background or ideology, is desperately wanting even in 2018. According to Sandy
Hook Promise’s website, every day in the United States, 219 people are injured by gun violence,
and 34 of those 219 are under the age of 18. Videos such as “Evan” help bridge the divide of
political belief to promote common sense regulations as well as increased awareness of mental
health and anti-bullying efforts. Utilizing a hybrid of Toulmin and Aristotelian argumentation,
Sandy Hook Promise’s PSA reached over ten million people, many of them parents, and
appealed to their concern through logos, ethos, and pathos. More importantly, the “Evan” video
held steadfast to Sandy Hook Promise’s goals and initiatives of identifying, intervening, and
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helping at-risk kids and young adults. Insofar as the PSA is concerned, the contents and message
are more applicable than ever.
RHETORICAL APPEALS
Attributed to:
– Aristotle
Purpose:
– Employed as tools of persuasion.
– Developed before mass literacy and access
to printed texts—when people mostly
gained information from listening
Three Main Appeals:
– Pathos
– Logos
– Ethos
PATHOS
Characteristics:
– An appeal to emotions
– Concerning the audience
– Often uses anecdotes (short stories) to connect to the audience
– Sometimes employs sensory description
– May highlight an object of emotion (often a child or animal)
– Uses honorific (respectful) or pejorative (disrespectful) terms, or
language charged in good or bad terms
LOGOS
Characteristics:
– An appeal to logic
– Concerning the structure of the argument itself
– Beware of Logical Fallacies—when the logic does not work
– Some causes of logical fallacies include ignorance, ego,
prejudice, oversimplification, or stereotyping
– Use of absolute language can also signal logical fallacy.
Examples are words like all, every, always, never, none.
ETHOS
Characteristics:
– An appeal to credibility
– Concerning the speaker or writer
– Signals include the use of credentials
– Writer or speaker may give background information about their
accomplishments or reputation
– A resume is a document that tries to establish ethos
ARGUMENT STYLES
Purpose:
– A way for the person communicating to structure his or her
argument.
Three Main Styles:
– Aristotelian
– Rogerian
– Toulmin
ARISTOTELIAN STYLE
Attributed to:
– Aristotle, 384-322BCE, Greek Philosopher and Scientist
Characteristics:
– Confrontational and commanding the audience to a specific
decision
– Direct and straight to the point—clearly states the main claim
– Often formal or rigid
– Often relies on deductive reasoning
– Usually follows the structural format of: context, main point,
evidence, refutation of opposition, call-to-arms
ROGERIAN STYLE
Attributed to:
– Carl Rogers, 1902-1987, American Psychologist
Characteristics:
– Invitational or conciliatory—invites the audience to be part of
the solution
– Non-confrontational—does not want to alienate the audience
– Often includes a list of how the topic will benefit the audience
– Usually presents several solutions
– Is concerned with making connections or building a bridge to
the audience
TOULMIN STYLE
Attributed to:
– Stephen Toulmin, 1922-2009, British Philosopher
Characteristics:
– Often used for everyday arguments
– Often qualified by certain conditions or uses qualifying language
in order to lessen the chance for logical fallacy. (Qualifying
language includes words like: sometimes, maybe, often,
perhaps, usually, for the most part)
– Often relies on inductive reasoning or cause and effect
– A more complex, more analytical style of argument
– Can also be more ambiguous or seem detached
– Presents a series of ideas in order to allow the audience to make
up his or her own mind about the issue
JohnSmith
Prof. Riley
RHET 1302
Date
Chipotle’s Values
During a time in which the advancement of food science and logistics allows for the mass
domestication of animals for the food industry, which leads to a low standard of living for the
animals and a drop in the quality of the food. Chipotle wishes for the audience, those who are
unaware of how Chipotle raises their animals or are skeptical of the methods used in their
rearing, to know that it has recanted any unethical or inorganic production methods. In their
“Back to the Start” short film, Chipotle uses ethos in depicting their farms and farmers as
ordinary people, and pathos in illustrating the grotesque inhumanity of factory farming as well as
illustrating their efforts in disassembling this inhumane practice in favor of returning to their
authentic domestication process. A Toulmin strategy is employed by Chipotle throughout the
video as well, as the call to action is not explicit but rather inferred. Chipotle effectively
illustrates in this commercial through the aforementioned strategies their refutation of factory
farming in favor of traditional domesticating methods.
Chipotle depicts their farmers as ordinary people, operating in traditional farming
conditions that the layman has come to expect. Outdoor environments, free and open spaces
where the animals roam and eat, as well as the cultivation of natural, organic ingredients. In the
beginning of the video, we see a lush green field as the camera slowly pans over a family with
their infant baby. The camera then pans even further to show a small, intimate farming operation.
This image allows Chipotle to play off the popular image of “farming” in the United States, a
farmer and his family yielding a harvest, or with their small domesticated group of animals.
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Chipotle mentions on their website that they believe “it is more about what you do than how big
you are”. By beginning the video with the picture of a small, intimate, and family operated farm
Chipotle connects a portion of their mission statement with their advertisement. Chipotle also
closes the video with the deconstruction of the factory farm into the smaller, more intimate one
we see at the beginning. Only this time, Chipotle’s brand is proudly displayed when the farmer
puts a box of ingredients into one of their trucks. Chipotle’s website also reads that they
“develop close relationships with many of the farmers, ranchers, and other suppliers”. Chipotle
accentuates this mentality with the interaction between one of their corporate trucks, and a small-
time farmer. This connection between what they say on their website, and how their brand is
portrayed in the advertisement, being close to the wholesome farmers who cultivate their
ingredients, provides support through ethos in effectively visually conveying their mission
statement.
Pathos is used through the depiction of factory farming as an inhumane, streamlined
process, involving harmful antibiotics and chemicals. After the ordinary family farmers grow,
the scenery transitions from an intimate farm aflush with vivid greens to a conveyer belt flooded
with dreary greys. Pigs that once roamed free in their pens and fields, are now positioned single-
file falling onto a conveyer belt and pumped into a machine filling them with unlabeled
chemicals and antibiotics. Meanwhile, the inhumanity of this process is accentuated as Willie
Nelson’s “Back to the Start” reaches a lyrical portion detailing “the questions of science” more
specifically “science and progress”. This visual depiction of the inhumane nature is condemned
by the Chipotle brand in their mission statement on their website. Chipotle claims that “there is
no place for nontherapeutic” or for “added hormones”. Despite being a corporation servicing
numerous regions with hundreds of restaurants, Chipotle wants you to know that the visual
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horrors illustrated about factory farming and inhumane animal domestication, that are often
practiced by their fellow food industry compatriots, are not practiced by Chipotle. Along with the
mindless use of antibiotics used to ensure a statistical increase in profits, Chipotle wants to
contrast their mission statement of encouraging a high standard of living for the animals with the
grotesque reality of factory farming. “We set a minimum space requirement for the animals
producing the meat” boasts Chipotle on their website, a stark contrast to the living conditions the
animals in the video experience. As the camera pans along the truck fleet delivering this mass-
produced meat, there is also a clear depiction of factory farming tarnishing the environment.
Numerous factories pumping a mysterious green liquid into numerous water supplies and ponds,
creating untold adverse effects on the environment. Chipotle’s mission statement boldly asserts
that “Every choice we make…affects the bigger picture; the health” of the planet. Chipotle wants
the public to know the adverse effects corporate domestication and farming has on the
environment with their depiction of the mysterious green liquid, and that they are aware that
every small misstep can have larger effects on the environment. By employing the use of pathos
through providing grotesque imagery of factory farming, from the inhumane treatment, to the
irresponsible use of antibiotics, and the adverse effects it has on the environment Chipotle
effectively separates their mission statement from the practices utilized in the video by the
corporate farms.
They utilize pathos again in the depiction of the farmer going “back to the start”
regarding traditional farming methods, by disassembling this unfeeling corporate machine in
favor of the intimate farming procedure displayed at the beginning. The farmer is walking along
and is conscious of the suffering that the food industry perpetuates when all the sudden he begins
to act. He, by hand, deconstructs this inhumane farming practice and reinstates the original,
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intimate farming method he began the video with. By showing the redemption of the food
industry, through Chipotle’s effort to deconstruct factory farming in favor of the same traditional
methods it was built upon, Chipotle evokes an emotional call to action. Even going so far as to
sloganize their efforts through the message of “cultivating a better world” on a sign in big bold
writing at the end of the video. This is also one of the largest parts of Chipotle’s mission
statement on their website as well. They are directly “supporting efforts to shift the future of
farming and food” and inviting you to join along, stating that they hope that you “join us as we
continue to learn, evolve, and shape what comes next on our mission to make better food
accessible to everyone”. After the imagery of the deconstruction of the horrific farming practices
is displayed, Chipotle proudly illustrates their brand and mission statement in visual form. By
using the direct slogan “cultivating a better world” they are able to influence the audience to join
their brand in reversing the damage factory farming has done in favor of “cultivating a better
world”. Chipotle’s utilization of pathos through the image of the deconstruction of a grotesque
industry, and then the return of farming to traditional roots in association with their brand, and
thus their mission statement. Although not a direct call to action, Chipotle’s slogan in this ad
infers that a better world is possible.
The visual argument chipotle provides is done in a Toulmin style. Nothing Chipotle does
directly asserts or contradicts their mission statement, but rather infers it through implications
that the audience can interpret. The transition process depicts a favorable situation and then a not
so favorable situation, followed by a return to a favorable situation. There is no direct assertion
however, that one is preferable to another, the user is left to interpret that. The lush, vivid field is
usually interpreted as something pristine, or pure, but not necessarily universally. The transition
to the dreary factory farm is a good implication, but not a direct assertion. As perhaps there is a
Smith 5
portion of the audience that perceived factory farming’s efficiency as preferable to any inhumane
practices it perpetuates, it simply illustrates a situation that Chipotle perceives to be as the reality
of the practice. Finally, after the extended depiction of the industrial domestication and farming
process, a return to the initial vivid, green imagery is undertaken by the farmer. Once again, this
is not directly asserted as the preferable situation but is implied as such and likely interpreted as
such by a portion of the audience. Then, with the illustration of the “cultivating a better world
slogan”, the audience is essentially left to fill in the mental blank of what that “better world”
most likely is.
In this Toulmin style visual argument put forth by Chipotle, they effectively illustrate
their pro-environment and anti-factory farming mission statement through the use of pathos in
imagery and transitions as well as ethos through clever placement of their brand in association
with ordinary farming techniques. Chipotle’s brand continues to grow and flourish, and one
would think that they would transition to a more profitable scheme, one in which questionable
moral business practices might be instated to preserve profit margins. Even in 2018, food
industry titans like Tyson Chicken, are caught perpetuating these horrific animal domestication
techniques that Chipotle illustrates in their advertisement. However, despite their growth,
Chipotle does not wish to take a rent-seeking direction, but rather one in which environmental
sustainability and high standards of living for animals under their brand’s watch is assured.
Chipotle’s environmentally and morally conscious business practices should serve as a reminder
to the food industry giants that not all corporations are abandoning humane and intimate
practices in the pursuit of profit, and that even individuals as Chipotle outlines in their mission
statement can help define the future of the food industry. In this visual representation of their
Smith 6
mission, Chipotle illustrates a world they believe that the modern food industry should return to,
and are indirectly asking for your help in cultivating it.
Student Name:
CATEGORY AND CRITERI
A
A+
10
A
9
B
8
C
7
D
6
F
5
Introduction
Introduction should include some consideration of the circumstances of the visual source’s
production. When and why was it created? Who is the intended audience?
Thesis Statement
A sophisticated thesis statement is present, which indicates whether the visual source is
effective or ineffective in achieving its brand/ organization’s purpose and how it has done this.
Reference the specifc rhetorical
strategies.
Use of Specifc Evidence
Specific examples are taken from what the source looks like and are linked to the rhetorical
strategies.
Interpretation and Analysis
Do not simply give a plot summary. You have to actually analyze the visual source’s purpose
and HOW it accomplishes or fails to accomplish its golas.
Research Material
You must provide evidence that you have spent time researching the brand/ company/
organizational mission statement and core values. This material needs to be successfully
incorporated throughout the entire essay.
Grammar, Spelling, and Punctuation
Use of correct grammatical conventions and punctuation. Lack of spelling errors.
Style and Tone
Lack of clichés, slang, contractions, and personal pronouns. Varied sentence structure.
Organization and Paragraph Development
Essay is logically organized. Topic sentences effectively convey what each paragraph is about
and help transition smoothly from one section to the next.
MLA Format and Citations
1″ margin, correct heading, essay text is double-spaced in 12pt. Times New Roman font.
Paper is a minimum of 3 FULL pages. Essay is given a Title beyond “Essay #2, Visual Analysis”
Printed text taken from a website is properly quoted and cited. This time, you must have a
Works Cited page.
Conclusion
Presents a thoughtful conclusion that makes your essay relevant to our lives today. Do not
simply repeat your thesis and everything else you have already said.
TOTAL FINAL GRADE:
POINTS EARNED
Grade Rubric: Essay #2: Visual Analysis
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