UNICEF advertisement concerning the AIDS epidemic Essay

UNICEF advertisement concerning the AIDS epidemic - Essay Example Finally, seeking to understand this advertisement from yet another perspective, the rhetorical approach of logos, demands that the individual focus upon the moment in time it just prior to the advertisement concluding and/or the moments prior to the UNICEF emblem being flashed upon the screen. Within this brief period of time all of the preceding information that has been driven by thoughts and a sense of emotional distress and need for action is juxtaposed with the statement: â€Å"What we see as fiction... Is real in Ethiopia† (Unicef 2007). Such a statement of fact links all of the seemingly disjointed emotionally charged imagery and tax that was presented previously and the advertisement to a definitive and logical conclusion. Whereas it may be hard for the individual to accept the images of orphans, innately poor, struggling to survive in burned out towns with no viable means of support or education as a fictitious rendering of a post-apocalyptic world, this is very much unfortunately the case within many parts of Ethiopia and Eastern Africa that are heavily impacted by the AIDS epidemic. By referencing all of this information and utilizing all three of the previously denoted rhetorical strategies, the director and producer, and indeed all of the people responsible for the production of this ad, effectively integrated with as large a market audience as is possible. As has been denoted through previous levels of research, effectively representing these rhetorical stragegies in the making of a well nuanced case that can be effectively presented to the viewer was the primary goal that the director and producer/writer and composer of this... UNICEF advertisement concerning the AIDS epidemic Firstly, the pathos of the video is clear and apparent from the very first frame of the video; as the viewer is greeted with an expansive cemetery perforated by concentric lines of seemingly endless white crosses. This imagery serves to evoke an emotional response within the reader by accompanying this morbid sight with very slow moving and contemplative, one might even argue depressing, music. A very clear and apparent level of connection is found to exist between those images and sounds that the viewer sees and hears and the subject matter that is being presented. Moreover, by presenting a steady stream of images connecting homelessness, poverty, orphans, and a post-apocalyptic environment, each of these emotionally charged images is capable of invoking a response upon the part of the viewer; a response that the director and producer of this brief advertisement were fully aware could be evoked. By referencing all of this information and utilizing all three of the previously denoted rhetorical strategies, the director and producer, and indeed all of the people responsible for the production of this ad, effectively integrated with as large a market audience as is possible. As has been denoted through previous levels of research, effectively representing these rhetorical stragegies in the making of a well nuanced case that can be effectively presented to the viewer was the primary goal that the director and producer/writer and composer of this piece necessarily intended.

Beauty Taste and the Sublime Essay Example | Topics and Well Written Essays - 2000 words

Beauty Taste and the Sublime - Essay Example Beauty has evolved into a freedom for expression. Contemporary art, especially questions the paradigms (fixed standards and canonical/classical examples) for judging aesthetic values (art that has a "moral" and ethical message and that is pleasing to the senses), with artists like Chapman Brothers or Justin Novak producing artwork that are clearly meant to provoke reactions and challenge notions of beauty, that had it's roots in Kant's "Critique of Judgment" (1790). It contemplated on the "pure" aesthetic experience of art consisting of a "disinterested" observer, pleasing for its own sake and beyond any utility or morality. Now, the very word 'pleasing' may have different boundaries and contemporary art is trying to escalate their claims. If Marcel Duchamp made a fountain out of a urinal in 1917, that hurtled the Dadaist movement and that later amplified into a surrealist tendency (where artistic expressions concentrated on revealing the amoral (un) consciousness of man/woman) there by looking into primitive art for such unconventional (or grotesque) subconscious inspiration, to help reveal the complex mental process, then the essential motivation behind the whole thing was subversion or countering basic notions of the human mind, and experiences. It became imperative for artists to reveal truth in a very graphic and straightforward fashion, and that was to become the fractured beauty of later avant-garde arts. If primitivism was motivating a new dimension by which beauty of the mind was revealed, then Picasso completely subjectified art and personal experience into a fourth dimension and created a cubist movement to claim a break down of a canon that no longer held on to techniques, symbols and least of all - universal criteria for judging the value or end of art. There are many socio-ideological forces behind the same and the destructive World Wars had many reasons to question the notions behind the traditional idea of Beauty, and it addressed the subjective, transcendental and alienated psyche of modern man and art became a pursuit of revealing the mysteries of the mind that was not always beautiful. Metaphysical hopelessness (with questions about the existence of God, and the pain of the war) gave way from beauty to absurdity, while the meaninglessness of man/woman's 'Being', made beauty dissolve into grotesqueness, either by derision or by the light of their tragic truth. Beauty vanish ed from the expressions of art, at least the classical expressions of it, but was re-born with a new makeover: grotesque beauty. What makes the question more intriguing is that, whether contemporary art has found a better form of beauty (constructed to please and create a certain discursive paradigm) in the grotesque, since it frees us from any moral