Final Portfolio
In order to become a Writing Colleague at Hobart & William Smith Colleges, I was first nominated to be accepted into the "Writing Colleagues Seminar" and subsequently join the Writing Colleagues Program.
The first essay asked me to write a narrative about my experience with the educational system.
The second essay was a visual rhetorical analysis essay, and I analyzed an H&M ad staring Katy Perry.
The third essay is a collaborative essay between myself and fellow Writing Colleague Abigail Janik and we explored the role of Writing Colleagues on the HWS campus.
The second essay was a visual rhetorical analysis essay, and I analyzed an H&M ad staring Katy Perry.
The third essay is a collaborative essay between myself and fellow Writing Colleague Abigail Janik and we explored the role of Writing Colleagues on the HWS campus.
Education Is Evolution
I walk into the classroom late, and all eyes turn to me. I infer that they are judging me from the glances and faces of disapproval everyone’s producing as they notice my oversized sweater, baggy pants, and the hideous bangs I attempted to copy from GQ. The scent of Victoria’s Secret’s Tease and AXE body spray merge and suffocate the room, but everyone seems oblivious to it. From brand new haircuts, to the clamor of everyone asking, “How was your summer?”, it is the first day of freshmen year high school and we are all desperate to impress. I am interrupted from my observant trance by a calm voice that breaks the silence. The silvery voice calmly says, “Please take a seat so we can begin.” Without turning around, I scurry over to take the first open seat, and the voice travels to the opposite side of class.
The voice finally introduces herself, “Good morning everyone! My name is Tina Hartounian and I will be your Puente English teacher.” As Ms. Hartounian strides down the parted classroom, I look up to catch the eyes of my peers across the class. They are all following the long trail left by her cardigan and are mesmerized. In my own past my professors always came off as sour old women who taught simply to get out of the house. Yet, Ms. Hart was the exact antithesis of this mold. Not only was she young, but her aura emitted a sweet energy (sweet like honey) that was eager to teach. I began to imagine that just as how Moses parted the sea and led his followers, she would lead us into a new academic experience.
Amidst the nervous gazes encircling the room she belted, “I want you to all call me Ms. Hart. I also am okay with Ms. Corazon,” as she giggles I understand that she is referring to the fact that corazon is the Spanish word for heart. Before any of us can ask why, she seemingly reads our mind and snickers as she explains that, “I chose Hart versus my full name because I want you all to think me of me as more than just a teacher. I want to be like your loving tia!” As the nervous laughs begin to bounce around the poster filled walls she then announces, “I want you all to stand up. Push all the desks back and stand in a circle. Say your name and what you think Puente is.” Confused but obedient, I stand up and push the metal frame to the nearest corner of the room. As I walk to the circle I see that my class consists of just twenty kids, miniscule when juxtaposed to my others which encapsulate nearly forty students. When I join the circle a strange feeling of intimacy wraps around me, in a way that relaxesit soothes my muscles. It looks like the same veil has embraced by classmates because I notice that everyone finally takes a deep breath. No longer are we being expected to contort into the ideal student mold, the teacher is inviting us to break away and explore our own role as students. Rather than following the typical format, she is constructing “the classroom [as] a democratic setting where everyone feels a responsibility to contribute” (hooks 39). In this classroom, the individual is recognized as more than the number on the roll call sheet. She wants to listen to our voices. By prompting us to speak, she is offering the opportunity to also claim space in the classroom. This action of exploring physical and verbal real estate is also making us feel valued. Already, I expect that her teaching style is like no other I have experienced before.
Amidst the nervous gazes encircling the room she belted, “I want you to all call me Ms. Hart. I also am okay with Ms. Corazon,” as she giggles I understand that she is referring to the fact that corazon is the Spanish word for heart. Before any of us can ask why, she seemingly reads our mind and snickers as she explains that, “I chose Hart versus my full name because I want you all to think me of me as more than just a teacher. I want to be like your loving tia!” As the nervous laughs begin to bounce around the poster filled walls she then announces, “I want you all to stand up. Push all the desks back and stand in a circle. Say your name and what you think Puente is.” Confused but obedient, I stand up and push the metal frame to the nearest corner of the room. As I walk to the circle I see that my class consists of just twenty kids, miniscule when juxtaposed to my others which encapsulate nearly forty students. When I join the circle a strange feeling of intimacy wraps around me, in a way that relaxesit soothes my muscles. It looks like the same veil has embraced by classmates because I notice that everyone finally takes a deep breath. No longer are we being expected to contort into the ideal student mold, the teacher is inviting us to break away and explore our own role as students. Rather than following the typical format, she is constructing “the classroom [as] a democratic setting where everyone feels a responsibility to contribute” (hooks 39). In this classroom, the individual is recognized as more than the number on the roll call sheet. She wants to listen to our voices. By prompting us to speak, she is offering the opportunity to also claim space in the classroom. This action of exploring physical and verbal real estate is also making us feel valued. Already, I expect that her teaching style is like no other I have experienced before.
We all go and when my turn comes I whisper, “My name is William. Puente means bridge in Spanish.” With a dissatisfied look Ms. Hart points at me and exclaims, “William I want you to speak up. I know the floor is clean, but I want you to look at your peers.” I laugh actually, we all do. The girl next to me turns over and whispers, “You got this William.” Instead of feeling embarrassed, I feel confident. Unknowingly, Hart’sthe honey aura my teacher projected has managed to stick, and it radiates off my own peers. It’s the aura that diminishes my worry about speaking up, because I know that in this classroom my voice is welcomed.
I do as she insists, and this time I notice that all my peers look away and wear a guilty expression. or fidget as I scan them. I can empathize with them, were all so used to looking at just the teacher that this shift in focus feels like a violation of some unspoken code. When we return, there aren’t gaps in the seating anymore., all of the third rows move up, and everyone now sits in the first two rows. The room seemsed brighter and the nauseating scent of the perfumes had seemingly dissipated, a reminder of the bland expectations I had for this class. Ms. Hart grabs a marker and begins to sketch a bridge on the white board behind her. She chimes, “You are all in Puente English. This will not be an ordinary class. This class will be discussion based, you will not spew back information. My goal is to provide you with the tools so you can build your own bridge to your own success. Just so happens that these tools will be in writing., you’ll see people who look like you and some who don’t.” She finishes listing the program’s goals and then walks to a nearby desk. I explore my thoughts and think back to an earlier feeling. The reason we may feel like lawbreakers is because we are breaking away from the standard form of education, where “students are regarded merely as as passive consumer” (hooks 41). She does not want to come off as an intimidating teacher, but rather as our aunt, and she wants us to speak up, and to each other. Already, she has introduced a new action to the classroom; the recognition of power. She explicitly reveals her power and even offers it to us, inviting us to become animated individuals in the learning process. I am intrigued by how different this class in, in what we will study, but also in how we will learn.
I do as she insists, and this time I notice that all my peers look away and wear a guilty expression. or fidget as I scan them. I can empathize with them, were all so used to looking at just the teacher that this shift in focus feels like a violation of some unspoken code. When we return, there aren’t gaps in the seating anymore., all of the third rows move up, and everyone now sits in the first two rows. The room seemsed brighter and the nauseating scent of the perfumes had seemingly dissipated, a reminder of the bland expectations I had for this class. Ms. Hart grabs a marker and begins to sketch a bridge on the white board behind her. She chimes, “You are all in Puente English. This will not be an ordinary class. This class will be discussion based, you will not spew back information. My goal is to provide you with the tools so you can build your own bridge to your own success. Just so happens that these tools will be in writing., you’ll see people who look like you and some who don’t.” She finishes listing the program’s goals and then walks to a nearby desk. I explore my thoughts and think back to an earlier feeling. The reason we may feel like lawbreakers is because we are breaking away from the standard form of education, where “students are regarded merely as as passive consumer” (hooks 41). She does not want to come off as an intimidating teacher, but rather as our aunt, and she wants us to speak up, and to each other. Already, she has introduced a new action to the classroom; the recognition of power. She explicitly reveals her power and even offers it to us, inviting us to become animated individuals in the learning process. I am intrigued by how different this class in, in what we will study, but also in how we will learn.
While Ms. Hart passes out papers I begin to glide over the room to finally appreciate the posters which hug every inch of the room. From movie posters, to book posters, to different places in the world, the room’s aesthetic reminds me more of a coffee shop then of a classroom is . The lack of rows, and richness of the walls makes me think that her decoration scheme is intentional. The room challenges the notion that stripped and linear space is the only one where leaning can occur. When serene and poised. Sitting in the corner of the row I have enough time to digest it all until I see Ms. Hart finally reaches me. She whispers, “Thank you William. Please don’t be mad, you’ll understand why I did that.” I appreciate the comment and smile back. When I look at the paper I read it and synthesize the information. Ms. Hart then asks for someone to state what they think this essay demands, and without realizing it, I see that the class has focused on me. My hand is the first to reach for the opportunity. Once again, I feel anxious as I feel like I am violating the expectation for her to elaborate, but I decide to move beyond this angst. I state, “The essay wants us to say the history and importance of our name. Why were we named with our particular name, and how we feel about it.” A smile forms on her face and she gives me two thumbs up. ‘How cheesy,’ I think to myself. I am skeptical of this essay; it seems like mere busy work.
I first thought that Ms. Hart being a new teacher simply gave us this prompt as she finalized choosing the books we would read. My past essays for English classes had all revolved around supporting my teacher’s interpretation of the text . The educator Paulo Friere would state that these types of essay reflected the practice of the “banking system of education.” Friere states that in the banking system “students are not called upon to know, but to memorize the contents narrated by the teacher” (250). In these prior classes, I remember just having to pay attention to where my teacher gave us the theme and I could then disengage for the rest of the period. It was not that I was uninterested, it just felt very mechanical; all throughout middle school that I simply had to write about the theme my teacher gave us. iIt was simple too, a basic five paragraph two quote per paragraph essay. It was a simple system of returning the knowledge my teacher deposited in us. I had been trained to learn content, spew it back out, without ever digesting what the material was worth, or how I could use it later on. Thus, as I started thinking about how my previous essay experience could translate into this project, I could not see it working out; this was a lot harder than I imagined.
I first thought that Ms. Hart being a new teacher simply gave us this prompt as she finalized choosing the books we would read. My past essays for English classes had all revolved around supporting my teacher’s interpretation of the text . The educator Paulo Friere would state that these types of essay reflected the practice of the “banking system of education.” Friere states that in the banking system “students are not called upon to know, but to memorize the contents narrated by the teacher” (250). In these prior classes, I remember just having to pay attention to where my teacher gave us the theme and I could then disengage for the rest of the period. It was not that I was uninterested, it just felt very mechanical; all throughout middle school that I simply had to write about the theme my teacher gave us. iIt was simple too, a basic five paragraph two quote per paragraph essay. It was a simple system of returning the knowledge my teacher deposited in us. I had been trained to learn content, spew it back out, without ever digesting what the material was worth, or how I could use it later on. Thus, as I started thinking about how my previous essay experience could translate into this project, I could not see it working out; this was a lot harder than I imagined.
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I went home to inquire my parents about my name and as the steam from my mom’s tea unraveled in the air so did the history of how I became William Samayoa. My mom reveals that my name was meant to set me apart. “We wanted you to have a name not found in our culture. It is your dad’s middle name, and I thought it was beautiful.” She looks away towards the window and continues unwinding the truth, “I knew that you already had one strike against you. You were brown. So I didn’t want to give you another strike. The better you fit in the more chances you’d have to succeed,” my mom sighs the truth, and I sit unable to write my notes. The truth had revealed so much to me. While our conversation was short, I understood the long history of my parent’s experience with American culture and the motivation behind this decision. By asking me to investigate rather than regurgitate facts, I began a chain reaction that followed me to the present day.
Contrary to my belief that Hart was simply providing us with busy work, in reality she was prompting me to pull a theoretical string. Ms. Hart was prompting us to unveil our reality, and begin to see how it was fabricated. I understood that my name was William because of political reasons. My parents were willing to sacrifice my connection to my culture to aid me assimilate to the American culture. Friere would applaud her education methods because it gave me “[the] power to perceive critically the way [I] exist in the world… [I] come to see the world not as a static reality, but as a reality in process” (252). The stitching hiding the power behind the discourse of language had begun to unwind and I was intrigued. This revelation sparked a desire in me to study language. From then on I believed that every word, punctuation, and vowel contained power.
Contrary to my belief that Hart was simply providing us with busy work, in reality she was prompting me to pull a theoretical string. Ms. Hart was prompting us to unveil our reality, and begin to see how it was fabricated. I understood that my name was William because of political reasons. My parents were willing to sacrifice my connection to my culture to aid me assimilate to the American culture. Friere would applaud her education methods because it gave me “[the] power to perceive critically the way [I] exist in the world… [I] come to see the world not as a static reality, but as a reality in process” (252). The stitching hiding the power behind the discourse of language had begun to unwind and I was intrigued. This revelation sparked a desire in me to study language. From then on I believed that every word, punctuation, and vowel contained power.
The next day as I sit with Ms. Hart I am am uneasy as she looks over my paper. She sat at her desk with Fly Me to the Moon’s calming sound swimming around the room. As she finishes reading my essay I too finish the last bit of the cookie she had offered me. The sweet scent of cinnamon lingers around as she puts my essay down. Rather than bashing my grammar she asks, “Okay this is good. But what else should I know?” Appalled by the comment I ask, “What?” With a quick motion she stands up and walks to the white board and answers me with a cool, “William I have no doubts that you are a good writer. Yet, you are holding back on becoming a great writer.” She begins to ask questions, what I know recognize were facilitative questions. She asks questions like, ‘Why does this truth matter?’ or ‘Who does this effect the most?’. She was once again going against the grain of the “banking system.” Rather than simply submitting this essay and being done, she was revealing that that every word, every sentence, carried a hidden power. I was speaking to more than just Ms. Hart, but her questions alluded to how I was also speaking with the larger society I was a part of as well. I felt animated again, like when I had answered her question about this essay’s prompt. I was empowered to fully confront the “banking system” and write an essay that challenged the 5 paragraph discourse, and more importantly, I was educated on the inequalities that saturated my world.
Eventually Ms. Hart noted this strong will grow in me, and in one of my most fragile times she granted me one last gift. She held my shoulders firmly and with that same silvery voice that welcomed us into the world of consciousness she stated, “William the reason I nominated you for this, and the whole reason I had you write this essay is because your name means something. William your name is Will because you will do this, and more many more great things.” This is how I earned the nickname Will.
I had been challenged to define my name, and in this process define my perception of language itself. Without this assignment and teacher, I would never have realized the importance of language in both the classroom, and the outside world. It was a revolutionary moment when I discovered that the William who could write A papers, could also walk into a room and captivate everyone. My educational hindrance had been that I was taught that composition was a currency. As long as I met my teacher’s demands in number of pages, paraphrases, or paragraphs then I knew I was secure. Yet, rather than allowing my mind to remain in this stagnant pedagogy, I felt inspired to pursue other ideologies. Writing with a purpose helped me find my purpose in life; I wanted to help others find their voice in writing and transmit it to the world.
Epilogue, Where has Will Gone?
Eventually Ms. Hart noted this strong will grow in me, and in one of my most fragile times she granted me one last gift. She held my shoulders firmly and with that same silvery voice that welcomed us into the world of consciousness she stated, “William the reason I nominated you for this, and the whole reason I had you write this essay is because your name means something. William your name is Will because you will do this, and more many more great things.” This is how I earned the nickname Will.
I had been challenged to define my name, and in this process define my perception of language itself. Without this assignment and teacher, I would never have realized the importance of language in both the classroom, and the outside world. It was a revolutionary moment when I discovered that the William who could write A papers, could also walk into a room and captivate everyone. My educational hindrance had been that I was taught that composition was a currency. As long as I met my teacher’s demands in number of pages, paraphrases, or paragraphs then I knew I was secure. Yet, rather than allowing my mind to remain in this stagnant pedagogy, I felt inspired to pursue other ideologies. Writing with a purpose helped me find my purpose in life; I wanted to help others find their voice in writing and transmit it to the world.
Epilogue, Where has Will Gone?
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After several long and warm months, I remember landing in Rochester to experience both my first brisk breeze, and the biggest excitement I had ever felt. As the trees became a green blur and I became deaf to the clamor inside the van, I begin to imagine what my first day at HWS would be like. I felt excited because I knew I wanted to learn, I had the privilege of choosing my courses so I had felt a sense of ownership over my education. I remember walking into my writer’s seminar and seeing all the seats arranged in a circle with Professor Dickinson sitting along the sides.
She smiled as my peers and I took our seats and with a sense of déjà vu she chimed, “Hello everyone! My name is Hannah Dickinson I teach in the writing and rhetoric department. Now please go around introduce yourself and say a fun fact.” As everyone’s voice traveled around the room I remember burning with anticipation. When my turn came I stood up and with great confidence stated, “Hi everyone! My name is William, but you can call me Will. Fun fact, I am from Los Angeles, CA and I am a Posse scholar!” When I sat down Hannah looked over to me and with great glee said, “Well Will thank you for that energetic introduction.” I felt very proud by her compliment. She had verified in me that I had not only engaged her, but that I also claimed my name and I carried its power with me.
Eventually, I realized that the sense of déjà vu had been initiated because I felt like I was reliving my first day in Ms. Hart’s class all over again. I now recognize, and fully appreciate Ms. Hart’s endeavors because she had introduced me to what I can now identify as both transformative pedagogy as well as problem posing pedagogy. She had made me question what did language mean to me, and I had found the answer. I had witnessed how language could be manipulated and used to oppress cultures, but Ms. Hart showed me how it was also a medium for awakening and sparking revolution.
After several weeks of discussing with Hannah my interest in the writing and rhetoric major, I had decided that I was ready to claim my own power of language. The day I declared I walked into her office confident. I filled out my paper and was ready to check of the journalism concentration. Before Hannah signed the paper, she placed the pen down and told me something that resonated deeply with the adoption of my nickname. As she played with the pen in her hand she spoke with great conviction, “Will, I love your passion to write. I am amazed by your understanding of the power of language, and your own experience with it. You always say you will do great things, and I think that your will alone is that great thing you accomplished. It is because of this appreciation and understanding of writing that I recommend the language as social action route.” I sat in silence frozen at this revelation. I understood how true Hannah’s words were. I knew the power of language, my own name reflected this, and I did seek more than just understanding this power to employ it.
I wanted to act as an insurgent the realm of linguistic discourse. Ever since my essay with Hart, while I lacked the proper vocabulary for it, I knew that I wanted to be able to analyze a society’s relationship to written discourse so that I could act as an insurgent. I wanted to educate myself in writing so that I could educate others in the power of communication. I too wanted to disrupt the “banking system” and create spaces where students’ existences were validated. When I signed off on Hannah’s recommendation I smiled and gave her a grand hug. While I called my parents to tell them the news I remember I was still smiling. I I had evolved from a shy kid who liked to write, to a young renaissance man who possessed a desire to compose lines full of life.
She smiled as my peers and I took our seats and with a sense of déjà vu she chimed, “Hello everyone! My name is Hannah Dickinson I teach in the writing and rhetoric department. Now please go around introduce yourself and say a fun fact.” As everyone’s voice traveled around the room I remember burning with anticipation. When my turn came I stood up and with great confidence stated, “Hi everyone! My name is William, but you can call me Will. Fun fact, I am from Los Angeles, CA and I am a Posse scholar!” When I sat down Hannah looked over to me and with great glee said, “Well Will thank you for that energetic introduction.” I felt very proud by her compliment. She had verified in me that I had not only engaged her, but that I also claimed my name and I carried its power with me.
Eventually, I realized that the sense of déjà vu had been initiated because I felt like I was reliving my first day in Ms. Hart’s class all over again. I now recognize, and fully appreciate Ms. Hart’s endeavors because she had introduced me to what I can now identify as both transformative pedagogy as well as problem posing pedagogy. She had made me question what did language mean to me, and I had found the answer. I had witnessed how language could be manipulated and used to oppress cultures, but Ms. Hart showed me how it was also a medium for awakening and sparking revolution.
After several weeks of discussing with Hannah my interest in the writing and rhetoric major, I had decided that I was ready to claim my own power of language. The day I declared I walked into her office confident. I filled out my paper and was ready to check of the journalism concentration. Before Hannah signed the paper, she placed the pen down and told me something that resonated deeply with the adoption of my nickname. As she played with the pen in her hand she spoke with great conviction, “Will, I love your passion to write. I am amazed by your understanding of the power of language, and your own experience with it. You always say you will do great things, and I think that your will alone is that great thing you accomplished. It is because of this appreciation and understanding of writing that I recommend the language as social action route.” I sat in silence frozen at this revelation. I understood how true Hannah’s words were. I knew the power of language, my own name reflected this, and I did seek more than just understanding this power to employ it.
I wanted to act as an insurgent the realm of linguistic discourse. Ever since my essay with Hart, while I lacked the proper vocabulary for it, I knew that I wanted to be able to analyze a society’s relationship to written discourse so that I could act as an insurgent. I wanted to educate myself in writing so that I could educate others in the power of communication. I too wanted to disrupt the “banking system” and create spaces where students’ existences were validated. When I signed off on Hannah’s recommendation I smiled and gave her a grand hug. While I called my parents to tell them the news I remember I was still smiling. I I had evolved from a shy kid who liked to write, to a young renaissance man who possessed a desire to compose lines full of life.
Selling Stardom for Only $29.99
As seasons and trends are constantly changing, the fashion industry must constantly persuade customers that their clothes are superior to their competitors’. One company that constantly remains at the top is the retail-clothing company H&M. Recognized for its’ fast-fashion style and contemporary audience, H&M’s success relies on its’ ability to engage with a younger consumer audience. H&M’s 2015 Christmas commercial illuminates how H&M uses celebrity endorsement and theatrical aesthetics to attract new customers, and instills a materialistic hunger where the purchasing of the company’s clothes can aid the person embody the unattainable social identities presented.
By using Katy Perry as its’ celebrity endorser, H&M broadens its number of consumers by establishing an ethos with all those who seek to embody the youthful and trendy ideals that Perry represents. As most media scholars will argue, the use of celebrity endorsement is powerful because the star’s public persona can emphasize the brand’s image and broaden the latter’s audience (44). This reflects an understanding of Katy Perry’s icon brand as an effervescent, youthful, and opulent woman. Perry’s presence reinforces H&M’s brand, and subsequently frames its clothes, as services which reflect the values of youth, opulence, and stardom. As will be discussed later in the paper, advertisements like these are detrimental because through the presentation of such superficial and constructed ideals “a sense of displeasure [is instilled] consumers with their current personal appearance, lifestyle, and possessions” (45). H&M, like other fashion chains, capitalizes on the knowledge that while individuals wear close for personal motivations, there is an inherent displeasure about their current social statuses. Through H&M’s brand alignment with Perry’s cultural significance, viewers are enticed by the possibility of also being able to convey these notions of youth and wealth to larger society. The clothes subsequently become cultural artifacts, whereby collecting the individual shows the society that they value the artifact’s social significance. Thus, this type of advertisement reinforces the idea that one’s primary concern should be what do their clothes communicate to the society at large. By using celebrity endorsement, H&M’s ad demonstrates the company as one that is aware of contemporary pop culture and uses this knowledge to market themselves as a store for those who want to show a knowledge and appreciation of pop culture.
By using Katy Perry as its’ celebrity endorser, H&M broadens its number of consumers by establishing an ethos with all those who seek to embody the youthful and trendy ideals that Perry represents. As most media scholars will argue, the use of celebrity endorsement is powerful because the star’s public persona can emphasize the brand’s image and broaden the latter’s audience (44). This reflects an understanding of Katy Perry’s icon brand as an effervescent, youthful, and opulent woman. Perry’s presence reinforces H&M’s brand, and subsequently frames its clothes, as services which reflect the values of youth, opulence, and stardom. As will be discussed later in the paper, advertisements like these are detrimental because through the presentation of such superficial and constructed ideals “a sense of displeasure [is instilled] consumers with their current personal appearance, lifestyle, and possessions” (45). H&M, like other fashion chains, capitalizes on the knowledge that while individuals wear close for personal motivations, there is an inherent displeasure about their current social statuses. Through H&M’s brand alignment with Perry’s cultural significance, viewers are enticed by the possibility of also being able to convey these notions of youth and wealth to larger society. The clothes subsequently become cultural artifacts, whereby collecting the individual shows the society that they value the artifact’s social significance. Thus, this type of advertisement reinforces the idea that one’s primary concern should be what do their clothes communicate to the society at large. By using celebrity endorsement, H&M’s ad demonstrates the company as one that is aware of contemporary pop culture and uses this knowledge to market themselves as a store for those who want to show a knowledge and appreciation of pop culture.
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The ad also uses a theatrical aesthetic, like the musical number and cheerful imagery, to have the same effect Perry has of framing the company’s clothes as a means of connoting a perpetual joy to society. This is relevant to the H&M holiday commercial because the commercial does not seem like an advertisement, it appears like a cheerful Broadway production. The ad is very alluring, and it holistically creates a sense of entertainment and joy in the viewer. This entertainment element is evident through the mise-en-scene choices like the cheerful Christmas setting, the elaborate musical production, and the overall bright imagery. As discussed earlier, by aligning the brand’s clothes with images of opulence and spectacle, one understands that H&M is “implicitly promis[ing] that the promoted product can move the consumer toward the desired ideal state” (45). The next time the consumer sees the company’s logo they will remember the beauty and joyous nature of its commercial and will believe H&M’s promise that wearing their clothes can connote that same sense of spectacle and joy to others. By focusing highly on the commercial’s grandiose aesthetics, H&M has created a piece of media which makes one believe that this brand and its’ clothes can reflect the idea of luxury and success onto the rest of society.
While the earlier points in the essay reveal why the advertisement is a successful, we must also recognize the ramifications of a piece advertisement like this one. H&M’s ad proves to be detrimental in the way it perpetuates unattainable beauty standards for women, and then presents their apparel as a means of achieving this impossible standard. Research has revealed that females in between the ages of pre to post adolescence begin to internalize the notion that their beauty is their prime social asset (49). It should be noted that Katy Perry’s presence as an adolescent star is no coincidence since H&M’s desired female consumers are young girls transitioning to adulthood; the adolescent market. In the ad, Katy Perry is presented with flawless make up, elaborate costumes, and a small physique; idealized standards of female beauty. She is presented as an aesthetically perfect being. This idea of being a perfect female is detrimental because it is clearly unattainable. Her perfection is crafted through the intervention of digital tools, a process which cannot be replicated in our physical realm. H&M once again benefits by selling apparel that is promoted by a cultural symbol of this ideal standard (Katy Perry). This association, as mentioned before, presents the clothes as artifacts which connote this idealized image of beauty. H&M recognizes that the ad’s adolescent female viewers are striving for perfection, they will be willing to invest in any opportunity that presents itself as a method of mimicking this ideal. The impossibility of this ideal creates a voracious hunger in females, as Perry’s beauty standard is geared at females, to collect artifacts in a desperate attempt to connote this beauty to the larger society. Once again, this is because the female viewers have internalized the idea that beauty is their prime social asset. To reiterate, through the promotion of an unattainable beauty standard, H&M is able to frame the purchasing of their clothes as a means of achieving and unachievable goal.
Through placing Perry in a multitude extravagant costumes and surrounding her with similarity dressed dancers, H&M’s presents its clothes as tools for becoming an icon worth adoration. In this context consumption will refer to the desire to purchase H&M’s clothes. H&M has already portrayed their clothes as artifacts which reflect youth, wealth, and stardom, so H&M then manipulates the knowledge that images “provides prototypic expectations about… patterns…characteristics” of various social groups (44). The placing of Perry in several extravagant costumes throughout the ad proves to be an intentional decision as this altering connotes a significant message. Her costumes range from a fairy godmother, to a nut cracker, and Mrs. Claus. Being around Christmas time, the sense of consumption saturates our society, and H&M simply added images which focused the scope of this consumption onto their clothes. As viewers are collecting information from the images, they will believe that Perry, and all those who want to embody her brand, are not content with just one outfit. Alluding to the earlier point, viewers will notice that with each one of her distinct costumes, a new set of dancers in similar costumes appears. As the earlier research about brand’s promising idealized states mentioned, viewers will assume that if they purchase H&M’s apparel, they will have the same effect and attract individuals who align with their outfit’s value. Through focusing the consumption of the holiday season, paired with the vast number of dancers around Perry, the ad fabricates the idea that her adoration stems from her costumes and the variety of them. Thus, the multiplicity of her costumes presents the idea that because H&M’s apparel possess societal value, the more someone consumes, the more they will be adored by those with the same values.
Along with aesthetics, the ad uses diegetic sound and precise lyrics to convey the idea that despite being unable to fully mimic the ideals identified before, H&M’s clothes can provide self adoration. The video’s sound is comprised solely of a pop track sung by Perry. Because a pop song is so easily constructed, this song will then resonate in the reader’s mind long after they end the video. The truly important aspect of the song along with the joyous beat is the actual diction of the lyrics. The chorus of the song, which is heard frequently, is the line “Everyday is a holiday when you’re the reason to celebrate.” The rhetorical objective here is that H&M wants to convey the idea that their clothes are designed to be represent self adoration. In an earlier discussion, it was revealed that Perry’s role was to create a sense of displeasure within some viewers. Because viewers would be discontent with their lack of meeting her perfect image, they would be more willing to invest in elements that they believe would aid them in reaching this perfection. Here a paradox occurs, and the song acts as a solution to the issue. If one cannot reach this perfection and can merely mimic it, then they should wear H&M to communicate to the larger society that even though they are not perfect they still value themselves. Thus, the cheerful song is another lure deployed by H&M to further manipulate viewers into consuming their apparel by framing the clothes as a manner of presenting the self as a spectacle.
Through the many observations discussed one can recognize that H&M created an advertisement which presented a paradoxical situation where perfection is presented, but is attainable. While some may argue that they do not shop at H&M, and thus are not effected, because of the international distribution and easily accessible nature of commercials, there is a guarantee that this ad is damaging someone somewhere. It is also important to note that H&M is not alone in this endeavor. As alluded to throughout the essay, the fashion industry as a whole relies on the perpetuation of idealized social statuses so that they may market their clothes as a means of reaching these goals. From celebrity endorsement, to social symbols, and the use of carefully constructed sounds, the ad presents H&M’s clothes as possessing power. A power to allow individuals an opportunity to reflect their idealized social position to themselves and larger society as well. Through using keen rhetoric H&M successfully used their ad as a means of damaging the viewer, and offering their clothes as a remedy to their displeasure.
Through the many observations discussed one can recognize that H&M created an advertisement which presented a paradoxical situation where perfection is presented, but is attainable. While some may argue that they do not shop at H&M, and thus are not effected, because of the international distribution and easily accessible nature of commercials, there is a guarantee that this ad is damaging someone somewhere. It is also important to note that H&M is not alone in this endeavor. As alluded to throughout the essay, the fashion industry as a whole relies on the perpetuation of idealized social statuses so that they may market their clothes as a means of reaching these goals. From celebrity endorsement, to social symbols, and the use of carefully constructed sounds, the ad presents H&M’s clothes as possessing power. A power to allow individuals an opportunity to reflect their idealized social position to themselves and larger society as well. Through using keen rhetoric H&M successfully used their ad as a means of damaging the viewer, and offering their clothes as a remedy to their displeasure.
Works Cited
Hirschman, Elizabeth C., and Craig J. Thompson. “Why Media Matter: Toward a Richer Understanding of Consumers' Relationships with Advertising and Mass Media”. Journal of Advertising 26.1 (1997): 43–60. JSTOR. 23 March 2016.
Hirschman, Elizabeth C., and Craig J. Thompson. “Why Media Matter: Toward a Richer Understanding of Consumers' Relationships with Advertising and Mass Media”. Journal of Advertising 26.1 (1997): 43–60. JSTOR. 23 March 2016.