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Effect of advertising on consumers decision
Media and society
Media and society
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Gran Torino describes the transformation of a Vietnam veteran and the horrific events that occur in his predominantly Hmong neighborhood. He becomes a father figure to Thao, the neighbor boy, which later creates a conflict between the strict role of a Hmong young man and how Tao wants to act. Nationality determines what products a person buys in this film, drawing a clear distinction between ethnicities with America as the hero. While advertising Ford, the Gran Torino car is a versatile symbol holding alternate significance for each character. Media consumption plays a minor role villain when it is present. The film tackles the social issues of racism, gender roles, and family for the entire duration. Gran Torino uses product placement and symbols to communicate cultural messages within the plot.
Advertising focusing on nationality fills this film linking cultures with products from that nation. For example, Walt only drinks the American made beer Pabst, and then the beer he later pulls from the refrigerator at the Hmong party is Chinese made Tsingtao. This distinction between brands is oblivious when he says “plenty of beer but no Pabst”. If it were an American beer, he probably would not have commented on the difference. However, though people tend to buy outside their “ethnic” products there is no obvious deviation from Asian products by the Hmong characters. The Hmong gang members drive a Honda and blare music from Buddah a Hmong artist. The first half the film focuses on drawing these nationality lines with the product placement.
Asian products have less advertising and are villanized in Gran Torino. This strategy strengthens the power of the American products in promoting the “old school” Americanism theme. Cars the fi...
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...ght s that consumers can draw multiple conclusions from the scenes. Sue fights against sexism while Thao embraces it. Gran Torino leaves the family conflicts open, creating debris of “what if…?” questions. Gran Torino does not assert the answer to these social issues but presents them as focal points to think about.
Gran Torino relies on product placement and cultural symbols to build its plot. The division between genders, ethnicity and community develops awareness towards these sensitive topics. Product placement is present at every level within the film; highly visible products importing a stronger message and less obvious ones adding to the atmosphere. The film advertises products to strengthen the story and build common ground with the cultural representations.
Works Cited
Gran Torino. Eastwood, Clint. Dir. Burbank, CA: Warner Bros. Pictures, 2009. DVD.
In this paper I will offer a structural analysis of the films of Simpson and Bruckheimer. In addition to their spectacle and typically well-crafted action sequences, Simpson/Bruckheimer pictures seem to possess an unconscious understanding of the zeitgeist and other cultural trends. It is this almost innate ability to select scripts that tap into some traditional American values (patriotism, individualism, and the obsession with the “new”) that helps to make their movies blockbusters.
This demonstrates to us that no matter how much your legal or moral laws are violated, what matters is how you as an individual react to the situation, justly or unjustly. This movie is centered around the notion that if you are a person of ethnic background, that alone is reason for others to forsake your rights, although in the long run justice will prevail
The main stereotype in this movie is that Asian men only care about their jobs and their careers and little else. That the Asian man will go through great sacrifice to get to the top of the business that they work for. From beginning to end, many white families are portrayed in the movie showing that the American people have family values. Yet absent through the whole course of the picture is any Asian man with his family. This signifies that the Asian group does not have time, nor wants to make time to have a family life because they are trying to succeed in business. The Asian boss in the film wanted the results to his li...
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
The power of film is immense in modern American culture. The symbols and identity’s created in these films has proven to possess a lasting impact shaping in new cultures. Film has not failed to accomplish this using the motorcycle. Although a controversial image the motorcycle possesses a strong identity of freedom and brotherhood creating an individual counterculture. The freedom represented by the motorcycle contradicts previous connotations and transforms our definition of freedom. The motorcycle also provides a cultural identity of rebellion and brotherhood. Film has contributed greatly to creation of the motorcycle identity and has not failed to capitalize on the power symbolism the motorcycle represents. In many cases film created the motorcycle image we think of today.
One of the biggest issues depicted in the film is the struggle of minority groups and their experience concerning racial prejudice and stereotyping in America. Examples of racism and prejudice are present from the very beginning of the movie when Officer Ryan pulls over black couple, Cameron and Christine for no apparent reason other than the color of their skin. Officer Ryan forces the couple to get out of the car
The film Gran Torino is set in a fictional minority neighborhood where an Asian family moves into the house next door to Walt Kowalski. During the film, it is lead to believe the neighborhood was once a thriving, well taken care of, white middle-class neighborhood. In the current age, Walt’s house sticks out in this neighborhood. His house has a manicured lawn with gnomes and other ornaments, has a fresh coat of paint, and in general looks neat and tidy.
Smiling faces, beautiful women and “American made” were the typical elements in advertisements during this decade. DDB’s first “big idea” behind the campaign was no different; The main goal was to make the Volkswagen more American by shooting Suzy Parker standing next to a Volkswagen. It wasn’t until after visiting the production line and watching the step by step production of the Volkswagen did DDB strike gold with an innovate new “big idea.” What resonated with the American advertising team the most during this visit was the incredible quality control of the German factory, thus they decided on “an honest car promoted with Honesty.”
The cultural symbols are displayed in this commercial to allow the audience to understand the message being conveyed in a short period of time. In this example the message was a demonizing allegory that represented a competitor with reputedly negative qualities .
The first decade of the 21st century has seen globalization and identity emerge as the most critical challenge to society. Globalization has seduced consumer appetites. This has led for those consumer identities to be exposed to global advertising focused on the designer car, the latest clothing or the newest piece of architecture.
Gran Torino is a suspense film directed by Clint Eastwood, which portrays the relationship between a 78-year-old Koran war veteran and his neighbors who are from Laos. The main character, Walt is a racist who still has memories from the horrors of war and has a dislike for anyone, including his own family. After his young neighbor Thao is coerced by his cousin’s gang into stealing Walt’s prized Gran Torino, a unusual relationship forms between the pair. Walt starts to respect Thao and his culture while fulfilling a fatherly role that Thao is lacking. Eventually, Walt has to confront the gang knowing that the confrontation will end in his death. Apart from the stereotypical, get off my lawn quote, this film depicts the relationship of family concerning the care for older adults, the struggle with despair and meaning later in life, and the morality of a good death. This paper will address each of these themes.
Clint Eastwood’s film “Gran Torino” traces the end of the life of Walt Kowalski. He has recently gone through a lot – the death of his beloved wife, his distant relationship with his son, his emotional scars from the Korean War and his bad health. All these things stop him from living a proper life. He doesn’t care about himself much – he smokes even though he is sick, he doesn’t eat a lot, he refuses to confess even though that was his wife’s last wish. However, all this changes when he meets the Hmong Family that lives next door. At the beginning he detests them because of their similarity to the Koreans, but later, as he gets to know them, they become the family that he was never able to have. The story traces the psychological changes in Walt’s character due to his unusual bond with the Hmong family, which changes are one of the main strengths of the film.
Counter-hegemony, cultural appropriation and generalisation can be seen in advertising, by wording and visual representations. The following example harnesses the power of sexual or pornographic elements to sell milk. There, however, is a subtle underlining of religious iconography and reference that has been manipulated as a sexual innuendos, as a means to sell their goods.
Jalao, Ly. "Looking Gran Torino in the Eye: A Review." Journal of Southeast Asian American. 5. (2010): 1-6. Web. 23 Feb. 2012.
With the popularity of movies like The Fast and the Furious and its sequel Too Fast Too Furious, import car culture has now become mainstream. What had started out as a small subset of Southern California car culture has quickly become part of American culture. In the same way hot rodding of the 50s and muscle cars of the 60s was a cultural lifestyle of the youths of that era, the import scene is now the new car culture of our generation. Car culture runs deeply in California. Hot rodders and street racers daily cruise the streets, all started from Asian Americans' love of import cars and racing.