SERVE! Oh, and give blood too.

How can something as universal as blood be so hard to obtain? Free snacks have lost their accessible appeal.  Countless needles have been used. The moral obligation is irrelevant. And still blood drives never seem to be enough. When push comes to shove, how do organizations make donating blood a priority? The hospitals and health centers of Little Company of Mary have found another tactic. This mission started by three Catholic ladies in 1930 developed into a ministry specifically concerned with a, “spirit of service.” As seen through this advertisement, there is a similar function identified: offering an incentive for service. The question is: does this visual imagery fully support this purpose?

The stark hues of this image immediately grab any passer-byer’s attention. A dwindling blood bag hangs from a precisely postured hand. As if to put forward the need for a full bag of blood, the hand presents it to the audience. Obviously, a subtle responsibility beckons to the audience. The owner’s severe white lab coat punctuates the dark red blood that remains in the bag. Compared to several other similar advertisements, this one is the only white, lab coat.  All the other bodies sport colored scrubs. Color suggests a holy divinity while the lab coat claims higher position. This visual framework sets up the text on the bag as, “donation facts”. With a, “serving size” of one pint, this reference to nutritional facts specifically describes the amount of service requested from the audience. A statistical fact about one pint saving up to three lives reaffirms this. Unexpectedly, this comment proceeds: “Just imagine all the reward points you’ll be able to redeem someday with the man upstairs.” As a faith-based community, this reference is expected. The established authority and heavenly implications of the person offering the blood bag also attest to this. But, the persuasive ploy to point out moral benefits seems out of place. Could this attempt prove the passion for service fervently claimed by this institution? Further information and a number preclude this statement as fine print afterthought.  An option for the audience to act cannot be denied when there is a number to call and a need to increase low supplies of blood. Little Company of Mary’s logo claims ownership and one little catch phrase remains: “So little means so much.” As if to finalize the message, their philosophy emphasizes the impact even a little service can have.

The appeal to moral obligation seems incompatible with Little Company of Mary’s core value of support. While their driving force for passionate, standard-exceeding, service would supposedly take a heroic stance, this artifact seems to demonstrate a different function. The visual imagery offers a benevolent reward system aimed towards an audience fluent in social responsibility lingo. Then the message becomes an attempt to offer a bonus instead of using cliché methods. This appeal takes an irreverent stance by reducing service to a slot machine for divine compensation. On the other hand, a less serious approach of this function would argue the light-hearted tone of this appeal. With a down-to-earth manner, this Catholic institution acknowledges a theology based on moral return. By taking it on, they serve their audience by identifying with this partial philosophy; thereby demonstrating the passionate care they are promoting.

Influencing the Influenced to Be an Influence

Teens are drowned with many voices. Best friend, dope, chemistry, beer, Mom, boyfriend – they hear it all. Sometimes, all they need is an outside source to pull them up out of their defeated posture and into self-assurance. The campaign Above the Influence knows this well. They are created to be a resource rather than another message. Their content is obviously made around the audience and for the audience.What they have to offer intends to bring teens above the dense, muddled confusion. Above the Influence speaks of clarity and empowerment.  How does this campaign position teens to effectively receive their intended messaging?

                 We must, first, examine the aspects at play. This campaign stresses the act of "rising above" pressures and influences that may be too overwhelming. They do this by offering an agency of personal empowerment in many different areas. Above the Influence communicates this launching pad through advertisements and a website full of strategies and, essentially, answers. This place creates their scene. What's the motive behind all this work? The campaign strives to identify the unanswered pleas from teens; providing a place that will ultimately reduce negative choices and result in consequences. It would seem that the agent, teens, would be the dominant aspect within this function. Contrarily, in order for their act to be effective, it has to trump the power of the teens in question. Before teenagers receive the help this campaign offers they have to submit to the confident roles portrayed.

                Above the Influence tells their audience how to behave.With teens in need of self-identification, this campaign does not hesitate to tell them who they can be. Throughout their resources, stories are retold about those they are assisting. This takes the three-dimensional complications and experiences of the teens in need and one-dimensionally conforms them. Rachel is no longer worried about her need for affirmation after reading through the "comebacks" Above the Influence provides for sticky situations. She just knows she has problems with her boyfriend's sexual pressures.Now because of this campaign's obviously effective applications, she too can, "rise above". This burst of positive messaging takes defeated philosophies that are overwhelmed by pressures and supplies them with videos, self-expression, comebacks, hotlines, ect. If teens believe they want the same ideal as Above the Influence then they will follow, apply their baggage to it's messaging and believe the success in the answers offered. This campaign works because it embraces teens wanting to change, by telling them how to fit into their ideals and answers.

Above the Influence Homepage

In Love With Time

                So, there was a woman named Kate and a man named Alex. As with the majority of cinematic relationships, this one became involved. What separates this couple from every other sappy drama? Time. Two years to be exact. In the movie, the Lakehouse, Kate and Alex meet under technical circumstances. Her house is his house; at the same time. They find out that through the lake house mailbox, they can defy the two years that separate them and communicate with one another. Throughout the film, they must nurture and maintain their relationship in spite of their present complications along with this added dimension. Why does time make all the difference with this relationship?

                Without the common space provided by the lake house, there wouldn’t even be a story. But once the lake house is a framework, time becomes a strong term. Kate and Alex’s relationship hinge on the means of communion the house initiated and offers. After creating the concept of their contact through the mailbox, the movie portrays a split screen whenever they are conversing. Space isn’t a problem, when Alex can meet at a park in November of 2004 with Kate who lives in October 2006. The lake house’s portal allows for space to be maneuvered. While traveling distance cannot solve their physical separation, letters can. Time, instead of distance keeps them from being in one setting together.  When states separate you, there are many ways to stay connected. But when time interferes in this couple’s relationship, there is only one solution: the lake house.

                Alex and Kate try overcoming time, of course, and in the first arranged meeting, Alex doesn’t show up. Does this mean his love will grow cold towards her? Should she keep talking to a man who may change in two years? The usual frustrations and assumptions that challenge man-woman relationships are amplified by the ambiguity of their separation. Patience is no longer a “good idea,” it’s a demand if the relationship is to survive. Towards the end of the movie, Kate realizes why Alex had stood her up: two years into their relationship, Alex had seen her in a plaza and got hit by a car while crossing the street to get to her. She has to use her correspondence to the past to stop him. “Wait for me…wait for me,” Kate warns as two more years pass for Alex and two minutes pass for her. As her heart beats in anticipation she hears an approaching car, proving his commitment and patience for her. Finally they embrace for the first time.

                This movie isn’t about Kate and Alex; there personalities are rather flat. This movie isn’t about the place, the lake house; it could have been a yacht. This movie isn’t about the couple’s relationship development; it ended when they finally met. This movie is about the means these two people have to connect and the test of time’s travails. This relationship proves significant because of the pains they go through in order to keep it alive. Commitment is a resolve.  Their success as a couple confirms their strength. Their relationship will last because it has endured through the years. Time, in this movie, asserts love.

               

               

The Crocs That Could

Once upon a time, there was a shoe; a boat shoe. Unlike Cinderella’s neglected glass slipper, this shoe would never part ways with your foot. Specifically engineered, this shoe was made from a technological material called Croslite. Though this shoe was formed with simply aquatic intents, the trend spread. This shoe became a necessity for your foot, than for your preferences, and ultimately your occasions. When you welcome these shoes to embrace your foot, this relationship is guaranteed a happy ending, thanks to Crocs. At least, that’s the story Crocs is selling in their mission’s statement. When it comes down to it, what is their objective? Crocs aims to create the identity of their shoes.

The unassuming, humble beginnings of this footwear set the stage. The setting begins in Boulder, Colorado with a boat shoe and then expands globally as trendy footwear. The character is then enabled to transition from, “simply comfortable” to styles weighing over a hundred.

 Crocs personifies their character casually, and in a well-rounded way. These shoes could be that all-American basketball star or the friendly gamer down the street; as long as they are easy-going and friendly. These companions can accompany any outing and enhance any statement. Crocs not only support your arches, but also your ventures and seasons.

This mission statement narrates, as if “About me” blurbing on an E- Harmony profile. Accept, instead of searching for that perfect soul-mate, you’re hooking up your feet with a sole-mate. The results of this companionship result in a relationship that leaves the customer knowing and loving. The qualities of these personified Crocs will not disappoint. Those who sport their knowing foot ware relationship, “feel the love.” Your foot-shoe match-making has proved a success.

Crocs’ Joe Plumber shoes were never intended for greatness. Through a chain of events, their amiable qualities attracted the masses. Crocs’ identity wasn’t about boating anymore. Comfort, choices, and occasion became prioritized. Their purpose multiplied and accessorized. After many people were satisfied with their ideal convenience, Crocs became highly sought after footwear.  Their identity went from simple boat shoe to sophisticated professional wear.

After reading Crocs: the Mission Statement  from start to finish, I would scrutinize that their identity is conversationally wrapped up in this character’s rise to fame. As shoes, described like a relational person, coming into its own, Crocs stands proud. As if winking at the admirers, these shoes say, “hey friend, try me on.”

Crocs' Mission Statement 

A Sip of a Kiss

Imagine a magazine filled with luxury items; page after page of prosperous promises. As the glitter literally flutters from the page, you come across the champagne section. A woman’s face leaps from the advertisement beckoning like the sirens of old. In a flurry of sparkle, every page turned proves the same as the last: women portrayed as champagne. If women are the picture of beauty and they are portraying champagne, what is this metaphor implying about the good life?

 While actress Scarlett Johansen drapes over a richly upholstered chair, model Eva Herzigova invites from her wistful relaxing, and model Paris Hilton basks in her brazen gold body. These women are positioned in luxurious ways; fashioning a visualization of the champagne itself. Gold tones are used and all are adorned; yes, even stark Hilton who has a ring on hand.

The fact that these are luxury items increases the standards of these advertisement’s promises. Notice the knowing invitations in these women’s eyes. The beauty these ladies are portraying welcomes as if to say, “I know you have been looking for me, come, taste something that won’t disappoint you.” The good life is obtainable and this champagne calls you to receive what it has to offer. Hilton’s facial expression takes it to another level. Her face could easily be interpreted as worship: head tilted upward, eyes closed, and features graced with a peaceful façade. Beauty, in this case, is fully satisfied in herself. She seems to worship her emanating glory among the crusted floor of a famished dessert. These aren’t just catcalls, these women are fully assured of their effect; the fulfillment of beauty in the hands of a consumer in search of the good life.

This beauty isn’t represented by ambiguous faces, but sought-after celebrities. They fully develop this metaphorical beauty by blatantly parading a high-class reputation. This champagne will make you someone else, someone better, someone in command of a famous beauty. After sipping these intoxicating suds, this exquisiteness is fully satisfied within you. Just like the power these celebrities have, you too will be able to wield and know a glamor that you were lacking before. This ideal is reenacted by ladies who are coinsurers of the life they are performing.

The chase is over, the answer is known: here beauty stops and showers you with first-class living. With each gulp of champagne the epitome is not only prosperity, but a capturing of beauty. These metaphors imply that champagne will give you something extravagant you don’t have to earn; it’s offered. This metaphor uses women to visualize a beverage, give it a personality, and promise to indwell you upon consumption. This champagne will intimate luxury within you.
               

TOMS on your feet, their happy, all is well...

How many impoverished children does it take for us to become numb? How long does it take for us to recognize our uncomfortable wealth and their screaming need? Are you tired of feeling like that? TOMS obviously has the answer.  According to their, “one for one” solution, TOMS offers a pain- free self-esteem booster. Is this ad concerned with your dreamless sleep? I think not. They are using moralism to dictate your purchases.

As a collective “our”, TOMS makes sure you know they are not making empty athletic promises. When comparing these shoes against the running-faster and jumping-higher kind, they accomplish something different; something better. They thrust a suggestion of peace at you; knowing it will hit home with your supposed restless self-interest. But they aren’t making you work too hard. Through squinted eyes, we get the promise of their, “best possible fashion statement.” It’s like TOMS hands you a pair or shoes, pats you on the back and sends you on your way.  The consumer can feel satisfied with this deed, while TOMS takes care of the rest. All the credit goes to you.

Your moral satisfaction is prioritized here. This ad knows you care about the kids, but only enough to satisfy your moral obligation right? They make sure you see the clear results of your charity with the proof of your own pair. An opportunity is offered to give and it is assuredly carried out by TOMS. They appear solid in their resolution. The fine print throws you a fact, references the, “children in need,” and proudly brandishes their logo. TOMS presents their proposition as if stepping back from your car engine, as you hear it roar to life. They’ve rigged up a settlement that allows for everyone to win. You get to sleep; the little feet get shoes; and the consumer is involved in a trend that shows you care.