On Sunday, millions of Americans gathered around their televisions to watch one of the most highly anticipated and commercialized events of the year. Known for over-the-top performances, expensive commercials and immortal acts of athleticism, the Superbowl is as American as Thanksgiving. And without a doubt, Superbowl XLVII was one for the books.
Between the retirement of Ray Lewis, Beyoncé's heart stopping performance and the ensuing stadium blackout, the four hour event was more than just a game. Breaking up the series of passes, touchdowns and flags were some of the most expensive and inventive commercials of the year. Corporations touted their branding power, prowess and accessibility with multiple camera angles and special effects. They appealed to the emotions of the viewer and often prompted the requisite laughter. While every commercial had its role in sculpting the audience's opinion, one advertisement struck me as more provocative then others.
Dodge Ram’s two-minute long commercial, which spotlighted the American farmer, proved that aestheticism is still relevant in our media. The commercial, narrated by the late right-wing radio broadcaster Paul Harvey, effectively combined sound and imagery to create a visually appealing statement. While the commercial is not without criticism (a point I will address shortly) one cannot deny the powerful nature of documentary photography.
Images from Dodge Ram's 2013 Commercial
The images used in this advertisement depict hard working Americans, farming the land that our country is so proud of. The video, although clearly created for the purpose of selling trucks reminded me of a much earlier agricultural initiative from the 1930s. Created in response to the Great Depression and as part of FDR’s New Deal for America programs, the Farm Security Administration (FSA) hired photographs to document rural life. During this time, photographers such as Walker Evans, Dorothea Lange, and Gordon Parks captured some of our countries most iconic images.
The FSA and the photographic program’s original goals were to educate farmers, and to show middle-class urbanites the problems plaguing the less developed portions of the country. The documentary photographs taken while the FSA was operational (1935-1944) have been appropriated countless times. They have become illustrative not only of the Great Depression but of American history, art, and human struggle. One has to only look at a few of these images to see a visual connection to the commercial. While the composition and subject matter of the FSA and Dodge’s images are closely linked, the message the photographs present and the context in which they are viewed is strikingly different.
The photographs used in Dodge Ram’s commercial, like those of the FSA were chosen for their ability to sell. The images not only present the idea that every good farmer needs a powerful truck (in this case a Ram), but they also encourage the noble thought that farmers, and the agricultural industry, are closer to God. To some this commercial could be seen as a harmless advertisement for trucks and a broad stereotype of our agricultural community. I do not believe that anyone would deny the important role that farming has in our country. I shop at grocery stores, support local farms, and have friends and family members who have at one time or another grown and sold produce. What troubles me about this advertisement, is that this commercial presents a rather anachronistic view of America, especially when it comes to our diversity and the environment. When speaking so highly of the land, and the labors of love associated with cultivating it, shouldn’t we be promoting and demanding cleaner farming practices, not encouraging consumerism and pollution? And what about diversity? Where are the thousands of Latino farmers that carry the agricultural industry? In the entire slide show, by my count thirty-four images, only four represent women and minorities. It is shameful that a corporation as large as Dodge could not come up with a more comprehensive view of America. Especially when our country is more diverse then ever. Even during the 1930’s FSA photographers were encouraged to document diversity. In fact, Roy Stryker, head of the FSA’s photographic program practically demanded it, and that was before the civil rights movement. I find it troubling that such a well executed and powerfully narrated advertisement could fail to equally represent those invested in the industry it claims to support.
As a proponent of art, photography and education I believe this topic deserves further exploration. It is important to think critically about our visual culture and to examine what is presented to us by the media. By looking at commercials and advertisements through a historical lens one can get a sense of perspective that is often over looked. Dodge Ram’s commercial while beautifully executed and narrated could have presented a more progressive and inclusive message. Especially if it wanted to connect with those living in urban environments. The goal of this post is not to attack Dodge Ram’s message but to simply encourage others to think critically, and to remember that documentary photography continues to be powerful medium, even in the twenty-first century.
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