YOUR WORK NEEDS TO BE VERY ACCURATE** PLEASE READ THE INSTRUCTIONS BEFORE YOU MAKE A BID. I’m working on a writing project, I’ve done with the first step of my project, which is choosing an artifact and analyzing it. The second step of my project is l

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YOUR WORK NEEDS TO BE VERY ACCURATE**

PLEASE READ THE INSTRUCTIONS BEFORE YOU MAKE A BID.

I’m working on a writing project, I’ve done with the first step of my project, which is choosing an artifact and analyzing it. The second step of my project is look into a larger cultural behavior in the artifact and then do some research about it and write the IRI, which is about associating it with the artifact. My artifact is a Coca-Cola advertisement called “Brotherly Love”,

youtube.com/watch?v=xq8trrEecGg

, I did some analysis on it and you can find it in the attachment. The larger cultural behavior in my artifact is Masculinity, Bullying and connecting the toughness with the young boys in the Ad. So you will need to do some research about these behaviors and write about it by associating it with the Artifact.

THINGS YOU NEED TO SEE:

1. THE ASSIGNMENT PROMPT.

2. SAMPLE OF THE COMPLETED PROJECT “AIRPORTLOVE INITIAL RESEARCH INTEGRATION”, YOU NEED TO LOOK INTO IT TO FULLY UNDERSTAND THE ASSOGNMENT, AND USE THE SAME OULINE.

3. MY ARTIFACT ANALYSIS THAT YOU NEED TO WORK WITH “BROTHERLY LOVE”

4. THE GRADING GUIDE THAT YOU WILL HAVE TO FOLLOW.

*important notes:

1. The work needs to be very accurate.

2. MLA citations.

3. You will gain a satisfying tip based on the quality of your work.

4. Needs to be 4-5 pages.

5. I need you to use quotations, instead of all paraphrases, that introduced, explained, cited, and related back to the ideas/artifact very well.

6. My assignment is not about only discussing the behaviors. you need to associate with coca-cola ad itself, and the way that coca-cola used it. just like what has been done in the airportlove sample.

Finally: please read the airport sample to have a better idea about what you have to do.

PLEASE ASK ME IF YOU DIDN’T FULLY UNDERSTAND YOUR TASK.

NOTES FROM THE STUDENT: It’s my pleasure to work with you, I need to emphasize on some stuff:

-Please it is important to read the SAMPLES & GUID LINES attached, so we can get the assignment perfectly.

-I need you to provide me with copies of the sources so I can submit it with the assignment.

-I’ve done the same assignment with a guy who plagiarizes and uses fake quotations, and it was a really bad experience.

-Be carful with the quotes please, I need it to be introduced, explained, cited, and related back to the ideas/artifact very well.

-We don’t have that much time, so please try to do it as accurate as possible.

If you have any question, please don’t hesitate.

Thanks

 

Student

Instructor

WR 121

Date

“Airport Love” Analysis – Heterosexual Expectations

Leading up to the 2014 Winter Olympics in Sochi, Norwegian sporting goods company XXL produced a television commercial supportive of the LGBT community. The commercial stands out from other advertisements during the Olympics because of the intensity of its not-so-subtle stab at Russia, host of the upcoming Olympics and passer of a then-recent anti-LGBT propaganda law. The video follows a woman as she walks through an airport while drawing looks from male Olympic athletes who are quick to show off, vying for her attention. Their efforts are unsuccessful, however, and at the end of the commercial, the woman approaches another woman on the tarmac and kisses her. After an acknowledgement of the crowd of shocked, disappointed, and confused faces, the screen displays a message: “Whatever team you play for. XXL, all sports united” (Nichols 1). With its message, cinematography, casting, and venue, the commercial opens up broader questions regarding the assumptions made about sexuality: why is the audience surprised when the protagonist kisses a woman? It is not only the inclusive message the commercial delivers, nor just the broader questions it invites, but the tactics it employs to do so that make it powerful.

The circumstances surrounding the commercial’s release contribute to its success. Not only is XXL a company that manufactures athletic equipment, but it is based in Norway – a well-known, economically successful country that tends to perform well in winter Olympics. What better credibility for an Olympic commercial than production by a sporting goods company from the Arctic Circle? Timing also works to the commercial’s advantage; in 2013, Russia passed a law banning propaganda of non-traditional sexuality, widely publicized as an anti-LGBT law. In the months before the Olympics, tensions regarding this law were high, with famous LGBT Olympians speaking out against it. While its intended audience was most likely progressive viewers who would have already supported equality, others undoubtedly viewed the commercial as well. Given the viewers and timing, the advertisement implies a political shot being taken towards Russia.

As with the nature of any controversial statement, the commercial uses emotion to its advantage. Logically, the commercial does not make sense; XXL is a sporting goods company, but not a single piece of sporting goods equipment is advertised. The company’s logo and name do not appear until the last scene. Even without logic, however, the commercial is still successful given its clever use of emotional appeal. LGBT rights is a topic about which many people hold strong opinions. The message of the commercial can evoke an equally strong reaction from advocates.

While the ending is an instance of particular intensity, the commercial is packed with dramatic moments. The music playing through the entire piece is an upbeat electronic track, complete with bass drop and shifts in tempo that coincide with changes of scene in the commercial. Like most good soundtracks, the music adds intensity to the video, and, by extension, the delivery of its message.

Maybe more striking than the intensity of the soundtrack is the methodology used in the commercial’s organization and timeline. The commercial builds expectations for the audience, only to shatter them at the end. One way it does this is through the use of constant reappearance of men with their eyes fixed on the beautiful woman walking through the airport. Well-known male Olympic athletes are consistently unable to take their eyes off of the protagonist. They repeatedly show off with ridiculous athletic feats – backflips, impressive soccer ball juggling, even rappelling from the ceiling – to get the woman’s attention. The frequency of interested male looks functions to reinforce the natural correlation between the attractive woman and interested men that the audience creates. This feeling is amplified by the absence of other many other women in the commercial, a trait of the commercial that, because of its statistical unlikeliness, stands out. With a pattern of strongly suggested heterosexuality, the ending is even more unexpected.

There are countless men in the airport, but only one other woman – the shorter, plumper, much less attractive TSA agent. The physical opposite of the protagonist, the TSA agent bolsters the good looks of the protagonist with stark contrast. The fabricated and reinforced expectations compared to the reality of the ending are just one example of another crucial element of the advertisement’s strength: contrast. In conjunction with the difference between what is expected and what happens, the dichotomy of straight and gay is suggested. The presence of men but not women indicates to the audience that the protagonist will end up with a man, when, in fact, the opposite happens. The difference between expectations and reality opens up a larger question. Why is it expected that the woman will end up with a man, and why is it surprising when she does not?

Intentionally or not, the commercial delves into the debate of expectations. XXL’s “Airport Love” commercial contains much more meaning than just its message. Expectations created throughout the commercial make the ending more intense, and questions can be asked regarding what society expects and assumes regarding sexuality.

Works Cited

Nichols, James. “XXL Releases ‘Airport Love,’ Pro-LGBT Sports Ad.” Huffington Post. 10 Feb.

2014. Web. 12 April 2016.

Student

Instructor

WR 121

Date

“Airport Love” Analysis
–

Heterosexual Expectations

Leading up to the 2014 Winter Olympics in Sochi, Norwegian sporting goods company
XXL produced a television commercial supportive of the LGBT community. The commercial
stands out from other advertisements during the Olympics because of the intensity of its not
–
so
–
subtle stab at Russia, host of the upcoming Olympics and passer of a then
–
recent anti
–
LGBT
propaganda law. The video follows a woman as she walks through an air
port while drawing
looks from male Olympic athletes who are quick to show off, vying for her attention. Their
efforts are unsuccessful, however, and at the end of the commercial, the woman approaches
another woman on the tarmac and kisses her. After an ack
nowledgement of the crowd of
shocked, disappointed, and confused faces, the screen displays a message: “Whatever team you
play for. XXL, all sports united” (Nichols 1). With its message, cinematography, casting, and
venue, the commercial opens up broader q
uestions regarding the assumptions made about
sexuality: why is the audience surprised when the protagonist kisses a woman? It is not only the
inclusive message the commercial delivers, nor just the broader questions it invites, but the
tactics it employs
to do so that make it powerful.

The circumstances surrounding the commercial’s release contribute to its success. Not
only is XXL a company that manufactures athletic equipment, but it is based in Norway
–

a well
–
known, economically successful country tha
t tends to perform well in winter Olympics. What
better credibility for an Olympic commercial than production by a sporting goods company from
the Arctic Circle? Timing also works to the commercial’s advantage; in 2013, Russia passed a
law banning propagan
da of non
–
traditional sexuality, widely publicized as an anti
–
LGBT law. In
the months before the Olympics, tensions regarding this law were high, with famous LGBT
Olympians speaking out against it. While its intended audience was most likely progressive
vi
ewers who would have already supported equality, others undoubtedly viewed the commercial
as well. Given the viewers and timing, the advertisement implies a political shot being taken
towards Russia.

As with the nature of any controversial statement, the c
ommercial uses emotion to its advantage.
Logically, the commercial does not make sense; XXL is a sporting goods company, but not a
single piece of sporting goods equipment is advertised. The company’s logo and name do not
appear until the last scene. Even
without logic, however, the commercial is still successful given
its clever use of emotional appeal. LGBT rights is a topic about which many people hold strong
opinions. The message of the commercial can evoke an equally strong reaction from advocates.

Wh
ile the ending is an instance of particular intensity, the commercial is packed with dramatic
moments. The music playing through the entire piece is an upbeat electronic track, complete with
bass drop and shifts in tempo that coincide with changes of scene

in the commercial. Like most
good soundtracks, the music adds intensity to the video, and, by extension, the delivery of its
message.

Maybe more striking than the intensity of the soundtrack is the methodology used in the
commercial’s organization and ti
meline. The commercial builds expectations for the audience,
only to shatter them at the end. One way it does this is through the use of constant reappearance
of men with their eyes fixed on the beautiful woman walking through the airport. Well
–
known
male
Olympic athletes are consistently unable to take their eyes off of the protagonist. They

Alarifi 1

10/05/2016

WR 121 – Initial Artifact Assignment

“Brotherly Love” Analysis

In the Video “Brotherly Love” Coca-Cola promotes its new global campaign which called “Taste the Feeling” after the old one “Open Happiness”, which lasted around seven years. In this advertisement, Coca-Cola employs a lot of visual, and audio codes in order to sell its products and link different attitudes with its brand. Coca-Cola uses a narrative style to tell a story of two young brothers who have love and conflict relationship, the older brother keeps bullying his younger brother throughout the scenes. And in the last scene, the older brother saves his younger brother from a group of bullies. In addition, Coca-Cola uses a cool background song which is a cover of the recent hit “Hey Brother” by the Swedish artist Avicii performed by Conrad Sewell. By using the element of a meaningful story and the element of a modern hit, Coca-Cola is targeting both old and young audiences.Overall, the video raises a question which is, how can we help the kids who are getting bullied?

First of all, Coca-Cola uses a narrative style of telling an emotional story to link some nice attitudes with their brand in order toenhance its credibility. The story is about two brothers who have an unstable relationship. At first, the older brother, who wears blue, consistently bullies his brother, who wears red, by hitting him and kicking him out of his umbrella during the rain. Seeing this young brother getting bullied by his own brother makes the audience feel pity for him. In the last scene, the young brother is sitting on a park chair, and a group of bullies, who wear blue, show up and take his refreshing cold Coke from his hand when he is about to drink it. The bullies keep bullying him, and then the older brother become the hero of the story, while he is wearing red, by showing up at the perfect time and rescuing his younger brother from the bullies and giving him back his cold Coke with a smile on his face.Endings like that make the audience feel excited and emotional; especially, after the two brothers smiled to each other, and this endingmakes, the story, the red color, and even Coca-Cola’s products preferable.

Furthermore, It’s important to notice that throughout the scenes, the bullies are always wearing blue which commonly linked with Pepsi, Coca-Cola’s biggest competitor. On the other hand, red color, which is associated with Coca-Cola, is being worn only by the good guys in this ad. And this sends a message to the audience telling them that there are bad connotations of the blue color and positive connotations of the red color. Therefore, by attaching these morals such as anti-bullying, heroism, love and family values into the story, Coca-Cola is trying to support its credibility and makes itself trustworthy.

Throughout the advertisement, the colors of the video are fully bright, and that is because bright colors always attract the audience and encourage them to keep watching the material. In addition, the red color is used repeatedly in the video; for example, using it in clothing, furniture, bags, and more. Also, Coca-Cola has made its refreshing and cold products immediately recognizable to the viewers whether it’s the traditional bottle or the other kinds of Coke such as Coca-Cola Zero. By using Coca-Cola official colorconstantly, and showing its products, Coca-Cola is trying to enforce its brand as well as selling its products.

In terms of audios, the story is accompanied by a song called “Hey Brother” which increases the effectiveness of the ad, the song is a cover version of Avicii’s song performed by the Australian rising artist Conrad Sewell. And by using this famous song, Coca-Cola earnsgreat credibility because of its original artist Avicii, who’s considered an idol by millions, in addition to its lyrics that emphasize on the family values.As the name of the song suggests, the song repeatedly uses the word “brother” over and over, and the song is basically about a person being around his brother whenever he needs him. Additionally, the song is a very famous recent song with very meaningful lyrics, so that adds to Coca-Cola more trust and credibility. Moreover, the scenes and the song lyrics are synchronous with each other; for example, when the older brother showed up to rescue his younger brother from the bullies Sewell was singing, “if the sky comes falling down, for you, there’s nothing in this world I wouldn’t do”(Sewell). Therefore, the perfect timing between the scenes and the song is a great element that will raise the emotions of the audience which will make the commercial more effective. In addition to the song, the video contains some diegetic sounds such as the rain sound, and although these diegetic sounds are barely noticeable, it could enhance the advertisement’s logicality.

In conclusion, using emotions and credibility, Coca-Cola’s commercial delivers to the audiencethat Coca-Cola is attached to these great morals that appeared in the video, and that’s is going to help Coca-Cola to achieve its goals. Finally, the advertisement raises an important question, how can we stop kids’ Harassment?

Works Cited:

“Brotherly Love.” YouTube, uploaded by Coca-Cola, 19January 2016, www.youtube.com/watch?v=0oYlOBun8UI.

Alarifi
1

10/05/2016

WR 121
–

Initial Artifact Assignment

“
Brotherly Love
”

Analysis

In the Video “
Brotherly Love
” Coca
–
Cola promotes its new

global campaign

which
called “Taste the Feeling”

after the old one
“Open Happiness”
, which lasted around seven years.
In
this advertisement, Coca
–
Cola employs a lot of visu
al
, and audio codes in order to sell its
products and link different attitudes with its brand. Coca
–
Cola uses a narrative style
to tell
a story
of two young brothers who have love and conflict relationship
,
the older brother ke
eps

bullying
his younger

brother throughout the scenes. And in the last scene, the older brother saves his
younger b
rother from a group of bullies. In addition, Coca
–
Cola uses a cool background song
which is a cover of the

recent hit

“Hey Brother” by the Swedish artist Avicii performed by
Conrad Sewell
. By using the element of
a
meaningful story and the element of a modern
hit
,
Coca
–
Cola is targeting both old and young audiences.
Overall, the video raises a question

which
is, how
can we help
the kids

who are getting bullied
?

First of all, Coca
–
Cola uses a narrative style of telling an emotional story to link some
nice attitudes with their brand in order toenhance its
credibility
.
The story is about two brothers
who have an unstable

relationship. At first, the older brother, who wears blue,
consistently

bullies his brother, who wears red, by hitting him and kicking him out of his umbrella during
the
rain
.
Seeing this young brother getting bullied by his own brother makes the audience

feel pity
for him.
In the last scene, the young brother
is

sitting on a park chair, and a group of bullies, who
wear blue,
show up

and t
ake

his refreshing cold Coke from his hand when he
is

about to drink it.

The bullies keep bullying him, and then the ol
der brother become the hero of the story, while he
is wearing red, by showing up
at

the perfect time and rescuing his younger brother from the

2

Last Name

IRI: Stereotypes and Expectations

It is a common behavior to judge people based on their appearance. Even without paying close attention to details like facial features, it is easy to assume that someone is a part of a particular group or subculture because of their hairstyle, attire, or even occupation. It would not be expected that somebody working at a fast food restaurant has a PhD in theoretical physics – in fact, it would come as a surprise if he or she did. The association between appearance, profession, or mannerisms and outside assumptions about the nature of that person are created with the help of stereotypes. Stereotypes allow generalizations to be made about a particular group that people can then use to judge people who, because they fit the criteria of the stereotypes, are assumed to be members of that group. They can be used to assume social status, financial background or even sexuality. In these assumptions, expectations are created: if a person looks like a member of a certain group, it is expected that he or she is a part of that group. Norwegian Sporting Goods Company XXL shattered expectations about homosexuality in its commercial released before the 2014 Summer Olympics in Sochi, Russia, showing how strong of a role stereotypes play in judging sexuality. In its commercial “Airport Love,” XXL uses the expectations of heterosexuality to demonstrate how stereotypes of sexuality are both prevalent and societally dangerous.The commercial makes viewers anticipate heterosexuality, only to reveal the opposite in the last frame, when two women kiss.

Stereotypes play a large role in the external judgment of someone’s sexuality.When somebody sees a person with characteristics he or she considers “gay” – whether a certain hairstyle, outfit, or behavior – he or she may label that person. These quick judgments are not unjustified. William T. L. Cox et al. from the University of Wisconsin’s Psychology Department advocate that stereotypes about gays and lesbians actually serve a purpose: categorization, a natural tendency for humans used to assess situations(159). Labels can be employed to assume many characteristics about humans, from acquired traits like occupation, financial status, or romantic availability, to innate ones like gender, race or sexuality. The psychologists cite “an abundance of self-report, correlational, and experimental evidence” showing that people rely on stereotypic attributes like fashion, hairstyle, or degree of femininity or masculinity to make inferences about sexual orientation (Cox et al. 160).

What might viewers assume about the female protagonist in XXL’s commercial? PhDs Wendy Geiger, Jake Harwood, and Mary Lee Hummert studied college students’ reactions to images of homosexuals and recorded their responses, publishing their results in the academic Journal of Homosexuality; the top three generalizations for lesbians included short hair, toughness, and a love of athletics (167).These homosexual stereotypes – regarding clothes, haircut, or gendered behavior – are absent from XXL’s commercial. In fact, the commercial shows the opposite, establish strong heterosexual undertones within the first scene: a beautiful woman with flowing hair, squeezed into a tight black dress, steps out of a car in high heels. She immediately grabs the attention of every man in the airport, Olympic athletes showing off in their respective sports to impress her. However, the woman does not even turn her head to acknowledge them as they try in vain to catch her eye.

The situation in the commercial clearly violates many of the stereotypes that, to the average person, define a typical lesbian. She has long hair, does not indicate any signs of particular strength, and shows no interest in athletics. As a result, men fail tolabel the woman as interested in other women, and are therefore taken aback when they discover that she is. A professor of Psychological and Brain Sciences at UC Santa Barbara, Dr. David L. Hamilton explains the shock the men experience, as well as what causes it. He writes, “if the target’s behavior is clearly not in line with her or his category assignment, the perceiver is confronted with an instance of cognitive inconsistency… the perceiver must somehow handle disagreements between cognitive constructions and observed reality” (76). The “cognitive constructions” in this case are the ideas of a typical lesbian, whose “behavior” does not agree with how she is acting. To deal with this inconsistency, the men are surprised – a natural reaction. Althoughbiologically accounted for, the shock the men display in this commercial shows that society relies profoundly on established stereotypes to visually classify homosexuals, and to therefore expect certain “typical” behaviors from them. When stereotypes do not perform, mental expectations are broken.

By displaying a situation in which social expectations about homosexuality are not followed, “Airport Love” reveals the effects of the assumption of heterosexuality, a belief caused by heteronormativity. Northern Illinois University professor Jimmie Manning defines heteronormativity as “enforced cultural assumptions that heterosexuality is normal and natural for all people,” an idea that supports the notion that heterosexuality is the default label for sexuality (1). Unless strongly suggested otherwise, it will be believed that a person is straight. In the commercial, it is assumed that the protagonist is straight because the audience is given no reason to think differently. Throughout almost the entire commercial, male athletes are captivated as the woman walks by, perpetuating the commercial’s heterosexual nature. All show off, whether by juggling a soccer ball, hockey puck, or even by rappelling from the ceiling. At one point, a soccer player even takes off his shirt to reveal a chiseled body.

The significance of these appearances in the commercial is in the fact that they do not seem to be significant at all. Aside from perhaps being impressed, the audience is not phased; men showing off in ridiculous ways to impress attractive women is normal. If gender roles were altered, however – if, for instance, women were trying to impress the woman – it would be striking to the audience. Heteronormativity provides the reason this hypothetical situation would stand out. Manning explains that the heteronormative expectation of heterosexuality “has created a world in which many find it difficult to imagine sexual options beyond heterosexuality” (1). This narrow-mindedness is exactly what happens in the commercial when the woman continuously ignores the men showing off. Not only do the men not consider the possibility that she is gay, but their persistence and disregard for her indication of disinterest even suggest that they actively deny the possibility.

A consequence of this assumed heterosexuality can be seen in one of the final frames of the commercial. As soon as the protagonist has kissed another woman, the men gathered around are initially surprised, but their facial expressions soon turn to disappointment. In his article in theJournal of Homosexuality “Beyond ‘Homophobia’: A Social Psychological Perspective on Attitudes Towards Lesbians and Gay Men,” UC Davis psychology professor Gregory Herek asserts that a reason for this disappointment stems from “heterosexuals’ feelings of rejection as potential sexual partners” (10). Heteronormativity dictated to the men that she was a romantic option, and the reality the commercial depicts denies them that option. As a result, the men express frustration.

If heteronormativity can lower the moods of the men in the commercial, then it could have similar effects in reality. As evidenced by the commercial, the expectation of heterosexuality can evoke negative reactions when that expectation is not met. Dr. Michael W. Ross argues that negative emotions are caused by homosexuals’ violation of sex-role norms and the judgment of those who deviate from these norms (41).One such sex-role norm is that women are attracted to men, which the protagonist does not obey. While the commercial ends with her sheepish smile at the camera and a textual pro-LGBT message of tolerance, the attitude expressed by the men indicates a larger issue in society. The violation of the social construct of heteronormativity can create feelings of resentment, evidence for the controversialsocietal role of heteronormativity.

Heteronormativity clearly has a large impact on how sexuality is viewed. Combined with stereotypes about sexuality, heteronormativity shapes the way people judge and respond to others. “Airport Love” shows what happens when heteronormativity is not followed – when stereotypes do not function the way they traditionally do, and when heterosexuality is disregarded. The commercial hints at possible consequences of heteronormativity, especially negative ones when it is not followed. “Airport Love” evaluates the existence of heteronormativity, a prevalent social construct that could be facing big change in the present surge of feminism.

Works Cited

Cox, William T. L., Patricia G. Devine, Alyssa A. Bischmann, and Janet S. Hyde. “Inferences about Sexual Orientation: The Role of Stereotypes, Faces, and the Gaydar Myth.” The Journal of Sex Research. 53. 2 (2016): 157-171. Web. 25 April 2016.

Geiger, Wendy, Jake Harwood, and Mary Lee Hummert. “College Students’ Multiple Stereotypes of Lesbians.” Journal of Homosexuality. 51. 3 (2006): 165-182. Web. 25 April 2016.

Habarth, Janice Mary. Thinking ‘Straight’: Heteronormativity and Associated Outcomes Across Sexual Orientation. Diss. University of Michigan, 2002. Ann Arbor: UMI, 2008. Print.

Herek, Gregory M. “Beyond ‘Homophobia’: A Social Psychological Perspective on Attitudes Towards Lesbians and Gay Men.” Journal of Homosexuality 10.1-2 (1984): 1-21. Web. 20 April 2016.

Manning, Jimmie. “Heterosexuality.” Academia.edu. 1-5. Northern Illinois University. 3 Dec. 2013. Web. 20 April 2016.

Nichols, James. “XXL Releases ‘Airport Love,’ Pro-LGBT Sports Ad.” Huffington Post. 10 Feb.

2014. Web. 12 April 2016.

Ross, Michael W. “Homosexuality and the Sex Roles.” Journal of Homosexuality. 9. 1 (1983): 1-7. Web. 26 April 2016.