Tuesday, January 12, 2010

A not-too-boring thing

I write articles for my workplace's monthly newsletter. Here's one I saved before the life got edited out of it:

Bad Ad

I remember a commercial for some new, sexy, leather seated, streamlined, babe-attracting car a couple years ago that was particularly clever. It started with a newlywed couple leaving the bride’s parents’ home. About to drive off for their honeymoon—in babe-attracting car—the bride’s father had a few stern words with the groom about his intentions with the blushing bride.

The groom smirks:

‘I have the same intentions that you had for your wife on your honeymoon.’

There was a horrified look on the father’s face, a quick goodbye, and the couple sped off into marital bliss.

Ads like these are witty, memorable and clever in their own clichéd way—a wary father encountering his new son-in-law’s sexual prowess is hardly a ground-breaking motif. While slightly sexist, the commercial hit the mark and sold its product as a hot, sultry, vehicle ideal for whisking away your hot, sultry bride.

There are other advertising campaigns, not so witty, but equally—unfortunately—memorable.

Toyota took its first dive into social media recently, using the popular networking site Facebook to promote a competition: ‘Clever Film Comp’. Contestants were asked to enter a short film, commercial length, that promoted the Toyota Yaris, a car that sells mainly to young females.

Users on Facebook watched each entry and voted for their favourite—the winning video to receive the $7000 first prize—one that, as specified in the contest rules, must ‘not be immoral’.

The winning clip, ‘Clean Getaways’, did not exactly fit the criteria.

‘Hello, I’m horny!’ opens the clip brightly, setting the tone for what’s to follow. And what follows are a string of innuendos, like ‘I hope I haven’t come too prematurely’, ‘She can take a good pounding in any direction’, and ‘I’m ready to blow’. It ends with ‘I’ll have her on her back by 11’.

The commercial has been labelled ‘sexist’, ‘offensive’, ‘juvenile’ and ‘incestuous’. Various complaints were made on the competition’s Facebook page, including: ‘This is 2009! Women should not have to be dealing with this vulgar objectification.’

The ad was even screened to Toyota’s media unit before it was released. Toyota spokesman Mr Mike Breen said it was ‘generally judged to be OK’. How can a professional media team and a highly regarded advertising company like Saatchi & Saatchi get it so wrong?

Advertising is a direct portal for business to enter into the world of the consumer. By creating a story, adding a touch of humour or heartbreak, businesses can connect intimately with their potential clients. It shows them that the people who sell stuff are just as human as the people who buy stuff. It is an appeal to pathos, and it can work well—if you do it right.

Toyota didn’t do it right. The competition was a lot of bad. Bad PR, bad networking, bad taste ... Anything but a clean getaway.

Thursday, September 13, 2007

Woody Allen is my Homeboy

It's funny, at the beginning when we see Allen & his actual daughter (playing his niece), I thought it was going to be a pedophilia film.
Little did I know.


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Crimes and Misdemeanors bleakly studies how “we are the sum of our choices” (a concept originally credited to Sartre), what it means to be this sum, and the Utilitarian ideals that result ipso facto. Though there certainly are arguments against this posit concerning its applicability (or “fairness” when it comes to Utilitarianism), it is a theme that is stressed throughout the movie, as well as the ‘real world’. A and B (Alejandro and Beatrice) discuss, pontificate, and generally bicker over this conclusion- with a flailing attempt at humor.



YOU ARE WHAT YOU THINK

A: [end movie] Well. As I am ‘the sum of my choices’, my sum is now going to consist of being a pig. Thinly veiled attempts at philosophy make me hungry.

B: Oh dude, you are joking?

A: No, not really. The concept of ‘brain food’ is one I wholeheartedly embrace.

B: …I meant about what that guy said. “We are the sum of our choices” thing. The guy who threw himself out the window.

A: Yeah, Levy. What about him?

B: That entire idea is absurd. Out actions don’t entirely make up who we are, not by a long shot. In fact, it’s only a small part of the ‘self’; we are mostly products of circumstance and environment. For example: my overall character has much more to do with the fact that I’m a 17-year-old Australian student than what brand cereal I enjoy.

A: First, you’re trivializing the matter. Second, almost every aspect of our lives affects out character to different degrees, so don’t bother arguing that. Third, Levy was making the point that our actions reflect our character—or at least they should—so one can only truly be judged by what one does. Plus the movie has three great exemplars of this: Rabbi Ben, Cliff, and obviously Judah.

B: As if. But explain, oh wise one.

A: Cheeky. Right, so let’s start with Judah Rosenthal. He’s the privileged, respected, successful, Grade-A, born-and-bred fodder to the ‘American Dream’. He’s also an adulterer, a murderer, and shamelessly avaricious. And if the previous didn’t lead you to it: he’s also an atheist. Right away we see a connection to Levy’s statement: the religious aspect behind it reflects Judah’s godlessness.

B: What? How?

A: “We are the sum of our choices” infers that man is self-derived. He creates himself. This in itself defies faith-bound logic; that we are created by God, in his image. Repeated instances of Judah’s godlessness—“God is a luxury I can’t afford”—underline this aspect.

B: Levy didn’t seem to mean it in an entirely atheistic way, but go on.

A: Next point- the recurring theme of Utilitarianism. Judah made the choice of killing one to save many—his business, his family, his reputation. It’s a typical—though morbid—Utilitarianistic situation.

B: But I thought you said he was a selfish person? Doesn’t this choice—the choice to preserve the happiness of others—negate that aspect of his character?

A: Utilitarians believe in the happiness of the majority. Judah happened to be part of that majority, justifying his selfishness. Furthermore, at the end of the movie, Judah says himself; “We define ourselves by the choices we make”. All of his choices benefited himself, from deciding to indulge in adultery, to committing murder to cover up that same indulgence. He even flaunts his guilt in front of Cliff in that ‘movie idea’.

B: But Judah doesn’t feel guilty. Even if he does have a small relapse at first, it’s obvious his conscience is unaffected. Again, isn’t this contradictory of his character? The choices he made should lead him to feel guilty, but he doesn’t.

A: Well, then I’d have to refer to what Cliff said about Judah’s movie: that in the absence of god, the murderer is then “forced to take on that responsibility”, the guilt, and therefore confess. Judah replies, “That only happens in Hollywood”. And it does. Judah consciously chooses to ‘get over’ Dolores’ murder, Essentially he continues to be a selfish man.

B: A selfish choice dictates a selfish character.

A: Yes.

B: Alright, fine. That’s one. What about the Rabbi?

A: Ah, Rabbi Ben. The almost hatable moral compass. His choice was to be idealistic. He’s probistic, unerring in faith, complete with unreachable moral standards. His unrealistic view of the world—his blindness to the world—metastasizes in the literal sense.

B: Oh, don’t be so cynical. You know Gandhi said “You must not lose faith in humanity. Humanity is an ocean; if a few drops of the ocean are dirty, the ocean does not become dirty.”

A: … Hippie. Anyway, the point is that as a result of his choice and figuratively ‘blind’ view of humanity and its morals, he literally became blind.

B: I suppose this leaves Cliff, then.

A: In a word: schlemiel. His character is a continual failure. When offered a well-paying job he stuffs it up purposely; he is unsuccessful at filing documentaries (his only source of income); and is unsatisfying to his wife. Instead of trying to improve his situation and those around him, he does the opposite. A pathetic attempt at adultery with Halley is made instead of trying to save his own marriage. He is both unhappy and does not create happiness around him. By Utilitarian standards, this makes his immoral. Actually, the most moral person in the film is Judah, as his actions created the most amount of happiness for the most amount of people.

B: That’s just not right. All Cliff did was be cheeky and a bit ambitious. Judah murdered someone.

A: These kinds of situations are used as arguments against Utilitarianism. But the premise of your objection is mostly “It doesn’t feel right” rather than “It’s illogical”, no?

B: Human morality can’t suddenly be dropped.

A: Perhaps not. Back to the original argument.

B: You are dragging on, aren’t you?

A: Shut up. Sartre once said, “Man first of all exists, encounters himself, surges up in the world—and defines himself afterward.” If this is true, there is no ‘essence’ to our being. Others can only judge us by our actions. So theoretically what humanity needs to strive for is for our actions to mirror who we want to be, not who we are. Like in Sartre’s play, No Exit. It’s about three people stuck in a room together, who all come to realize their own downfalls and realize responsibility for their mistakes. One character, Garcin, views himself as a hero, but all his actions lead him to be a coward. By Sartre’s philosophy, he is a coward, no matter what he may think.

B: So then Judah must be a murderer. But he doesn’t act like one!

A: Like you said earlier, he doesn’t feel guilty. He accepts his place as a murderer without conscience. Aunt May agrees with this; “If he can do it and get away with it, and he chooses not to be bothered by the ethics, then he’s home free.”

B: Ugh. This entire conversation feels like one big contradiction.

A: Levy noted that as well. He himself can be labeled as a contradiction, concerning his suicide. He also basically said that “all we need is love”.

B: Who’s the hippie now?

A: Dude, you quoted Gandhi.

B: Alright, so really, “no matter how elaborate a philosophical system you work out, in the end it’s gotta be incomplete”?

A: Precisely. Now go pop Mean Girls in; I haven’t had my daily allowance of small dogs and large breasts today yet.

THEND



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You know I ace.

Sunday, July 1, 2007

I'm not clever enough

to think of an effective title. So there.


-----
His smile looked like it had been scraped up from an old well of sadness.
“First, she’ll open the freezer to get her morning coffee. Flat White at eight-thirty sharp, as always. Then she’ll open the fridge to have a little poke around, see if she wants anything that’s there. Usually she doesn’t, or there’s nothing to eat, so she closes—no, more like... ‘carelessly prods’ the door closed. She never really had an indistinctive way of doing anything—really.”
His smile sunk deeper, and as he spoke the exact images of what he described came to life behind him; his memories projected from the back of his head onto a screen.
“Then she’d get one of those old-fashioned coffee makers out: you know, the ones where you put the grounds in first and then the water and you push down to strain it? It—it was sort of uh… a family heirloom. Sort of.”
The wrinkles in his hands stretched and caved under his fingers as he wrung them slowly. His body was too far-gone to assume anything but that he was old and tired. Nothing more.
“And after she’d done that she would set down the coffee pot onto the counter opposite the sink and uh—“ a sad muffle of laughter “—twirl a bit to look in the cupboards for mugs. She always did like to wear skirts; she enjoyed the feel of them, how they fell around her, in waves.”
The memories went on behind him. She was a puppet to his strings, dancing in synch to his clenching hands.
“After she found the blue cup Danny gave her for her birthday, she would spin back around, make the coffee, and plop herself right on the counter-”
He brought his hands down on the table.
“-to drink it.”
He reeled his arms back to his sides, letting them settle.
The images stopped and flickered and began to loop the last few seconds of her contented smile as she sipped from the dark blue cup. The kitchen was lit from a white lamp somewhere off to the left, presumably with proper seats and a table. The counter was two or three feet from the row of cabinets and sink and fridge, all pushed together hurriedly. The fridge was smooth off-white, the cabinets wood, the counter some sort of stone. It was all located somewhere central to the house, as he explained before they had a chance to start recording.
All was set except for a few small details.
“What shirt is she wearing? What color? Did she have tan lines? There are patches of pale and dark skin on her arms.”
The old man turned around, and the projection vanished; paradoxes weren’t allowed until after the sale.
“You can’t see it, remember sir? Now, what about her shirt?”
He turned back around with raised eyebrows and hands clutching the stainless steel table. The image came back on.
“Well, uh, I’d say, some sort of uh, bright t-shirt. Sometimes with a collar.”
The haze that had engulfed her torso changed into the picture the man was describing, along with a color- teal.
“And her skin?”
“Well, usually pale, but during the later days she started to go to tanning booths once in a while. Came back one day positively brown- sticks out pretty well in my memory.”
He pointed to his head, and chunks of her arms flashed from pale to tan frustratingly.
“Which do you remember more clearly?”
“Well… I liked her better pale, but the tan is more vivid.”
“Whichever is a stronger memory.”
“The tan, then.”
Her skin settled; the image became more sensual.
“And the color of the skirt is… white?”
“Yes, that’s right.”
“Good. Well, then, there doesn’t seem to be any more problems. Except…”
“Except what?”
He’d started to pull out his handkerchief to wipe his forehead, and held it mid-thought.
“Earlier, before we started the tape, you mentioned your house was ‘full of windows’. Is that correct?”
“Yes, it is. Margaret and I both loved the light.”
“And, you also said, on the tape, that this all occurred in the morning: 8:30?”
“Yes, yes, what are you getting at?”
“Please don’t get worked up sir, it’ll disturb the Work.”
The old man sunk back into his chair.
“Now, if you’re settled?”
“I am.”
“We will take this time to remind you that although the process is very modern, utilizing the most advance technology available, because of our metropolitan location, we encourage extra insurance. Down payment does not cover burglary.”
“Are Works that desirable?”
“You’d be surprised, sir, especially with clients like yourself, whose reputations precede them.”
He was not impressed.
“People view these records as a form of entertainment. ‘Reality television’ in the extreme. Precious memories for the client, Saturday night for the customer.”
“Their trash, my treasure.”
“Precisely. In any case, we recommend investing in extra protection. Especially as celebrity memories are a highly sought-after commodity.”
There were no windows in the small room, but the man imagined himself looking out into the dark city. He’d looked at it every morning since he was twenty. Nothing had changed, except now he needed glasses to see into the apartment across the street.
“Do you have any coffee?”
“No sir, caffeine tends to skew the projection: activates a trivial part of the brain. Please try and focus.”
“I focus better with coffee.”
The man mumbled. His addiction did not curb after her death. Habit unaffected by heartbeat.
“Would you like some water?”
“No.”
“Then we’ll continue. Our problem is, sir, you’ve told us there were windows all over your house—presumably in the kitchen as well—and that this all occurred in the earlier morning. Therefore, it would make sense that the light source would be coming from one of these windows. However-“
The man’s eyes changed and the image on the wall curdled and shifted for a moment.
“-the Work shows that the only light is artificial, off to the side.”
The image shuddered some more.
“Now, sir, is there something else you might be thinking of, some other, stronger, memory of her than the one you described?”
He was still. His eyes did not blink, his mouth did not twitch, and his hands were folded in front of him. Behind him there was chaos.
The woman changed from sitting peacefully on the counter to running off screen, pulling a man back in with her. The image went fuzzy and blocky, the two figures looping back and disappearing. It skipped ahead, showing the two intertwining wine glasses and arms before hauling the liquid down their throats.
Back to them running in: their faces were clearer now, hers grinning and rouged, the man’s slightly pink and smirking. Then forward to the drinks and suddenly she was pinned to the counter, her face redder than ever as the man pushed himself against her, her eyes dropping closed. Her face remained clear, while the man and his hands darted over her body, getting lost in a blur of gropings and skin.
The entire picture blurred, then went blank and blurred again. It looped the moment her jaw first dropped open and the glasses fell to the floor.
In the next few moments the old man was able to compose his head and backtrack to the original memory, slowly but without reaction. The image shook and flickered, but it was back.
He still hadn’t moved.
“Mr. Jeffreys, Mr. Cornwell: are we done now?”
The two good-looking men seated across the table returned their eyes from behind the old man to his weathered face—older than they had remembered a minute ago. The peach-red tint to his cheeks had bled to his neck, the weak smile bent into a thin straight line across his jaw. The bags under his eyes looked heavier.
“…Yes, I think this will be enough.”
Jeffreys straightened the pages he’d been scribbling notes on and nudged his partner to turn the lights on. Cornwell did so.
“Thank you very much for your patience, sir.
Jeffreys continued.
“We’ll make sure this has been worth your while.”
The old man stared at him as if to say that he very much doubted that now.
“Your Work should be put together by next Thursday and it’ll be in the markets the following Monday.”
Cornwell avoided eye contact with the man, shuffling his own papers as well as Jeffreys’, piling them together nervously.
“Your being the well-known man you are, I’m sure it’ll be within asking price in mere days. Hours, more likely. Your future is in safe hands, Mr—“
“I didn’t come here about my future.”
He snapped. Cornwell stopped shuffling and Jeffreys stopped fiddling with his pen.
“I came here about my goddamn past.”
He hadn’t shouted, but the two younger men’s ears hurt from the intensity. They both discreetly, automatically, switched off the recording system built into the underside of the table.
“Now, if you’ll excuse me, I have some affairs to get in order. The doctor says I only have a few weeks left and I want my grandchildren prepared before you go pushing around my brain and I start forgetting what I had for breakfast.”
The man stood, gathering his coat in one arm and pushing his chair under the table. The two boys followed suit, Cornwell hurrying to open the door. Jeffreys extended his hand over the table.
“It’s been a pleasure, sir. Don’t worry, we’ll take care of this.”
The man looked at the hand, but did not make a move to extend his.
“Make sure half the proceedings go equally to my children, the other half to my standing account.”
He walked to the door in three strides exactly.
“That money is for the house… We’re getting more windows.”
And with that he was gone, the two men left with the distinct feeling they were going to hell.
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Was going to enter into contest, but twas too long. Ohw.