That 70s show is an American television show started in the late 1990s that portrays 6 teens and their lives during the 1970s. According to Sellnow (2007), visual pleasure theory suggests that visuals work together rhetorically to communicate messages of narcissism, voyeurism and fetishism (p. 65). That 70s show uses narcissism, voyeurism and fetishism to portray the dominant ideologies that women are sex objects and men should be more masculine, sexual and tough. These ideologies are reinforced on the show by the model character of Donna and the anti-model of the character Fez.

Sellnow (2007) defines a model character as a character that is rewarded based on their image, characteristics and behaviors (p. 65). For that 70s show, the model character is Donna Pinciotti. Donna can be seen in the image below as the redhead on the far left hand side of the image.  Throughout the show, Donna is seen wearing tight fitting clothes that show off her body and her sex appeal and even using her sex appeal to help her friends (i.e. flirting with a milkman to steal the milk crates). The show promotes the ideology that women should be seen as sex objects and to promote this ideal, Donna, as the model character is rewarded for within this ideology. In the show, she has a long-term boyfriend named Eric who loves her and is even the host of a radio show, where her voice is known as “Hot Donna.” “Hot Donna” is a reward in itself, but also is utilized to show that Donna is attractive and her most important trait is her beauty and being a sex object for the male gaze. Her relationship with Eric exemplifies Sellnow (2007)’s concept of narcissism, or when a character draws a viewer to them to mirror them (p. 65). Donna makes sure that she is seen as desirable to men in terms of her looks and clothing and is rewarded for it by having a steady boyfriend and being successful in life. Seeing her rewards and her position as a sex object on screen causes the viewers to desire Donna’s life and want to mirror her actions and image. This also operates as an enthymematic association to viewers, as it relies on the cultural knowledge (or unstated premise) that only attractive or “hot” women will be successful or happy in life (DeLuca, 1999, p. 18).

In addition, Donna’s behaviors and characteristics also exemplify Sellnow (2007)’s concept of fetishism, which is when an image is portrayed as a spectacle to be gazed at as an object ( p. 65). There is one point in the series where Donna’s dad sends her to catholic school for her last year of high school as a punishment for her trying to run away. She then has to go to catholic school and is seen wearing her catholic school uniform for the rest of the season. The guys she hangs around with love seeing her in the catholic school uniform as it is a common sexual trope, and the constant image of her in the uniform exemplifies fetishism and reinforces the ideology that she is a sex object and there to be looked at by men.

Finally, Fez is portrayed as the anti-model in that 70s show. The anti-model is defined by Sellnow (2007) as a character that is chastised, laughed at and punished based on image, characteristics or behaviors (p. 65). Fez is an odd character that sticks out from the rest. First of all, he is from a foreign country, is flamboyant, wears tight-fitting clothes and pants and is emotional. All of these behaviors go against the ideology that men should be masculine, tough, sexual creatures who show no emotion. As a result, Fez endures several punishments. For example, Fez is single for the majority of the show and when he does get a girlfriend, they are either larger and therefore seen as undesirable (i.e. Big Rhonda) or crazy and obsessive (i.e. crazy Caroline). In addition, he is the last person on the show to lose their virginity, which is seen as “uncool” and unmanly. In addition, Sellnow (2007)’s concept of voyeurism, or when a character’s behavior is illicit or improper, is demonstrated with the anti-model Fez (p.65). In the show, Fez finally gets a “hot” girlfriend named Nina, but she breaks up with him because he is too needy. Men are not supposed to be needy; they are supposed to be manly, cool and aloof. This behavior is improper and therefore he is punished for this voyeurism by Nina leaving him. The voyeurism present in the show and the use of Fez as the anti-model reinforces the ideologies that men should be tough, manly and sexual.

These are pictures of one of the study spaces at Ina Dillard Russell Library. The chairs in the center of the room are arranged in a circle, implying that this is a space for discussion and collaboration. There are also big windows on the side of the space, which bring light into the area and make it a more comfortable, bright, happy space to share ideas. The posters on the wall showing famous authors are used to (re)present that this is an educational space for students and show that the success of the authors can also be achieved by students. In addition, the diversity of the authors and colors of the space show that this is a place for creativity and diversity. This is a space for students to collaborate and learn, as shown by the big windows, the desks in a circular shape and the educational posters.

Culture jamming is an action that “undermines marketing rhetoric of multinational corporations” (Harold, 2004, p.190). The above image is an example of culture jamming. Apple tries to promote a certain type of rhetoric about its brand to consumers that it serves its customers in every way possible. Its devices are there to make consumers’ lives easier; there is an app for everything to make your life simpler. This image exemplifies culture jamming because it disrupts these discourses. It brings attention to the addictiveness of Apple culture and how technology is replacing human interaction and replacing enjoying real life.  Once starting to use more apps and Apple products, you begin to feel like you “need” all the latest Apple products in order to survive. The image “jams” the idea that apps make your life easier, and instead points out how they make consumers care more about their phone than what is happening in their own life. It shows how, despite what people may think, Apple products can be just as addictive as smoking cigarettes, especially with the message put out to consumers that they NEED Apple products.

As stated by Edwards and Winkler (1997), a visual ideograph is a concept that expresses meaning through cultural associations (p. 297). In the above pictures, an ideograph of a <savior> is expressed. This is demonstrated with a few different concepts. First of all,  the angle of the photo appears to be at eye level with the brown-haired woman in the photo. This gives us the impression that we are on an equal level with her, but the blonde-haired girl can be perceived as taller, larger and “above her.” This gives the impression that the woman needs her help, and demonstrates this ideograph that she is the savior and will help them become more “civilized.” In addition,  the use of hue and illumination in this photograph also supports the ideograph of <savior>. The bright red hue of the blonde girl’s t-shirt immediately draws your eye to her and her handing supplies to the woman, whereas the brown-haired woman is wearing darker hues, which do not catch your eye as much. In addition, the use of light in the picture illuminates the blonde girl’s hair and t-shirt, as well as the supplies she is handing the woman, which not only places the attention on the fact she is helping the woman by giving her supplies, but it also gives the blonde girl a bright, almost angelic glow about her, reinforcing this ideograph of her being a <savior>.

In addition, the picture expresses the <savior> through cultural associations and the concepts of the Self and Other. As stated by Cloud (2004), the Other is the concept of another culture that is fundamentally different from ours, but is also one that needs our “help” in order to become more civilized and less inferior (p. 289, ). The Self is defined as our ideal “self” that represents our morals and beliefs and is the entity that both goes against and “civilizes” the Other. In the above image, the girl in the red shirt, or the missionary is seen as the Self. This is someone who represents the American ideals of helping others and helping those become more “American” and “civilized.” She is teaching them to become more like us and to have a less “inferior” way of life. The brown-haired woman in this image is seen as the Other. She is from a different culture, presumably a third world country, and has an “opposing way of life” to us. We see her as inferior and of a culture that we need to change. This ideograph and the concepts of the Self and Other present in the image show different cultural associations that are inherent in American society. Mainly, the idea that as Americans, our way of life is the correct and “civilized” one and that we must “fix” every culture so they are more like ours. This is part of the reason why the <savior> ideograph is so prominent in this image; it ties not only into the Self and the Other but into the idea that we as Americans are saving other countries from a terrible fate: staying themselves and maintaining their “less than” culture.

The pictures above show the narrative of Ina Dillard Russell Library: a place where stories are exchanged. The library is full of mediums that share stories like magazines and books. It also has symbols which tell their own stories and require cultural knowledge, like the cutout of Gandalf. It also shares stories specifically about Georgia College with posters on the walls telling the history of Georgia College. Finally, it has places where we, as storytellers, viewers and listeners can share our own personal stories and narratives, in a place of comfort like the chair shown above.

The above image shows Leisha Evans, a Black Lives Matter protester, standing up to police officers who are trying to remove her from the road in Baton Rouge, Louisiana. This image shows different ideographs present in the picture, such as <strength> and <determination>. The image shows the ideograph of <strength>, as the one woman wearing a dress and no armor, stands up to two police officers in full gear. In our culture, police officers are seen as incredibly powerful. When Leisha is shown in the image standing up to some of the most powerful societal forces and holding her fists out (also a cultural sign of strength), this portrays an ideograph of <strength>. In addition, this image portrays the ideograph of <determination>. Determination is shown because Leisha looks completely calm and collected; she is determined to continue protesting and show that police brutality is not something she will stand for. In addition, she has a powerful stance; feet apart and fists out is seen as a symbol of strength, determination or even stubbornness.

According to Pfister & Woods (241), an unnaturalistic enthymeme is an image where its figurative elements create an argument about its own unrealism. Unnaturalistic enthymemes are becoming more and more common in today’s society with the increase in digital manipulation and post-processing devices. This image is an example of an unnaturalistic enthymeme because the viewers do not assume that the photograph is true or realistic; they know and presume that the image has been altered and manipulated. The creators of the photo use the quadripartita ratio to manipulate this image and create rhetorical effect. Specifically, they use transcendence; they alter Jennifer Lopez’s rear to make it appear more large than it actually is. The transcendence causes the viewer to make cultural assumptions about how desirable having a large butt is, but also allows the viewer to see how the “desirable size” is unrealistic and has been inflated in this image.

The above image shows President Obama at one of his many visits to Walter Reed hospital, where hundreds of wounded veterans go to recover and engage in physical therapy. In this particular image, he is doing lunges with Lieutenant Commander John Terry during the commander’s physical therapy. This action demonstrates an example of one of president Obama’s prudent performance fragments, as it reinforces the ideals of the mythic presidency, his power and his leadership.

According to Erickson (2003), the mythic presidency consists of a balancing act between performing out of political necessity and based on phronesis, or ethics, while also managing a presidential personae (p. 142). Being a Democrat, Obama was often criticized as being too pro-gun control and also not being as concerned or supportive of veterans. This performance fragment is used to reinforce his presidential personae and is used politically to show the public that despite being a Democrat, he does in fact support veterans. Obama wants to avoid being labeled as “veteran-hating,” so this performance fragment reinforces his personae that he is supportive of them by showing him engaging in physical therapy activities with them. Seeing Obama take time out of his busy schedule to visit the wounded veterans and spend time with them shows the public that he does truly care, and it reinforces his authority and his role as commander in chief to the public. Ideally, this fragment is founded out of phronesis, or ethics, for Obama to volunteer with people in need, but regardless if that is the case, the gesture is seen as genuine and reinforces this concept of the mythic presidency.

Obama’s performance fragment is also seen as prudent because the image reinforces Obama’s power. The above performance fragment reinforces President Obama’s power by targeting marginalized audiences and aligning with symbols of patriotism. Veterans are a group of people that are in the minority, so by engaging with wounded veterans and being seen doing it, it signals to the public that Obama feels concern and respect for these veterans. In terms of semiotics, by visiting the wounded veterans, it associates Obama with a symbol of patriotism. According to Goodnow (2010), semiotics are elements that give meaning to images (p. 408). For this image, the elements are the veterans, which give the image a meaning of patriotism. In America, being a veteran is seen as the ultimate patriotic act. After all, there is no clearer way of showing how proud you are to be an American than being willing to fight and die in the name of your country. By visiting these wounded veterans, Obama aligns himself with patriotism, a symbol that is very important in American society.  By aligning himself with this essential American value and by approaching a revered marginalized community, Obama reaffirms his power to the public.

Finally, Obama’s performance fragment is also seen as prudent because it reinforces his leadership by linking his performance with a political issue. By showing himself working with wounded veterans and visiting wounded veterans, it raises awareness of veterans’ quality of life. It makes the public aware of just how many veterans are wounded and having to try to adapt to a new way of life. The treatment of veterans was one political issue that both President Obama and Michelle Obama really tried to help with. By performing with veterans, this fragment not only raises awareness of the issue with the public but also causes the public to feel concern and sympathy for those veterans. These emotions are used to heighten concern about this political issue and to reinforce Obama’s active leadership by showing him trying to improve the treatment of veterans.

For my analysis of the State of the Union Address, I chose when President Trump discussed how women have filled 58% of the newly created jobs in the United States. When Trump first announces this, the camera shot stays still and focused on him. The angle while he talks is at eye level; this is an attempt to create a sense of equality and closeness with the viewer. The shot looking at him head-on implies a sense of intimacy and makes the viewer feel that they are almost having a close, engaging personal conversation with the president.

After Trump announces this, the congresswomen then stand up and cheer, all wearing white. The video showing the women cheering has a montage of a few still shots and a maintaining shot, which moves horizontally to show all the congresswomen present at the State of the Union. It also acts as a kind of synecdoche, as even as it moves horizontally, it does not show the “full picture” of all the people present but gives us an idea on a smaller scale.

In addition, a majority of congresswomen in the video are wearing white. The denotation of this act is merely that the women are wearing white clothing. The connotation of the white clothing was a tribute/ solidarity with the women’s suffrage movement; in the early 20th century, women wore all white when hoping to catch media attention in regards to gaining attention and support for women’s suffrage. The myth is that although women have advanced since the time of the suffragettes, they still have a long way to go. While these are the connotations and associations the congresswomen wished for the public to gain from them wearing white, this video also shows polysemy, or multiple meanings in the same image. While some viewers conotated that meaning from the clothing, others associated it with virginity, purity or in some cases, the KKK. While that was not the congresswomen’s intention, it is impossible for an image to have just one association, as people’s personal associations will depend on their culture and how they were raised.

The above image shows a form of self-stigmatization: the semicolon tattoo. The semicolon tattoo symbolizes solidarity with those who struggle with mental health and tries to make mental health issues more visible. When people choose to mark themselves with this, it has personal and social implications. Socially, the “bearers” of the tattoo want to give people hope who struggle with mental health and increase awareness and visibility of those who suffer from mental illness. Because mental illness is not often something you can see, many people forget it’s there or feel isolated when they do struggle with mental health. These tattoos increase the visibility of mental health and create a sense of community for anyone who has dealt with mental illness. On a personal level, the tattoo may help the bearer come to terms with their mental health or feel peace about loved ones they have lost to mental illness. While the semicolon is a great manifestation of this awareness and catharsis for the mentally ill, there are also risks of choosing to self-stigmatize. When people see the semicolon , they may begin to feel uncomfortable around the bearer or ask them invasive questions about their mental health. Another possibility is people will have stereotypes associated with mental illness, worry that the bearer is unstable and treat them differently. While there are risks associated with self-stigmatization, the semicolon still has personal and social functions and increases visibility for mental health issues.