Do they exploit teens or are they providing desired benefits and services? Do they really know you?
Wednesday, February 25, Reaction Essay: The Merchants of Cool Frontline's documentary: The Merchants of Cool does well to cast light on the hyper-focus marketers give to teenagers and United States' youth.
The film is directed by Barack Goodman and written by Rachel Dretzin and relays its message quite effectively in the form of marketer testimonies, child interviews and a broad projection of the corners this market reaches and creates. An early segment of the film depicts one marketer who leads a discussion on "what's hot" among teenagers.
The discussion involves many kids who are paid fifty dollars to give their opinion on what's cool. When the facilitator first asks those in attendance "what's hot" he is given no direct response, outlining the many layers of cultural trends.
The narrator talks about this day's younger generation stating: The spending money kids acquire is deemed: Statistics seemingly outrageous to previous generations. The documentary asks the question: How do you map what's cool?
They provide the marketing tool or task as it were of "cool hunting", in my eyes a very interesting and scary concept. Not only do marketers seek to find what is cool, they actually hunt it.
The documentary points out that once a trend is picked up and sold, the trend dies; thus "cool-hunting" and marketing research literally hunts what is cool and kills trends through selling them. Marketers steal the individuality from kids, sell it, and in doing so, kill it.
The narrator points out that marketers penetrate teen culture seeking "trend-setting, leaders, attempting to grasp the sub-culture and then through this research diminish any "sub" about it. Quite paradoxical in nature. The film first focuses on Sprite, a soft-drink turned into a bastion of hip-hop culture.
The means of creating this union of soda and music however was created through more spending. Kids from the seemingly hip-hop sub culture were paid to attend a Sprite promo, displaying rising hip hop artists. MTV screened the event casting light on the artists and those chosen kids paid to think a drink is cool.
The film poses the question of whether or not advertising expression has been erased and whether marketing is solely consumption. The film uses MTV's promotion of Sprite as a segway into the pervasiveness of the corporation Viacom in terms of youth culture.
Viacom owns MTV which, as depicted by the film, is all an advertisement and all infomercially based. The show is illustrated to air very cheap programming to serve as the leading force in creating what is cool to young viewers.
Unfortunately, they remain the leading force and it costs them the least.
Frontline attributes this to the company's screening location in Time's square, a hub of cultural strategy, among other things. Frontline interestingly divides the culturally produced paradigm for girls and boys into two separate terms: The mook takes the form of a rebellious, gangster-type, reveling young male, where the midriff represents an insecure, very materialistic and superficial young female.
These roles create the social dichotomy of American youth between secure, arrogant young men and insecure, vain young women. The midriff is a sex-object and the mook is in trouble; great images to instill in today's youth. In terms of the midriff, the film uses icons such as Christina Aguilera and Britney Spears that send the message: The film interviews a thirteen year-old who is obsessed with looking older and fulfilling the marketable-midriff image.
The girl strives to be "bought" by modeling agencies, for something quite far from whoever she is under the skin. It was very interesting to watch a band grow from underground to mainstream through marketing and as the film first pointed out "cool hunting". ICP went from a few followers underground to music videos on MTV and spots on television for the world wrestling federation.
The documentary concludes well with the questions: And "Who can today's youth look to, if anyone? In final words, as best said by the film itself:In Rushkoff’s film, The Merchants of Cool, he rhetorically questions if “teenagers even have a culture to call distinctly their own.” In the late ’s when the documentary was made, the .
Alex O’Dorisio 1/27/13 English Comp 3 Three Essay Worthy Questions Based Off of the PBS Episode Merchants of Cool 1. The feedback loop results in a more testosterone filled mook and midriff-minded teenager psyche, will there ever be a maximum point reached with this outward rebellious expression that then results in a slow reversal?
In other words if we continuously see the next. The Merchants of Cool Essay Words 3 Pages In Rushkoff’s film, The Merchants of Cool, he rhetorically questions if “teenagers even have a culture to call distinctly their own.”.
Merchants of cool essay questions Hawaii in the preview section of the introduction the report writer White Rock, Blackburn proofread dissertation conclusion on driving laws asap Leduc. best uk. Essay writing help.
Hire a writer Get paper rewritten Editing service. They did this by asking them personal questions and go through their belongings such as their music albums. The researchers also got involved in the teens’ lives by accompanying them to social places such as to nightclubs.
(“Short Answers on Merchants of Cool. Feb 25, · Reaction Essay: The Merchants of Cool Frontline's documentary: The Merchants of Cool does well to cast light on the hyper-focus marketers give to teenagers and United States' youth.
The film outlines the industries $ billion market for kids.