\ V

` I b r t h e l t e s t a I Us " ;
A Reader Oi i I ei i t ed o
AjiplH`a "i d84' * CSaittineicial
litetIE J. Scott
J, ma, pilgiiI #, 14 rIay in' January` ' d`. #oiing
third tjwaWer. FiIty mlllen Americans-Maaaiai`itt breasts oI their
tekstreItis, staring daWtj, iillt0; ie Bpirl, sj,idn#iii., T , ` sIipjItM,
&It(ugh tjIle aIternoon gl`ilj`. arijh mi t hds Wln`tottS and
their Iriends. Suddenly tItI pT`ict#le drone eII spor`c`tess was
itttetxuRt` by .a;`it'ty pty-iei,`a IlIetap``; A yotog a'MetIr-
being cha&ed by Iki`less-stbrm-troopers raced past Ihundrwls tsI vacanl-
eyed wca`ctos a M hlirlIed a sJcWIeb``` iIttp the iiHa` dI a-tttelka`g
voice. A t,ansndeni blast t he n la aJltivatei speaker. assuteA A e
astonished miiltitudes that 1984 \#iuIeiot be like JPS'I . Ha"d
entered thearenai
A s,)orts annotincer lost eomposure: "Wqjv~ what was that?"` Then,
the bttiang hegaIi; 'IItV She toly dommeit:`! that ha` iv,gI dpp`3I,d
on the Stiper. Bowl that got people in bar rooms talking :about the
coAmercial iriS`d 6th` Ie`Ilje," sMd an adii,kIi later.` All thrIcCxiet`orjtl
co'IIired the spot on the evening news` as: did-StI lotal news sliows/'Phat*
week; couIltl`i nwspa`IB Mid.rtitgaiin` stories with titles like
"What weae 'Ioti doing hn the '1084' wmiIteIiBal IaiiP'* "pie now-
Iamous sibcIy seoanis IMously debated, in vjitakplacm around the
osTintry Iordap;*
i`th,:gh5itairediati0naHynlyon4:ethciooinraercSl``aiI`''S1984`*
was, 'cpnisl`l`d atlyertisitkg ' l e g e n d t I i # .
inspired ks i`ash* Jre as awe. ''4Iie` wretdied exce8S" hooted the
ad`ieEtisiE` jrade prI`' * *'Sd,hjS,nt~tiI"" at "indulgent" sniIIed one;
creative d,r`tor;`'curagjtri*`titOT`another.* The Apple execu,,yes"
MIap bad atithptisi`,ihe , i w e I I e ; delu`d with jItjail Iroin ,
irate shaIeh6lder chai `ng therIt witli It bi'`ach oI IiduCiaiy
IIespopsibility. Yet the`jKit had goMen riiore Iree air plaj than-a public
Ielations" ,nan WotJld dare to pray Icp:.
67
"menacing voice"
was meant to be big
brother and "vacant-
eyed workers" are
the people behind
big brother who
gave their lives up
for goverment.
68 Jotiiaal
In the debate or-''1984," there was only one point ol` consensus:
this spot jhad broken i&yery, ruI`Taivthe adTCrtlsing WiIcre #ere
no ptodiict -shots, nO' on-camera demonst`tionss n#, lil`nie$-oI
ipe(S.. a#4 only t4 taiitiail eoiporate identiIica`on* Aconnd the3ritetenc`
tables oI the advertisMg cOntention,i Jwi`dttio that "1&84"
wpMHi ant j Ehed' ``mI i l ` #t , dPr t i i ag: W '
The txjnsumei mttst ;have /sbimp)` th& k`pers I
conventitsns. Three* days aiter''1981*' aired, wlientIie MaIeintQSh.beca,i&
available in itail stdres, more than 2(HJyOOO pgople stood in line waiting
Ior .the dijors t open. .Within, six hoitre, rtIillion in `wmpttters had
been sold and ttepqsits on ordeil taken tor , 1 laillidn more.. 4pple
Computer,.which was ge`W up to make a H&dntosh every 27 seconds,
was Iaced, with a back order problem.`'
The purp6s,e ije,e is t o eixpliiri jtlie p&Stiasive ,iowA oI ttus
unorthodox advejtisemenit, lisiiig a Icader`riented, or Aetoiicali
approach adapted Irom l i t d`y a,tidsin. ``causetheedmrtiprdal operates
in a cdn`nttatIed, mIeIephoritSal &slii`n ibrdugh A quick series oI iiiages
and sounds, it remains rather ctyptic to more traditional ways oI
uindi`tandtng advertSsing,, Wlilch tend dn tljC axraitg`raent 6I
IpgScal ailments,, posjtii&nek. Io# a particular Iiaei audience and
"srii`neti by alnetworktiI irerbaljw#stsaliand'diartiarItI''pt00Is.'*' PraitieaI
ap|pFjaches#:ii,Ie aIt bI aIv0-rt,iiilgMmch;in,.i`toIt(Str`
rhetoric. Alpioxij`h advertising pradtitioaers are seldom schcRaled in the
subtleties ol-ethds.oI A? tieii'apiitoa`es m
0ItMa4`Jog6st0'tbQ9eom#o.,`ktQttI.`heth`th.eSea`
audience ,appeal orixs`dngiBrani petwnalitiesi- tIeKit`iQPjis al;ways
..centralj .yt,'.the
cMi`er MiaItgemenl o f siat`ents, diKsed IOr-`I:twe delive`,~ can be
illusoty.. Much ad`tIsing is i n s s ` art.imagwaIive kind oI rWtOHt
that gali`S assent t hr oI ` aJIes:t, Iantasy,. e`t t tjje'AppreciatioIl dI
Iorm, rather IIianihrough an archItectonic oI arguments."
'"1984" is one oI tht)se advertisements* Its theme is one oI r`dicd!`
individual action 0 pr`Snt hc`mog`izing- tyranriy: at singular?
individuated logic desiroyingn``exteroally-imposi0, collective one. And
its t or n is k mirror dI Ihat theme. Whale consistentty toiint&Ftointiirg
cdWventional Ic&mmerdsl, ippekls ` d t5hns. this spot Iepamiipic`tes
.through an aurtiul arrangement ol i n a a ` that has its own Iatemd logic.
The spoj keeps &e aadieIice unbal ai i ` and purious' throughout the*
wewing-`aijd tIltis dpen to the ` e c t M exjIeiehce tlroOgli `hi c` it
persuades. The viewer becomes enveloped in a series oI .dense, iceamlike,
and seemingly diiijointed pictures and soimds. "Ie this is a* wntplex,
careIully oirAestrSted battery oI stimliIi deiigned t6 htM the viewer bp`,
by repeatedly Irustrating expectations, about comraItrcial persuasion in.
o`er to ir~~ttonaIg a powerIul ideniiIicadon. As ilewers ol television
wasn't your
stereotypical
advertising
commercial,
meant to show
you how apple
was going to
change the
computing world
I o I tbe oI Us 69
(`imIiKrciais, *ve lave all learned to res,|`rId l a ` cei`diti.seI ol video
cues by "dosing up/'rejeiping, andteIiastingi" "`t984" prevents tKis Ikom
happening itselI leIosing to be `Ieat we expert i t tc? Thf i ri ch
lypabolij: imajgjtIyj i t o 0 i i n d weates a aynamic* pSrtidpatoiy
experiaits, G,Qser to KetiH,, oI pIje`- jIaan to absrorWng`
e`PitIsitoIy, irIonationwnadchetpriiec*In;thJ,`4` tIiitI,Q?ntipard?a'
is esiperi`E` ?ome#llat Ukea dseanxit i`ei&ei`vision nor uj`caryj`
5t it is both. Its in`lici` call /d- juSIitm, Wti;h wdrks thmugh the
idetotlpi`lioItiin tliat experime`, is i oi h reactive aIld iiij`dp`tdry.'Thus,
it is very ttriliIee tMc iJjiibeialtIt'B totuig t~ other advertidngtrhetoric.
Lijke``an`, oIlier 1s4nd: ,p,s `d
? ;coi)VeitS`al'IoriB$( J&Sl-IikteinV'`Oivei, dyanjav-or iyriIc no
advertisemeht conIorips/eIiattly lo gonvjun`tm. but cojjttei` deiijients oI
the t,p`Bxpect,dj3rIer,ta,iiIttigu`JriIla .arid sedup?.;Pv5ij;spiii,r ty`Ieical
Citilierlpijg . sunj i dn`i Ii aI; ` s t , erI us` wopld reoggaizecajt li$
otiIlinedlIXhis Ioraiatji`
is v`Icing; , ` `
Most't`leWsion c3ttni`rdals'seIelc&st ct`mand attention jItokepp
us Irom lealdng the i:ooin ,or lookitl5 ,`,someItMg els` jts i s o u t habit
`wing tomtoerd`l breaIc,X`d-seccind`.y' to dearty idCQ`IyjgherlI`d
Icgingr adveW,sM'`ti'tsirdertd `rbvid? a-manoty link to-.th`Ie'inessag`Iii`t
Iollows). Market researdters and a#tisiijg iiiiaAirioners genetaljy
l ` e v e hat.jhis must `appen within the Iirs, jten.seconds in ojrdar lot
`ercpmnjercia| to be`IIIectiVe. OiEjen~~ the Iirst ren`secpQ`s also set the
Stage Iot ),ptoditGt"hy dramatmngisonie a`nsiirper prtlleHj. Ip a ijhdIty-
W ` d cpmiIi`dal, the ten seconds will usuallj intrIxitKX i he
productas .a solution, to `I s 3`ext srahpnt.IS p`5, seconds
into.tHe:ipt}t, thel` iviH beia.pro`nct `IenajnstratiQn oI
visuaiizaji`n oI th,)Iodip`iti k`ovSW aS ` " l i ` shw`'' o '"biEautI Aiot/*
accoinpa;nied by- an JaII`camera aiItnoun`er's ejeplMitipH aH4 i d e a a
naien,i!`c dIyiqes aeimHcSMOnIIc device may be an animation, a jijjgJe,
OS a,vd,:b3l that i,inte,tdiSd,0;j`mari4e.the'rh`torical'stiatcgy,
ol the spot. The commercial will usua dose pi , h aI "butttm/' OI
denIUeIittIent, t,iat indudes a brieC reprise o t the wneBBpiiic
device, i
ca6,*ly, Ithis Iormat Jbas ot been the nile Ioar so`e'`sj`xjducIs; soIt
4Iink4ds, Iok txsq 4hik sipprpadis Ho-wevep` Ior products
that ae &ougKt,pl~e chp`sh based oil &`tipj#`ydktbn;``ti3``
prIprtji,attc` thisJ`iadoI.advertiKmentis the;accepted Io-piesent
ai l ment s aijd `oundwotk Ior `ei r 'VecalF a t the I)Snt oI"
purchase," `'ind, even comnwrdals `hat d$~art Itpm theprtiblan-soiution
Iormat ijsi,a shar` thItr rhetorieal and Iormal convention`; attpriiion-
getting ,Jloy4. bra``identi,IgaIipn, mnemonic devices, positive imagtaT?,
Iacplanatory voice-c`ym.,and,dItarty-arjSajlated appMs.
I dont agree with the
"rst ten seconds" way
of advertising. All
commercials are
annoying.
70 Journal oI Pdpular Calttti-e
As will be shown, tli& spot works agam,t tIlestI aSnventions
.in many ways. It cominands"kttetitioItj but \`ith a sttange, other-vrotldly
imagery instead bI th# Irenetic, bnghtly-cQlored palteras common to
tilewsii`n adv`tising, It raiks questions' and problems; MtIeliI
iritrbdiuciwg the proStJctasTiyewatta ijriih&ut a M`dl y atInouricerwicIi-
ovw to 'tgll~ wis "w`hat iiSpp`IiIiiI, It binds a sixty-seieond time-MIlie
iiito a WiteItr' virtoai time4,jae4 #hilie' .sIng Otir dSSks
iio erealIe tmsiottj as seasnii l l # ,sIe`Rd;pass6S withoat IuIIilMhg'tiur
n'eed IeI otK`'e~iili,n#d`Jingle or'exhoitdtions.Then it,itamst,!,3& Ijiis
teiision -'to' a `dramatJc- cliriiax`i'bnly ' t o' `It s`t i . pi `l dx ~in 'tSe. IcIlrm
.oI a' crypt2: prOIIlIst hriijH`,-ccilore4 .apple. Hi e
cIIlW`ctiOn'`beW` tBte-iIli`ery-aM the-prwiteTEiiIt.`pt, i,ti`wer OyIeItly
aIJade. 'Che reallziItiDn comlstJiiIly aItIeIWaJ`, atjil with a qtiItttdary.
It & a r,dical Ittategy, Kghneth Bitrte has* proposed #e view `11,
texts lis st t at `es Ior dIealing wIth sitatibixs. BiirkiI wIjtlsi that, Irqisi.
the point oI view oI boih atlthor and MdietIc` tIeXts are "&ate`es Ior
seleIctilItg eneipies and jallies, Ior.. .consolation and vdIi`iattte,
admonition and exhortation, iniplidt cqmiItarids ,jI OiiIe sort ox
another.'"`'' Since mosj* I?dIettisen3;gIatis riBslilt' Itom sophisticatal
artic`atiOn oI situitiOIis and strategies, It is espedally jtjStiIiajbte wlien
atiyyEing an advet&etIitent to look-lIitti at thcsitUk'tiOh, oI scene, a`tot
which dhe comInuiiibiliori is' I o r e g r o u n d e d ` i Xhe tmconvenIieinal
rhetoj`cal strate` o I "1984'- was particularly appIopriate t,I th` ta$k
at hand: unmasking the ideology oI a ve(I conI&tionaL eIitrendhed
cowpetitbr thtOugh the IOttIlCuTalioh oI a pt3iiriter!-mytihi*` Thus, m. die
case oI "1981,'' ao undeistaniiitg oI thtI situatIOn'is iIldispIe`aMe.
By. every inIoi`e`, 1 9 ` w.8S ` pivotal poinllh
thg. histOry-bI `jnpiii`i' tiIaoJog`.2*3ntemaiional Su`nes`; S`I i i ne`
the "Ela`Ih'ader oI-,the tl'i`td''wctIl'd,'?`i hgd ptpi'`e`*oiie#iiKl,j0I the
.person'` &japt,tar market WIIItilt't` oI &s entrI' arid was.
pMOcl`lig i,~ standardization on an industry t,tIt " SIill
deYelopitjg. Although t he IBM P`' ts`s 'claIly Ito stantIaId-iiai-er Ior
innovative tecAjaoliSg,,'`rporate pTOchasirigj ageriIt and t i Ml rriiddle
mattlgeIB wei drawn in,drbves to the saIety ot Ieuying`Itottl "BigBlue."
Consequently, ati epidemic oI baIiktuptcieI `jtid Iailujes teId broken ou't
among personal ):oinpii,er ptoducers, siijMl' and large*` "ITje remIaining
coihpeMtors were Irantiolly shiIting lo`produas IBM "done,s*',,,leyitablyv
industry-watchers began io speculate abbtitlhe IuttIte oI jipsWt
coIiq~aiiI tl,at had "ii&ented" he personal computierApplej a
corporation "that was'in every way seen as Ae antithesis otttSt`mItiOltal
Business Machines.`
AppM'` respoiise's`epadIl at Ilpt a` sItiall and poignant m a candle
in daiknesi. The- Madritosh was in evary way incompatible with the
IBM PC: it used a diIIerent opwr`ting system a`d a diIIeImt medium.
Its M-bit dotrIjguiation, altIaough dearly. #ie n3tt Iiep IOT tljp.
tedttiipltigy, WIs IIpi`tessly but oI the cCtt`otlypite`ri,~`lo`-sap.,ite
machines staked thew clainis'.on stalistical mgnipttlatiOBi eMriy
applitations wtere.lorlmt`i m& aItisis. Bwt its IIiost wHome Ieatures.
the iconic usqr inteiIace, wi.s w?Mt toade it , , e ` tb` ittoSt vtilrw`We.
In the mpSio' worM oI comptiting. whpie the measure oI a
tnknhood was; the size oI his sptead`li`t, Macintosh Joolced Mite a toy.
Ia sum, the strengths oI this brilli`t; bm wKi`ical piece ot
matMn`l' wIere ot memory, pow`, or J3iripulativ.e ability, bjlt
Mmdl i p`, Ijexiiility. atid #tept`iiity r o A As w d v the
Madntos&held Ae mpment's possibility that eompuIettctwWogT
evolyeMyont the`nliesscrtIIicMiig oI numbers Ior,legions oI rpOTate
l`n-cotiaters. It.was, ay'th`-IStiiit ` i g i g n ` t n I ` , A, t `put t r "*
he rest eIt In- ves. oI Ame who"desigJKd i t , IheitttrodIietiQ`
oI the
inIws# with illB`siii. #Iilin4wgi#` the
machine ,i??is*jnpoQuceaiOTmGjjjuuiii. uu~wii. w*"-,
iIwa`, C`to#. S5t`' J#*aearib, !diti "icinaoIlik`:,s`ai,2sing
&el'ai`tor goingInto-'Oie ateIta artd`sayipl, !Hitrit i s/
j o b # iiIvt``ti#! ja Ac gladiator imagI is not inddentd Bere.
Thrwgjiout the db'dORipeIIt pI-ihe;Ma4Ht6ITh,:ii` had IannIed thI I`J?r
oI the &sigii team by chawcterizitig Icem as brillian` coiHiMlt`
rp?rgnalii.Il4T`Iepi6ktedlycIothe`pth:tiblIctodpr,T`teg`,ttIenW'``tt`
tiie, machine in ,:evoiutiona,:y pjIietiIries, iioMnt iiRSgCQri Ii`st
ncpur``ng~is compatriots to s?e themselves as. outlaws, ` d then the
target audiepcs i o i i ` g ` e Tthemselvds as ret`oludonaiies. It is importmt
to underitand thisi since Steve Jobs is the dps`sttMng to authorial
osnsIiovtoess Ior ' 1 9 ` / ' ha\ d` . `bnal l y maenaged both the design
oI the machine and all cdlBimimicationtl abo`it i t EurtlydrIldtei thepubtrc
perception, oI Apple Computer, was largely the maniIestation oI Jobs'
ojs`n public pgtSoJia `nd tli` advertising ethPs\bei` theagepj`y, C2iit`
Day, to create#' As sudi, ,ob5 was. both auttior md atIi `a
P0;e1ve4 to be so br-tIte aadieWce`.titBs coloring their perception ot
the coijMtie`dal.
Steve Jobsliadjnst4ianed thiIty whsp thCMacMtoSti was IetnMIlced.
A Iiollege dropout who Icxpaataented witti drugs and
become prototype o I a Mvr '.Amerian 'Jierp-iR` irrevIcleItt -aijd
oI` tIiis. iptwe`n gudiinIeiS how Silteon Va l `
eapitalism`'however. the busin`sland pO,~ula,- press `IIO Jiked.to tgkI
Ja,~i at j`-`abrjasiye, i`essiaiiic styte and poke Iuti.at his couiiterculiurd
values. By Janua` Qt 1984, prIss hSii Iptjg sincIc hurled Jpbs `
"He was an
unlikely
candidate to
become""the
prototype of a
new American
hero""
\
72 IonmaiqtI Ctiiwre
that categoi` pI tbo4~rigltl bad baj`s Aat already .contained ttolden
kullkldandT/(I Simwb.efrv.St&tiTm.* as the AgenIbeMiHi
thiiS id`Iistic. M t iaSttddastiG ccwnmerci`, Jdbs' would Ie've iJeeIt
eaiinoitlJriOTsent and'beli`gMe itt IhIe.ttiiii# ,I-th4 viItv`s.
Jobs,,like , Il worked op l i e jproject, saw jtIecI HadntosIi
MsomeIIito`-tha'l woiild'*(5iange 'the
had opemIed sukiros ii '4t,I to`Iy ,Wo teIorIe Jol` took the
jIenEjJIegt, Iewtt taiippdiiiing`the Iihqtt M;paIb Iroin oAer projects'iii theIr'
Ico`vietion," JbIedeseMbedAesebllJIIi`eanedIStitigr compa` ''#T&i2Ies,"
as souls W`o'x`iIlS in It pIiilosophicS 'traditioijs ot
the Igst too yIearS Iind' tlii loddl&gtcal "traditIons oI the l, Js/' dEdniiii,;
that iII another tiIte they wottld The Ii`dritosh' ttatii
pursued' AIeiI project,through gryMlig `ouM and against IdrmidaBle
Qdds. TTius, brte reporter who &rervie#ed diem lA trairJy 1984 *#,St`
"The machine's develojpItlent wais, Ia turn, trautIl`tid, JoyIilJ, grueling,
lunatic, rewardinig aIcid ultimately, the inajor event iii'the IIves oI `ittbst
evyone involved;''* A I oI them saw IIiM as a and
IundamentaI thIeat&eeinBodiiSrentI,evei`IIling;'they both Iatri and
diMaiiSe`
Eventually/; this`ame `vision inspired the pSjple w`o IIt-od`c` the
advetti`ihg to work llmtIar kinds dt hours arid, .think in comparably
heightened language. In the-three yea3* ptiOT t6 tiJe aiiiiig ot '*1984."
Chiat/Iiay 'had coIttri*e` to ptesent'the public wilIe ah iin`ge oI their
tilien|t.thi-wa#`t SSncI lstMl'`tion oI the yoiiqg,`creative, organictaEilrtite
oI Ap;`e-and'an,an1ithesis oI theii ent l `t h`, hi`Iarchical cOlnpetitbt,
IBRt'&It4ocus, ,bi&ell'ti~mrIi`dalsJhad..i4iaIeeIcrIiedAppIe `rodiacti,
aS bIin`deii`edlor creative people whose HIe and Wor`Wete iiitegit t?,i
inoi coniparttoenlalized -like the drganiSsrtp i , i oI' & '8W
Th?" piibl,"C'jSai5ir''4`illi 'users, Kbth ittale -and IIemMei 'wlio-Be'e`zQiy
drlteed, playidb`leIIlall at Iendh, attd brM#it theIt" dogs iIeitIi*il,cIt.
to worlc ov6p the weekendi*-
Thr du` Illis `d`ertiIiItg, supplemented, by a consistent inage. in
news ooverage oI Jobs' personality and the Apple IcoIpoi`tI!: `t ui `, M
dear perception oI Apple hali ,)eeii built iA the ptibjlic IItjilE All oI
these ,element.s, then, constItute an important grounding Ior the
Iormulation oI Ilie`'lQSl" ethos andi tkerdore, Ior the" *'m`.liderS'
oI this lammerdal-`'
M the classical tradition oI rhetoric, as will as ih good
practice, we would expect the eAos to he Iormulated iti aiitidipltidn
ol the d`tres oI ttiIeauditoce.*' Corttmerda` rhetoric is, dIter `1, a "jou
and nie" comiItvnliStioti`the message is addressed t o a`laIget attdi`&
that has heen "caived out'**` Irom demogmphic atid psycKogr`pWc dat`
and then consciously imagined ai t n "arttIaCt, controlled, simpliIied,
abstr,acted out oI the chaos oI day-to-day sensation'*the cotomerdal
To the team
that worked on
this project
seeing that
comercial was
life changing
equivalent oI a mock jeader. The iadei|Iijang ethostaqwU iIt that
bjisiness , ja the "btan4 pelIQnaliW"is the ittplietI atrthot that
intermedijatBs between the actual wt hoj and the taiet audience.
9ased 6n our tthdetetandiiIg p i jIohs, Ijle MadilosSh design tranv
and the atlvertising agency`-Hanjd ihe aibnination oI these' in the public
iibage tSI Applewe cart, at this Ittittc, diaw a Iairly, Iocused picture
oI the M`eintpsh ethos. Madatosh is-youlig, wearsTjlue jeails. and livIe`
in aIt 86s..vtei(?li oI the 6ds `unterIulture. Me/she is hoA creative and
committet,, believing strongly tot BiWer WIwrk ultiniately Bttt
MadntOjh a impatient, unctoIcnriaMe,and contemptamis oI'everxthmg
that is ?`nv6n,tional or hieiatchiipl; MacJbI`sh is
but has a Ierment hcliei ii* hi?hei omi "sion .that t i n itran&Iate into
violent single-mindedIiess. Mpeiiitoih j,~V,toielibiHty
`attjnly t`einriocently WlnerableIe`l Iteshori,'Iila2ntosh is aIrtculiariy
8edticti\`| -alheit untte, combittatidIi-,I Httel'#ihIl:itod:MoheSplpIi.
IhIcKIadntosk etlds sees the iestoI usMn the mirroR Westre young,
WiC'SUATt bean.s IelI a .litIitig/ v`-'Secretl`t
see ourdv`ms I&nilantic poets.` We don't-believe the "movement`-
oI the raIiOisJst`lly civer'yIet. W`ib n`t`dm'ire,`t`4aiii?dd(3n,
or size. *l,te thought bl worling in an IBM environment makes.us want
t~ throW`-BS`bs. Or at *i `` sled.,`hainIteI4 -Or a t least settll, `onIey
;tb those who `o. We aie wcaiious gl adiators,
Thul & 'the SupIt' totvl
broadest. Visually, we were in a stadium. Unlijce most tIlIivision
u-ansmisSi`ns'm ihi 1980- tt` Spper'BoWl is hrdatilcaIse liyIe ttI'ilj p`t s
( S i the country simultkAeously. The evenit has, di&eI&re, the Ieeling oI
niIidhal 'aatphitheatr(,. It is a guab`V the dttsest thing we have to a
Coliseum, exper`ce. FurthorniQre, .the cbrrpnerdals are interspersed
Within OiI 'pl`y. oI the gjatne in k #aY th, t Is less* preditoble than that
oI other prograrauiing. Thus, the b r e ` n g away tp a commereial cau
sneak Up on vipI`ers a lijiIe more e?`si ,,i|aps catching: thein-I little
oII-balan`.
So,-we4at stItitlg dowtt into IIie-st,IcIcitiS` iv?ai,irtig Iot the lion` and
Christik`s oI 0Ur tanes;` Xlien, without'WartIiiig, ,we Iound Qtt'tselvps
pi `I ``g ,ieadIirs,t"ihto''the gull,t-cl be`stIike `p'U-ctuIe. -The sopild
is so coll and erttpty.,w caIi aln&st Iel tl air Mo`iig p ` t oi,r
a s we yed* towatti a'glowiiIg white tube pulsing with m`cMng workers.
The en,ilrdniiept ,s,at Itnte niedtottistic $#8 organicdie IiIst dj iIiStny
seeraitigiy c,tr`dictoiy images. 3Dimly, we hear a voiIee: "Cird glo'-
orr*ri'oliS:j 4It i i i v``/ ' ' l S`ei l y, t`e arei`inli'Ic distiibe.
imsit the nreaning oI Ae l i ne o i marcher`,, we Iind ourselves nose-to-
npse #itti a pr`Iressito o,'e,npt,I ydu`g Iacts, with `Ip.ved I `dI . Just
as `rui~tly, iIB aresstaring # their luwhing'Ieet isiimiuelirii th``etal
crosswcik. Right about now, we shcttild be hearing a glib annouacer's.
74 Journal oI Iio,~ttlaY Ctiltui`
voice, cluing Its in ttf the j Oke. Instead, we he^, "garden of pure ideology/'
The ambiguity is overwhelming.
Where are these i1eople gtfing? To Ae g&s chamber? Over the
marching sduild, we ^tfetifecoming iai~fe cjjnsdous of.words the menacing
voice 15 forming, but we can't make sense of thm-we t^n o^ly f^el
the dread the few partictilar wotds we graSp elidt ftdrnm Forthe rest,
we try to fill i n the gaps. Bt bpfbre we. can fi[fure>the answer-we catch
A glimpse of a young gfrl, full Of vitality, whb is tlinninlf'somewhere
very last and catty^ga huge hariimei'. We ask? ourselves, "Who is this
gu-1 and w'by i.s^he.xuiining?'" More marching. There ate^ittleteltecreetjs
and theai^y voice is-comings 6fitn a iftag&'tfifejt. Then w$ see ^ n^1 y
suMindttjal.[)&l^ d fisore^ police VtiiStjin^ toward us. Are these pwiple
dil'asing-the malrdiers? Are tliBy chasing us? We wonda. We flie gifl
aj^in. We hypothesize: thffy^e ^la[fng that girl. We arerfraidforher.
The marchers bepin filliftg into an auditorium` in the, presence f
a 1ai[e telescreen from which a tight-lippe3> angry Old m?fn is talkihg:.
We re^e th^t. he is th? Voide. Wje can now hear him making vague-
threats about weapons. Gut to the woman bdng pursued by the pdlice.
Now we k now.
We feel the coming confrontation through thedtamaticinqjetus,
the change in the sounds' salienM, the j;athered d'ojvd,.thp iargP"-than-
life pressena Of Big Broth^', atfd dieXbs^ce of any expected rammerdal
cues. (We feel, rather, than know, thsic it's 45 seconds in-where is j^e
product demo, the jingle; tfie ac^1outt^ voic^-Qvfei` thaft 'is ^uppos'edf to
dej^e all this and tis laygh at-its transparency?) She stops, she winds
up. The sound o t the hammer cutting through the air punetuates the
tension, now at its highesTpitch. The sdr^n 'sp^aljer intones, "buiy them
in Aeir own donfusioft." She jshouls. "Hie hammer flies through the
air. Because "we know^the hammer is hurling toward its'^ai3C Ihp screfenis
dedjttation "WE Sl l Al X 1'REVAILI" is jenderM an impotent assertion.
The 'hamtodr smashes- the screen. We stare at the empty worke(> whc1f
in turn stare openimoutlied at the hlue blaze of a bfokea we caji't
see. In ttte,[aie, traiisc^tlent air is the;soundof spi1e'vaguel7 (Bkoraant
plajnchant. We dori't see &e :giW, nor tlttr tftan with the voice, twar- A;e
.police. IVe are in- a sort of tnehtal sweat;# like ^sbmeone Who I)a juSl;
nairowiy e^ped';<ian[;$-; "Whfere is the ekplanation for this?" we want
t Q deiaarid.
t1p the screen rolls "the text, like something fic&m &n epiC-movie.
The typeface, in ijetfospect,- WouW "be recognizable; it is tlie tightlyiset
Garanidftd with kissing serifs th'at is used in all Apple advertising; A
calm, cultivated, but slightly tongue-in-<^$k voiee feads thfe cjopy^ "On
1anuaify 24th, Apple Computer wi l l introduce Madntosh. And you'll
see why 1984 won't be like '1984'." Fade to Klack. A multicolored, aj:^le
missing a bite. "What? That was a computer cotameitaal?" We shdut
I feel like I shout
that question alll the
time about
commercials now a
days.
I i I i heRe. I Us 75
In menIe` conlwsioit` But tlie wttek ihas Is`n done` kpt watching
i i 0au 'Wis`iiO&Int ljae, j:,cpItplecIeI m r n t m .
As menlilwied previously` the `*1981*' spot i&tisarticttlarly condensed
MJd'ttietaiphoiiBpL, IIn oIder to. tie abIe r " ` p l ` # 6 adteetIs'erti`t
i`drks o&i `e-OTind-dI vie#Ic it is, liedBsjsart,, to IrIdc tpaIt-l iina`es
a bit. The ovetridinI- metaphoiPj oI course,. Is an allusion w (`e?rge
Orwdl's B84: In.Jannaty, he raasIIt0tt,Itinnteidn-s#ildieiliIce
being dIeliig`mth speeches and;essa#lapaiing the cuAent poli'tiidl,
eeonomic, and ideolopcal environment wiIh Orx`ell's boolk. Thns, even
those -l`hiS had ntItI itsid i t tj/ouid hate titIidensidod thi? co&Itierdai Iia
aliAiited deg:iIee as an allusion.
The setting Ior this "1984" is $ htige, `ey, sdI*eni;lt~sed smicture
thai i? rat he shabby. ThI look h`e, ih IatS` shox`ss th$ &tani,P oI the
producer/director, Bidley Scott, who had-tised shal~by4ooking lutnIistic
sets in h ` pretious Ieature Kims, dt i et i a n d l a d p n n k f f Bi b'oi`
and Iutuis?, bSth aIt-chit`ctjIts and.lIeis`, this set is andmportant element
in the Id`jic oI tEe commercial: it is jymrpItImatic b ihe `ppa`i t `
ilIogic`li*''nSitheIMA"**P#l``l"``` aIgunient.,Tlie
comtnunietti` heit o I an?insular socie` in decay. The society's real
or imagtoed iotion &t it$ p,iSt giandeur is lexenipjiIigd in t h, hIeioIc
pjIdpoHdotts-pl the`SIc the "aia`:blIe" cOltitnits`'theItiiseledtIxI iriSctibing
the'walis pI Ate audilorium reminiscent oIra'War memorikl. As in OrM?ett'tI
liie`leliscicejns- m 'Ihgy-ii` n,t' 0 M m h sets`
ih'ouIB they IaIcSdoS` yidea images and, sptajdi Hiese axe also- like
computer' serins wt h Iligi`ts-' artd' Chara`ter,gI,iet`tdiVttIes,S,`i` Ci`. the
scIItea witii th#trainiSIt|iiSSi,Jil~ Nei'thpI t(`l`,doW36'dFconlputcI--``t bdth.
The envilonmeItt ctI the place is unIriendly to humam: the aSr i s
dusty` thI mejal walkways and gasm`ks tJie,gK QI cheplIals,
th` eats m Ilie kuditcIru)h m ckJeSs~ tleIlcIia. "Hiis is the-wolrW run
by JBM, a seeIrby thetiacintosh ethos: a selI-iggran&ingi inhospitahIe,
ossiIied, conjputeridriven society.
TOe inhospitable IeIeling about the environment is reinIorced by"
the sound. It is thersound oI b`tng in a larg:p, empty `pace punctuated
Ijy tWo kigh-,pitiii`toiiei that Alternate in somelnComJ~ratesiWe signal.
I Ms noi`e ge,s louder throughout the spoi`nd is Iurther overlaW until
the moment .I crisis by the inteiitriinabie ISund oI rhydiiItic intoIchiItg,
and `|t;strident, rnen`cing.Vjoiee. Th`oaghoiit, the sduiids-are perceive`,
bjitunintelligible`Iuither undeqainning Iheineanin`ul i Il c`coIt he
natrativeJ
the* ` i ` e I s -`e -dres`M'in IdIlDJiSi uhSIoiais`ne: Ms Iits-
M. Their heads are 4hai?ed, AH evidence'oli`enderds absent Irom &eit
dotMng or jgt0onMjg.''1Ih?` ooily`diing ;that (Ittiiigy,ShI,'thi`tiQro
ppnaliSJlony-Ql: e~n4`ntratiQtI,caiiip`5&narSils BhSIroceasional`sOTask.
Thji`'itelSgJt'iii'ttttison. E-veryjindividual-diIteenee, amongnhtoIharheien`
76 lourttMoI
as ppIsible, el``gteel* tPhey njivei slidw~My, responsCtc` JhIi
voice except-miiidless. dBeiiCTiGe` et we raasstill eel the mlnerability
oI their htimamtYAey prS alt you`g. Sdiliehow, that ni`jc` iIte
vacantnes` oI their eyes aod the trarieelike -wray Iljey hold their hdttdS
slightly Iorward whien they walk all the more' hotiiIylTig. Their amisj
Iurtharrtidr6, do IIpt mow 'M they walk, g,viSig thBIn the appmm`ce
oI automatons, that is in heartbreaking oantrast to their youthIul Iaces.
iClieir impOtert,l~ liIIlp-arOis sUt:id eMpty hands, Iarther, prdvideA' geiStural
couilterpoint to the girt aiid.the police, who are-anried and ready.
The vo&e belongs, to a Iigure that can, ttnly be 8ig BroitIieI. Tht
speakp- berIe is strident, Md selI`,xriknt. The tItxt oI
speedi is asIollowsr
Today we ceKcTjrate jhe Iire? `orIops mpiyemry oI dbe inIormadon pttriIicatiQn
dilIcriwBs.
Wetaive ye,ed; Ior the Iijrsl ijniI m all liistory, a paw
aTi ny Moomsecut`IIomthe pia`gdOTtr,didoplic`as. O#
o' tte'teardi wIeai`n- my o3yh.
Our'ermies shall talk'thAttSIelW tIIl i&ath atiS we hmI own
conIu`as
It'll I w`ond`Ipl Iex`gle`I IwP d d&`bla'alk, jaiSto
Iabricated words, and ppor grammaK However, Ilie text, oI the iIpe`h
is not heard by the in its entirety. 0l t the words that appear
i a boid`ajIe come through de`l y in the conimtrIiia` The xpst are '`lj.
but drowned in the surrounding noise.` The ''heard" words together
do not IdIm .an in`lligihIe .spIcech. but j`?otild present a recognizable
impression oI RQciaMsm to an Ameri&h iudienc` Words like "ideQlt~gy"
carry purely tregative ojiIIlriotatitjns in comtnou ,AIIlerican' usage. Even
"glorious anniversary" sounds Iik pverblot\to .eoroiItItni,il,
landmark. The monopthic asseijion oI power and mIl i `st i e tteeats
have Cold War associations. The 'Ibury theto"' pihraswlpgy would be
associated with'Krushchev"-w?e will bury you" spItedi Ior
The speech, thereIore, ajntriButeSvlo Ihe overallonjinous aura`pIidIicaUy
through its limited intelligibility ` d ' th breaks in its syntax.
When w see the speajc`, his gte`mjglint #paqgly~ obs `i ng his
eyes` Kke the sophistic politick oiatoii described by Orwell in hislamous
`ss`I on l a n g p ` attd,ppliIicS, who (Iontroj om thqU`ts, SttAthereIoIg
our actions, by the way. they phrase- .e?;hosmtJ,to. This hptipn M
centKLl to the Mttcmiash argument: that what we ,aw-dealing with here
is c q n ` l t h p t l g h t r ' t h t Q t l ` ' o I the language in ` h `
it is Earned. Ii!Cii9idejy.th:at CQnipiitere. an,w$r to tIie altI dewpriiS`pti
oI books ;`ven b I :Pouletthey sm special as . objecb'because oI iheIr
l o r tlie Resit ol Us 57
isxistence as nsental Thus, eoACrdl a! eSI`istit I`gp2E,:eiis Ic6ittrol
o( rteItt4l liIe.
IEIihe threat herKis thought `niIcSlj t hw the Ia,6lsi '8tdrttpIlS`i:s
thitt'liSQIc toe ewlSy police Ibtce that ev# iA tiiIe iSiovies
Iee to Bel iIiIead as tIIIe, Itiought Police. Ul eI wI-there io euIbroe the
pervading saittenessI l`tthe'peiMtt Iliey dire dhMiIs tttaijttidly aiIIer`tit
sS`'iI I``IaIttly, obseIvahlylem&le. SAvk the apple a& the
end, she , the orIyeolor in the commercial! IItsr health, Sttertgth, sttId
ph`isitai dewielopIIi`t`ei`l,*? Ya.1n t hi s' i `Iat Irl t el `Ia' al Sr`
ti'ttprtIteqt`, IIwawld he" Msy to '\`ite tMs-iscairtily-dressed'Wcmian ott
aWa typical pdwtisiilg ,#loy to Sell pjr`ijcte lMtiiIar,y
ttp.sideri,igr m`diI ettviIownlSIit te' wIei`i the cot t t t ae`l ij`nl But
casnsideS" Ilie alternative; thisiple )uM tiot ha-KIt beerpIlay` as `eGti\IIily
Thy a ma. Not -ottly es 0ittait`pr6y,Ile a vtll:irithiIctot`t to
ther`# pI tl` aiaraIctert``hIeils rei3nittisceiltOIelongrJiiie,Mvplii)iB`
allegoriesj, lil`edoiunibia or lihertl` "whct are n`rl y al `ap 8epicted
itt. the vi`wal arts Wi& Ojie or'both breaSM exj)~6s6`. I ` e iCJhalitaJ ` o
sings-to inspire ttIe it`oliitionaries in Jean drcmi s T h e al c onv , this
woman is a requisite member oI the dramntis prspi t m -Qt revolution.
She is here to pIovide th? insplr`jIip&to.act. P&t anoIlier w` , she is'
our Julia.
Her town- act is strictly symli'oliIc, yIet ISoignantIy hcIoiti With an
eIIort' that,5c6Itie with a shout, and die/13homgM JPiIi Tight behind
her, she ,dtstroys not Big 'Brothetj hut ,his "lmage YIit. the. ensjiing
destruction isja '"tran"issendIei Wassng-diIors.''! vIe die
saieiIetiji,i#isdetadi`aehtth,ixl`e I`l,;iItia,dream. ItasJieal, and yet
notreal. '`e.`perie`i.atid:7er jyewati.sAs'i`itha-d`'We s,us`tt`d
logiigIl-iiaite`Ie t,Jestijns4& SVlIpg`'h`s:p'pt'? m h f a-secant? Wast
shIi'a*Ie6i`d,'"l``s shc`ilied? Whathp3Bed to3,,g Brother? Wrnxptrm`ae
to -the image's, own intettml4c`c`dtakIiiIhie,,i,e,Iung te'tti' tJWP-
T I h e ` p a c k i n I I i t I t a i l intolpupdyli`t`iandmownjenC
I`SulK ini,a vies`in`'-exijerience`tMaI is:'likeSB;sikti-5033nd ipsh ti'rsIater
urgencyra visitation hy the Madijtosh,ethoI. jUiIi dIens&d'Wait`ilQ`'*``
jilts c I ` ` a viItuAl tune that' aasms rttuch shorter *than sixly-seconds
an espedally: `ood trick in a. thir`y-secolid world vi`hsit l op`r
tommertlals ` e dearly IgIt. Jjct thIs Virtii`l time arid s`a, vIe symipaihize
Mth tIig`thos, we expgri`t the. urgency I his/her situaaon, vm Ieel
his/her vulnerability. tliB ideritiIicatitm is compIcted" thI`UIh 8 hiIe`ly-
cha`ed Emotional eXperiInIct, then `lighIly' deItsei Mth ` pajIado`S,
ddiiverM with, a smile. A bli`dy-colored Iamiliar icon, the sign oI a.
most amiable trickster/ who built a ground Ioe our jmutual expIriISiqe
and then too` it back, ps il K) say "just id(ddirig." "1984 won't be. like
'194' " bepauK Our aIIe`onaIe complicity istassumed. Inspired by this
heroic act in jiliostile environment we have ourselves eiIeperietK`i wI
To me the
usage of the
woman was to
show her
taking back
her own life
and the "big
brother"
slaves.
78 JtJtnrnai o PopnlRt diiltIitre
are to. drange it all by going ouj and T>uyin[^a csDinputer that will iree
us.
The; pqt1attQn o biiyjhg ,a jcamt1uta? with a tNtj1titiojftlufy aet is ^
deft ideological maneuvar^ In Tjoth form and idea^ it worked against
the myth of ibM, "fcV # "Big^lU'e'` tifeg^yeinstead
of a reassitiing positivje; ;offeted. its colttti^ ^ d itsi "toallttUe as
the^trtiddte; ^e'b1jking<0icOMvent[ptts iin thfefcam of :ibis commerdal
is #nei<:hai of die Those. the adteiftiiifltg fdt IffiK
were otitiag^d. chai^ng 'Applfe'with iatdleccual (&honestfi `'Whatthey
IIlkA`gei t ~ `o (rt t h e a # ` ` t #``eh6 Iaae this`txmIliat
as, a battle for :he'human sol--^whit4i it dearly is not., . i fs a bat^e
f^rshelf spatoe. Yet, as Barth^ tplainSi one myth only be unitmsked.
by another, couht^-fnytfi.^ This wa^, ^gt^ably, the 0tily avenue.
Certainly, no one who tri^jnore mnventional altemativEs survived 1984-
.thfeSway Apple Gothp^t^ did;
A radicaLstrategy lor a radical situation. A controversial cpniinerdal
^ t h a IfegfeWdaty e^fi^ on view^. "I9S4" may, pterhaps, be said, to
epitomize the: tbillty of, affective imagery to picsngtdfe in a cominerda]
.environment; despite themnvenBdnal wisdom abbut^ellingpropositions
and pi^uQt ,lt use's-ian iiililige'totiehtM Idnd .flf rheteiric to
persuade through imaginative experience^ in the way ,so 'well applied,
to iit^tttre by Kenneth TKi? is a texfhnitjne that "seems,
surprisingly welf-stiited to the tel^sion me^um,>iat!i 1i[ ability tp inVdke
atl idi^ginative experiettt^ is.<aciMtated by the array of^OTisory sidlmuli-
sight, totMd, m'otiipfn.'Sind! [Rf HftTy t?80i th<^e h^- he^ ^ noticeable
growth in the number of Gommerdal spots: that persuade in this way.
The uiov'eAient, toward "mtil'fe effeCtiTe adifrtisiHg^atid more
metajphorical form's-is prdb&bly .riot tBrect,, thf fl^3t.
o i ^is; cornmerdal. Vet it is-neveithelesssia' dear trend Ibat begins with-
*198`'and jth`tmt'CiitiGal mthc` siii`",,`r,adpI'0*iertped
that can addisss^he persuasiveness ofciraagp-otSented commetd'alThfetdrie'
as an e^pM&rtc`^ Bommtftticatifon offet mapOft^t insightsf intty the
-worldhgs of thesejynibdlic actions.
Notes
'John Sculley, Qdvss (New York: Harper & Row, 1987), p. X78.
`Nancy Millmatt, "i`ppre '1984' Spol: A Loye/HattI stgiyi" A`Iti`rt`, AII;
(JariuaigI SO, 1984), PR.-1.
,~. 17
Williata "Madntosb: /Looking tIcyond 1981, dvenm
(MarcE 1981), pp.,
had ts one tiaxional.aizing-`'tbe `Supgr bIivhad previously ItMn
shown 18 times eight'days" in 11 spoImarkets-
I or l he l t r a t ol Us 7A
.'Paul '"Ilciaac, p`,g'.mueIsW:at`iii#iroul#l`` Px`pkigtt.Sism
Ior me Soul oI jte PrcilIe," 4rIu`iA a a t t W 30. P- MeGowan,
M,lKm`,.,ii4 SpuJlt. .TIils'tprnm``ia` a/mtuSHr wOix,he.rattd"PriKmi Cannes-
IIle `ast 'AIIldaiaIt 'tsSmriIIttcIii (' S O ik Iearsas wdl as S4 other'nanonal aod
toterratiettal sdwatising awSttdk.
'Farhiji*J2.*
*MillJnEtn, p. 84.
'Scylle`i p. 178.
iMiiMHg 1984, videotape, prod.. By~ Ildwirt tyndt,, Adttiitlo JoUrftdl, RiIeves
iMdkingpS4, vidcoteIjc. iIote, hbev, Iliat it Wl d Be'imptsiWrto sgjarate
thIe eIIects oI ti`s cotnmareial icom the eIIects dIo`er commonications, soch as press
coverage.
jS`KenneOi rkc. ASkehr f c of Motives. UnivaIsity oI C&liIaWiili
Press, lp6d). I am "basing this IIistIndibn on Kenneth BuIIe'S ndtidItrdI the role
oI imagination'in ,rltetonc, seeiapecQllt p,~'. 86-,8. t'Stt Itittliti'" `i ng the liIaer`
that-Bu`k`p`rmWoI p\iShing t h ` two `tedaIi,rddthc4,t0 teiKtireiites at whitii
Aey m4I hie ttIeated'as op|`ites Isee battoui oI,Jap 8l & BIvetotii},
"1rhisj is analogous to our uraction to pjred`Ble, Sidactie'texts, See WolIgang
Iser,"*Bie Jl`Aig ErCKess: A. 10tjenotpenologi`l ?`paS!," Seaier-iRepQrtse
ritfcvsmfcnn Fxtrmaiismlp TopSpkinl (Ba``pw~rc;
Johns HopHtts Umv`ty':`bKssidW)~
""Ibid,, pp. 68-5 and p. Iscr considers AIe lpck oI iluWy tolIilliHenl oI
aSi`yCtltional ex`itatioIti id lbtIiI distinguishing iItarIc ?rI UteIs,YtextS. It is dirongh
hi!! technique lh; SpCh JtettS tmIoId ` "living eiils.' S aIeo,, Woi3,,, Ie.
TA? 3tct. of Reafiing' A Aesthetic Respmse, (Baltimore: Johns Iitopldns
UriiversitI IB`esSjkl97B), pul85.
i5E,D. ,'Hirs[, 1r. / ISff [ro? of Bf[#3>reterio^:'(ehiCagq; f niversity. 4 O h i ^
1r^/ 1^76), #2. Hiis(?h,'[ttriB(u^ jbc noUon of,the cprrigihis sthemi' !Ep.4^i[et
and,.Qf a>4^. E-P- t1oidti^pu.f1otie ftrft this conpept if also tfesely ftlated tolser's
thatjryof reacfing:
'TOe basis Ior, these "belieIs is the accuranlated wi`Iem Irom dIcadra oI, day-
aIter reall ttS&ig that is, pcriodiblly Sranmaiizea Ior practi&)n;* copy testiw
vendor9.,such,a`tirke Matkctingllcscarch and AKS.
'Ilicss; time-Irames would be.pivportioIial Ior a sixt`Se`nd Spot, aTtIer the IiTsi
t`n seconds.
S.S`, Ior IejIIltnple, Ieichard ujgh "ito` Advertising Works: A Planned WttIel
'Eevisted." /ioiitwoi of AdvenUing Research, 15 (Mroary/Mattai 1988), pp. 5765.
Also, Richard Kaughn, ' "Hsmv Advertising Works:,A Planned Model... Putting It
All Together," Jokumal of Advertising Research, S O (Dctpher 198(0, pp. 27`33. And,
H,E. Ilntgpttan, "Memory Withpm Ewall, Exposure with6ut Pp:j#Dn," Jdyr`ai
of 4dveriMh0Research, l?Aug:nst 1977).
'>9KeAncth Burke, t h e PMloscifthv df Liteta*v fontft-liMl/lBarkeleff iOruvensity
Of Galif<Mtua1h!S, 197^, pp^ ^ 6 ^ ^ .
2Bnri`e, Philosophv of Literarv{Formi p, 3,4*
"l`Aeth Burke,` Grammp of Mafhes, 093,;Sykeley; UniversityoPCaiIo`iia
Press. \96i)i.`.ivi.,I ar,:iiH3`iia ir`ttittial ba(a`gI6tind here al iHe-'sIeenI
(pI situation) inlvhiIch `Veommen`l WasctIaIedaHdairtdas the "iildmate grOtmd-
oIsceni!" dI IlieIIlitioIt.
"RdlaidrBmhes, `Neiy Iorte J8illand`,ng; pS.
I s
80 Joumar 6I Popular Cultttre
all,oI th` Iplljjwing Ior the technolor`cal and industrial Tjackgrotmd oI
the cIeiIlmeItial:
ttoillip EiWDeWitt, "Th` k`narlWceiS the'WiIc PItw I`Wana
Apple Sattle Ior Attention," Z p. I.
Stephen IanIlel, "Applmtice," Fofbes (Febrtary #S`,
liIiJUaiIi D. `rbacE~awd, jeijnt Cotiant, t!lie MatI NetS&beeh
trart(3`Sp,198R.Ip.
Bob` toridi, "The Real BU,J!-`rjSi" 0'apuaIy jIl!, t98,), p:
1'
M. iMorit!;, 'Appte LaIlaaIts the Mae Attidd Th&'teaiSnto`h .R&I& OtIt/iIt-a
Bin erI Hb'Udt` and ShOWWansMp," r` 0 a t o ` so; Itsi), pp. 6 8 #
"Personal Computers;And the Winner ls IBM," Suiinessttiik
pp/ 76.
Michael Ro`Is Md JeWnet Con`at, `'It's the Apple ot -BUs* Eye;" Iigwmeek
(Jatoi` 80,1&84), pp. `55.
IteBd`kh Wiie 'Snt Gath`ne HaItis. '"Apple' New, IIuJade," Businessweg`
(Nbveaiber 1884), pp. l46.
i ' `e WhiE Kids MectIiarth Vadcr," Rdlling StoIt# 'Match h 1984), pp. S7
videotape;
'6"QI thp,235 million- pcsple.iij AmeHcst,. only a IracIion t`n use "a computer
(idvttaserMtent)" Fdrbfs M4Idi 12.' 1984). pp. 107`1,0.
RolHhg Stdnt,, p.. 39.
Making i9S4, vidIcotapI.
s`Burke, Gfammar pp. Jtvxvii.
`"BarbaraRudolph, '"Shaken to the'Very Gore" t i me (SeItembIerSO, 1985),~p.
64.
''For reports on Steven Jobs* public ai` private pmonality`,` the Iollowing;
Enc 0 ` ` "sWwdown ,n "SIli-`hT`ll#," ffdasweek (et6aihtr $0.1985),.
pp. 46`80. `
GmM imbenow m& Michl R6g6#, "pM TItlkS Abo`tMs Iall,
llmsweei (`ptembw Sd, 398$), pp..Br.
liidia# Ro`W''StekioIe5i```` (SIepiei!aberi iIIe),
p.Jp.
RdbCTtJ. SamilIItibn, "eew3,Bs'jajd AIiBlIrPie/* !Im~Sv}e,ikQ&o'tis:X 19`1.
p.,59.' / ` '
''Steven Jobs, "Steven Jobs: "`at I Did Ior Love," d4vrtiimg./dge (Sdpt`KIi-
S, 1984), pp. l8.
*RotUng Stone, p.
'jQbs,p.'20.
Rolling Stone, pM7,
MiIIittan, p. 84.
Making 19M, videotape.
"Walko- CMbSon, "AuIibors, Speates, Reato. and. Modt jteadeRs," RAdi f
Resonsriticism. From Formalism to Posf-Sltuctiiralism, ed.hv JaneP. Yompldns
(Baltimore: Johns Hopkins Univerlity Press, 1`) .
AriSStotle,iRAonr,.W. RHys.&b`,'ms.tNew?dlIc.MoaerijMb`, 19`;,
ptSB an4pp. 9Wl,And BuIte~ K`etorVjpp. 55-56;
"Burkej 3rann?ia;p. xvi.
"Burke, Rhetoric, p. 64
?Gibson, "Autlr6I4, Speakintj Readers, and Mock B-teders," t..E
t - t o l U I 81
*Making19S4, vilffltafpss.
"War`ck Wadlingtpn, The ( i ot f f i ce IIbotr m-Ammpan JLitieratwei,
`Prth&tori` Pnn,tton`It~mltyrras. IS.
`'Irhe 'at`3tiOW as IIiwugIt repealed pla`ng; oI
jadias tajxj: at'hSjgh voKunIe-No'aIIid" ItotiRuJ, m:epi Jolin as
IiIed in whicli is "draIlI not ,the in ibe linIl produsctIon oI th`
,poJtoni`m,'Sndi,`Bst advrtia:inpis,go'jJaott`'iRuj'`ple
oI ptoduqti``
wC}~t` ohf f d `'FoliMeiS and thIe EriIgHsh L`luagc," 4 Cglleinm Of
iGjajden BipyMeday and Comp'atiy, 1954i. i
"priticIcin`d Ae IapmatceJoI
f f i t i dsm. trofn Ebratisln.to Post-SlructHtalisptfieJfompm0alBmam
Johns Hb#mstJriiMrMttPItisi,498O)tIS0,s'` , " . '
``ter-liidlesI Ieatt.`'as in-MItli-/SW;IthiS'WQW`rt-'Sst;w.Icially
a hammer-lhrQwa- and nbt an acttess.
`'1toUmg^](me, p. S7.
'JVad`togtcItii p. 6 told pp. 46*16.
Mdkin 1984, wdeiape.
``Irhis IK)int oI view is tidt only atIlrilttiable to Barthes, IIjit is al,0 tKe
recommendation oI one xst the, most widely-Iead aiid closely-toliojs'ed ,d`tising
handbt`ks, AI Ries Ind Jack TrIIlil, PasUiorilng. f h e Battle f or f our
York: McGiv:HiU, Wl i.
'Kehrtedi BurIeiMfi?torfc Of Mafivps XWBO. Bwkeley; UtIiver?ity,,aj| (`il`mja
iress. Ill69,.pp.64ia y
tlMsi M. Scott, is m `ssinant proIessor in the Sc,oqI oI jottraaJjiai tand Mass*
Poinmiiijic,ui`It,'Univ#siiy oI`jbr`db at BIjaldep-
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