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Erin Dietel-McLaughlin Multimedia Writing and Rhetoric 7 October 2013 The Use of Rhetorical Strategy in Historical Photography The Civil Rights Movement of the 1950s and 60s was a defining moment in United States history. Taking place mainly in the South, the Civil Rights Movement was composed of a series of nonviolent protests aimed at achieving equality for minorities. The exhibit The Challenges we Face: Civil Rights Photography, is a series of images illustrating the hardships protestors experienced while fighting for their rights. These photos, taken by Matt Herron and Charles Moore, depict scenes of policemen with dogs, fire hoses, and other various weapons attacking protesters who seem to be unarmed and helpless. All of the images in the exhibit evoke an emotional response in viewers through the use of rhetoric. It is commonly believed that rhetoric is simply argument or debate, but it exists on a deeper level of comprehension. According to Herrick, rhetoric is defined as the systematic study and intentional practice of effective symbolic expression (7). It can be seen in many forms whether through plays, movies, or photographs. This image of three teenagers being sprayed by a fire hose is a rhetorical piece because it communicates a message to its audience through framing, focus, and symbolism. Charles Moore uses the rhetorical strategies of framing, ethos, and pathos in his image to draw away from the medium itself, allowing viewers to focus on the deeper meaning behind the photograph. The simplicity of the photo makes viewers focus less on the details and more on what the image is conveying. As Bitzer states in his article The Rhetorical Situation, A tree does not

Main 2 obtain its character-as- tree from the soil, but rhetorical discourse, I shall argue, does obtain its character-as-rhetorical from the situation which generates it (3). Bitzer explains that rhetorical pieces are circumstantial, not just a presence. Viewed as simply the different parts that make up the image, Moores photograph would not be a rhetorical piece; it is the message these details are trying to convey to the audience that make it a true form of rhetoric. Moores photo is a good example of immediacy, where the medium disappears and we forget for a moment that we are looking at a photograph. The photo was taken at close range, which allows us to view the picture from a unique perspective; we feel as if we are experiencing the action firsthand. Due to this proximity we feel a greater connection to the subjects of the photograph, and as a result, a greater sense of sympathy toward them. The fact that the images are black and white immediately draws the audiences attention away from the details and focuses it on the center of the image where three teenagers stand huddled against the side of a building. Although the teenagers appear to be attempting to protect each other, their efforts are fruitless since they are pressed so closely to the wall with nowhere to run or hide. The focal point of the image shows a young man arching his spine in agony as a stream of water from the fire hose hits his back. The action of the photograph speaks louder than the subjects themselves because although the kids are in the center of the image, their expressions are hard to make out. The teenagers faces are turned away from the camera, requiring the use of the audiences imaginations to mentally fill in their expressions and picture how they feel. The obstruction of the subjects faces symbolizes the fact that the entire African American population, not these individuals specifically, was under attack during this period in American history. This generalization creates a sense of unity among the victims, and stresses that they stand together for one cause.

Main 3 Many would see the teenagers hidden faces and crouched postures as looks of defeat and weakness; however, this is not the case. On the contrary, they are signs of defiance and hope. Even under the influence of pain, the teenagers remain united. This instills in the audience a sense of optimism for the future. The display of perseverance by the subjects of the photograph embodies the determination and resilience of the African American people; they will not back down in the face of adversity. The attackers are not visible in the photograph, and are therefore nameless and faceless subjects, identifiable to the audience only as the source of the menacing stream of water entering the image from the right. This reminds us of the hypermediacy of the medium because most of the action is left out of the scene, and we realize we are just looking at a photograph. The attackers are thought of as violent and heartless and are generally understood to be figures of authority. It can be seen clearly through the action of the photograph that they were abusing their power by doing something as inhumane as attacking non-violent protestors with extreme and painful violence. The government was corrupt, turning against its own people in these shameful moments of history. Moore focuses on solely the victims in his image to enforce and heighten the idea of the governments corrupt nature. He does this by showing the humanity and emotion of the innocent children, but leaving out the policemen as unknown, or foreign, objects. Moore uses his extensive experience documenting the Civil Rights Movement in the American south during the year 1963 to establish ethos in the photograph. Ethos reflects the credibility of a source; the more credible the source, the more the audience will be influenced by the source, both emotionally and mentally. Moore was a photographer for Life magazine. His pictures, seen by about half of all adults in the United States, were extremely influential in the outcome of the Civil Rights Movement. As time progressed, his credibility and success as a

Main 4 photographer grew. His pictures were strong rhetorical pieces that pulled at the heartstrings of Life readers nationwide. When people saw this photo of the teenagers, they felt their pain and suffering and wanted to help in any way they could. In the words of former U.S. Senator Jacob Javits, Moores images helped to spur passage of the Civil Rights Act of 1964. (qtd in Kodac). In this sense, rhetoric is a form of psychological power, meaning it has the ability to shape other peoples thinking or beliefs. This applies especially to Moore because of his trustworthiness and credibility as a source. People are more likely to support a cause if the photo they see comes from a well-known photographer like Moore, rather than an average citizen who was just in the right place at the right time. According to Bitzer in his book The Rhetorical Situation, a work of rhetoric is pragmatic; it comes into existence for the sake of something beyond itself; it functions ultimately to produce action or change in the world; it performs some task (3-4). A rhetorical piece has a purpose. In this case, the purpose is to connect with the audience on an emotional level and convince them to take a stand against the attackers and government. Moore establishes pathos by taking a photo of a scene that many viewers can relate to. The fact that the victims were only teenagers makes both adults and children want to fight for their cause. Pathos is a communication technique that causes people to feel sympathy for the subjects in question. Many adults who see this image will think of their own children, and want to help the cause to protect them. Teenagers will want to stand up for the injustice against their peers and friends. Moore took this photo with the mindset of establishing pathos in his audience. He knew that people would be more likely to take the time to observe and respond to a photograph with which they were able to relate on a personal level. Moores photography during the Civil Rights Movement exemplifies how rhetoric not only instills an emotional reaction in an individual, but triggers a response in the population as a

Main 5 whole. The point of rhetoric is to inspire thought and dialogue about an issue, and Moores image does just that. Without people like Moore to document moments in history, word would never spread and issues would never be resolved. With the use of rhetorical strategies, photographers like Charles Moore speak to audiences on a deeper level, triggering real emotional responses to their work.

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Bibliography

Bitzer, Lloyd F. The Rhetorical Situation. Penn State University Press. 3-4. Digital.

Herrick, James A. "An Overview of Rhetoric." The History and Theory of Rhetoric: An Introduction. Boston: Allyn and Beacon, 2005. 7. Print.

"KODAK: Powerful Days in Black and White - About Charles Moore." Kodak, n.d. Web. 10 Oct. 2013. <http://www.kodak.com/US/en/corp/features/moore/aboutCharlesMoore.shtml>

Moore, Charles. Demonstrators Blasted Against a Doorway. May 3, 1963. Photograph.