206 Multimodal Analysis F21

Reflection:

Through writing the multimodal analysis, I gained the knowledge of how to properly construct an argument in order to enact my goals; tackling the essay as if it were a persuasive call-to-action for my audience enabled me to strengthen my voice as a writer. I was able to control the narration I purposely paved out for the reader, and held their hand as they processed the information presented in front of them. The most difficult aspect of writing the multimodal analysis was by far finding the fluidity between topics. I found it challenging to find the flow of knowledge from one paragraph to the next. The task took more brain power than anticipated, and thus caused me to expand on my own knowledge of the subject matter in order to properly link ideas together. After completing the revisions, I learned that as a writer I get tunnel vision; the same mistake I’ll make in the beginning of my essay will haunt me throughout the duration of the paper. As a writer, I have learned it is important to not only proofread my work, but to be diligent in searching for errors, even of the smallest caliber. By eliminating all possibilities of error, I am allowing myself to gain the highest score attainable. The aspect of the multimodal analysis I was most confident about was my analysis of the film itself. I enjoyed finding connections between the visuals presented and the purpose in relation to ignite American patriotism. Based on what I have learned from conducting a multimodal analysis, the elements of the writing process I will take with me into the next writing project are focus on details and attention to grammar. Detail and grammar structure have been my biggest struggles, yet also my biggest accomplishments. For the next project, I will remember to stay focused and to triple check all future sentence and grammar structures.The multimodal analysis changed the way I viewed and comprehended the film, Tokio Jokio, I analyzed by allowing myself to separate the content in both an outdated lens and a modern lens. In an outdated lens, I saw the importance of the creation of such a film, especially during a time of uncertainty and war. On the other hand, in a modern lens I saw the faults and injustices the film perpetuated over a series of generations.This project impacted my understanding of what it means to “see” images in times of crisis, as I was able to conceptualize the importance of their publication during a time of peril. When a person, a nation, or even a world is at a state of collapse, one will pursue any means in an attempt for relief and to gain back the sense of normalcy once had. 

 

 

Tokio Jokio: the Harmful Effects of Propaganda

A Multimodal Analysis by Adi DeBenedetto

Adolf Hitler depicted in “Tokio Jokio” by the studio of Looney Tunes, Warner Bros.

 

On May 15, 1943, the popular film production company, Warner Bros., released a short film titled Tokio Jokio. The Looney Tunes style short film animated hyperbolic and racist characterizations of foreign enemies such as those of Japanese, German, or Italian descent. The clip had an enormously wide impact, expanding across a multitude of generations. The necessity of releasing such a film stemmed directly from the attack on Pearl Harbor; America’s soil finally became tainted with foreign brutality. The United States government, entrusted in both maintaining the security and integrity of the nation, purposely produced the film to target the Axis powers: Germany, Italy, and Japan were currently engaged in a worldwide war with America’s allies. The intended message towards the citizens of America is that amidst hardship and uncertainty, America’s superiority and optimism will persevere. By transferring both inferior and harmfully stereotypical features onto non-Americans, the nation was able to create a chain of fallacious knowledge. 

In terms of the effect on its American audience, the short film proved to be impactful as a tool for war propaganda. To accomplish the goal of influencing the masses, film producers weaponized ethos, logos, and pathos-each fulfilling their intended purpose within the film. Ethos, or the ethical persuasion, is established through the reputability of Warner Bros., which at the time of the release of the war film, was one of the biggest film companies to exist. Logos, the logical persuasion, is evident via key propaganda strategies such as name-calling and framing Furthermore, the soundtrack of the film generates pathos, the emotional pull-at-your-heartstrings; the music is an offensive nod to a traditional Japanese style. The techniques combined allowed producers to create an illusion of incivility and barbarity among the foreign powers, specifically those of Japanese descent.

The reputability of the film company, Warner Bros., establishes the ethos in regards to the film. Warner Bros. was founded in 1905 by the five Warner brothers: Harry, Albert, Sam, and Jack. The Warner family were immigrants from Poland. The majority of the family was forced to acquire anglicized or rather Americanized versions of their ethnically Yiddish names during the immigration to America. (Wikipedia) From the early stages of the company, Warner Bros. was immersed in the societal culture of war. Though the modern generation is familiar with Warner Bros. cartoon characters such as Bugs Bunny, Porky the Pig, and the Roadrunner, Warner Bros. first established their reputation during World War I; their first nationally syndicated film, My Four Years in Germany, was released in 1918. Gradually over time, Warner Bros. had received national accolades and thus competed with “The Big Three” Studios: First National, Paramount Pictures, and Metro-Goldwyn-Mayer. (Wikipedia) However, after the outbreak of World War II, Warner Bros. redirected their attention away from stylistic films and more towards war films. Harry Warner, deeply concerned about the rise of Nazism, produced various anti-German films such as The Life of Emile Zola(1937), Confessions of a Nazi Spy(1939), The Sea Hawk(1940), Sergeant York(1941), and You’re In The Army Now(1941). (Wikipedia) The brothers’ motives in producing a plethora of anti-Nazi and anti-fascist films were due to their personal experience with anti-Semitism. Thus, their Jewish heritage became a motive to produce anti-fascist war films such as Tokio Jokio. The studio’s continual effort to produce pro-patriotic films throughout World War II solidified their allegiance to America, allowing the American citizens to instill trust in the film industry. In conjunction with ethos, logos is created within the film to reflect the motives of the producers.

The key strategies within Tokio Jokio can be analyzed via the persuasion of logos. The use of logos is evidenced through the utilization of tools such as framing and name-calling. The term “framing” is defined as the manipulation of the context of information to spin an alternative interpretation. (Propaganda Techniques) The term “name-calling” is defined as one would assume, as the term links a person or an idea to a negative symbol. (Propaganda Techniques) The specific clip I want to examine is the clip at the time stamp of (3:49-4:01), where a notecard is displayed stating, “Editor’s Note. This is the room reserved for Admiral Yamamoto” as can be seen to the right. When the notecard dissipates, the reserved room for Admiral Yamamoto is revealed to be a cell containing a functional electric chair, adorned with black spikes. The chair is actively running which can be seen by the volts of electricity, however, all the straps are undone. This minute detail thus alludes to its anticipation of Admiral Yamamoto sitting there any time now. The purpose of this clip in the context of the whole film is to highlight the anger embedded in the hearts of Americans; the event at Pearl Harbor, which occurred on December 7, 1941, remained fresh in the minds of those living within America. Warner Bros.’s message within this clip is that America is unafraid of enacting its strength in the name of fighting for justice. By threatening the life of Admiral Yamamoto, Americans are solidifying their own self-righteous and nationalistic behavior. The key strategies that Warner Bros. used to communicate this message are both framing and name-calling.  Framing allows Warner Bros. to capture the key propaganda components of their shot: the electric chair, the electrical charge stemming from the head base, the prison cell, and the spikes lining the chair. This clip thus illuminates the severity of the actions committed by Admiral Yamamoto, negating any clarification of what the said grievances are. Similarly, name-calling allows producers to link Admiral Yamamoto to criminals receiving the death penalty in America’s judicial system. This visual comparison enforces the idea of enacting justice against those who have committed crimes within the mind of Americans, whether they are citizens or foreign enemies like Japan. The two strategies identified cohesively work together to convey the clip’s message, capturing the superiority complex that the United States presents. Though almost all Western countries would differ from America’s hardcore authoritativeness, the majority of Americans were supportive of the negativity targeting the fascist enemies of the nation. Through the usage of logos, Warner Bros. was able to focus its attention on the political aspects and motives within Tokio Jokio. Likewise, the intense feelings of anti-fascism are further conveyed through the producers’ use of pathos.

 

Pathos generates the pulling-at-your-heartstrings effect, as both the music and the sensitive content emotionally affects the audience. The music soundtrack is reminiscent of traditional style Japanese music, however, the music is orchestrated in a racist manner, thus enforcing the uncivilized nature of the Axis Powers in its entirety. (0:55-1:10) The composition of the music invokes a sense of nationalism and patriotism in American citizens, as one feels culturally superior to those “barbarians”. In addition, the cartoon style of the film offensively depicts the enemies of the nation solely based on racially associated traits: squinty eyes, overbite teeth, and large ears. (3:23-3:39) The effectiveness of the racist characterizations is to instill the idea of sophistication and prestigious class present with American society. By depicting the foreign enemies as racist caricatures of themselves, Americans can gain a sense of superiority and dominance amidst a time of war. Furthermore,the scene of Hitler receiving the postcard from a “friend vacationing abroad” reflects the detestable feeling that Warner Bros. has for the Axis Powers. (4:33) The postcard, as shown below, has two sides to it. The first side reads, “Dear Adolph, Wish you were here.” At first glance, one could be mistaken to believe the fact that this pen pal is truly Hitler’s friend. However, when the postcard is turned over, a man behind barbed wire is shown with the words “Concentration Camp” on top. The sly jab at Hitler’s crimes against those deemed inferior stems from the producers’ feelings of anti-Nazism. The Warner Brothers are all Jewish ethnically and religiously, thus the act of detaining and killing millions of Jews affected the brothers deeply; the postcard’s inclusion establishes the producers’ attempt to persuade the audience into understanding the persecution of innocent lives. By utilizing both musical and visual aspects of pathos, Warner Bros. successfully draws out the empathetic hearts of its viewers.

Tokio Jokio is not reminiscent of a traditional “call to action” propaganda film. When the film was first released, the message was successful in inciting both anger and wartime morale within the historical context of World War II. However, through a contemporary lens, the intended message deteriorates, as the racially insensitive content overpowers themes of patriotism and strength. Tokio Jokio has become an exemplary example of the progressive nature of our society; what was seen as a depiction of American grit and superiority has transformed into one of systemic racism and oppressive stereotypes. To analyze the film respectfully, it is of the utmost importance to examine its success during the intended time period, and to not transfer its bigoted views onto grievances or wars of the modern era.

 

Works Cited

McCabe, Norman, director. Tokio Jokio. Internet Archive, Warner Brothers, 1943, https://archive.org/details/TokioJokio. Accessed 3 Oct. 2021. 

“Propaganda Techniques : Coronet Instructional Films : Free Download, Borrow, and Streaming.” Internet Archive, 1 Jan. 1970, https://archive.org/details/PropagandaTechniques. 

“Warner Bros.. Fight Facism | History Detectives.” PBS, Public Broadcasting Service, https://www.pbs.org/opb/historydetectives/feature/warner-bros-fight-facism/. 

“Warner Bros..” Wikipedia, Wikimedia Foundation, 30 Sept. 2021, https://en.wikipedia.org/wiki/Warner_Bros.