A poster from the movie The Graduate follows a general formulaic pattern in its presentation.

AS and A Level Media Studies

Davis

Rachel Davis

S. Floyd

English 103

Argument Types

29 March 2004

Argument Types

In an argument, there are many types of tools used to evoke the audience to conviction and then to action. As a society, the importance of communicating a thought or idea to an audience has motivated different methods of arguments that can be expressed in written words, speech or pictures. Movie posters are a great example of the type of propaganda or arguments that the media uses today in order to promote a particular movie. A poster from the movie The Graduate follows a general formulaic pattern in its presentation, namely by presenting the facts of the movie, toying with the emotions of the on-looker, and challenging the values of society as a whole.

The general argument of a movie poster is to convey the facts of the movie through the characters in the picture. This can be done by showing what they are doing or simply stating the title – it is the poster’s statement and proof. In The Graduate poster, the main character is Dustin Hoffman, who plays the leading role as Ben Braddock. The only other ‘character’ is a woman’s bare leg – save the sheer pantyhose, which she is either putting on or taking off. This picture immediately grabs the audience’s attention and presents the argument that this movie is about the experiences of one man, Braddock, and that the general theme of the movie has a sexual connotation. The title seems to at first confuse the on-looker because of its incongruity with the picture. It entices the audience to ask questions. Is the character graduating to a higher level of sexuality? Is he a recent graduate of school or the task he was motivated to complete? In the end, the audience leaves with the knowledge of who is involved in the movie and what it is possibly going to be about.

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Another benefit a movie poster has for an argument is its emotional appeal and response. The Graduate manages to do this in a shocking way. In the book, everything’s an argument, the author says, “If writers can use words to rouse readers to specific feelings, they might also move them to sympathize with ideas associated with those feelings, and even to act on them” (Lunsford, 50). This view can be the same when considering pictures or paintings. The most famous scene from The Graduate is with Braddock (Hoffman) standing in a room, dressed, with his hands buried in his pockets and staring at a woman’s sexy leg. The expressions on his face and in his posture are uncertainty, vulnerability, and insecurity, which make the audience wonder who and what type of woman has this effect on him. All of these emotions are given to the on-looker and thus gives a sense of curiosity not only to see what his reaction in this scene will be, but most importantly, who is “the leg?” As a result, these feelings can certainly lead to conviction and then action.

Movie posters can also use the method of a value argument in the artwork. The Graduate accomplishes this simply from the time period that it was released. In 1967 the values of society were changing rapidly, and the ideas of conflict and controversy were an everyday occurrence. A bare leg exudes a level of confidence and control the woman has over Ben (Hoffman), giving the idea and values of sexual independence and freedom – which was especially prevalent at this time. However, on the other end of the spectrum, the poster not only highlights the values of sexual freedom but also uncloaks the disgust, by some, of sexual promiscuity and immorality. Consequently, while this poster invigorates some, it offends others.

The ability to understand different types and methods of arguments can be expressed and explained through cultural works of art, like movie posters. Additionally, using arguments of fact, emotion, and value can serve as a foundation for conviction and action both favorable and unfavorable to its cause.

Works Cited

Lunsford, Andrea A., John J. Ruszkiewicz, and Keith Walters. everthing’s an argument. 2nd ed. Boston: Bedford/St. Martin’s, 2001.

Nichols, Mike, Dir. The Graduate. 1967. <>.