analysis (complete)

  • the aim of charity advertisements (or those adverts made to raise awareness of issues/events) is to have an immediate impact on the audience — this forces them to take notice

  • Therefore these advertisements have to be more memorable and hard-hitting, this was a key thing producers of Super.Human. Kept in mind

  • The producers of Super.Human. Are well aware of compassion fatigue and so for this advertisement they tried to offer a different perspective on disabled athletes — instead off making them seem as in need of help they are shown as capable and strong

media language

  • Therefore they used a very upbeat but also unique audio ‘So you want to be a boxer’ from Bugsy Malone — this sound although gives an effective communication of the struggles of being a disabled athlete it is more upbeat and positive

  • The ad uses voice overs and drramatic music at the start which is a more typical convention of adverts but it then quicky changes to alarm sounds and realities of daily life — these sound effects underscore the music emphasising the battle of training (incl. grunts, groans, tape applied etc.)

  • Advertisements have a limited amount of time to convey their message — they rely on technical codes and editing to do this rapidly

  • This advertisement uses a lot of different camera angles and switches between them very rapidly — especially close up shots to engage the audience with the athletes expressions that portrays aspects of disability in a non victim way.

→ Ellie Simmonds (swimmers) determination is highlighted by an establishing shot showing her alone in the pool, and then a switch too a close up show of her putting her goggles on to really focus on her face expressions and eyes — also makes it more intimate

→ then it shoots her from a lower angle making her appear powerful — the viewers are forces to look up to her (role model)

  • the advertisement also uses a lot of binary opposition throughout the ad esp in the iconography and setting. For example they would switch between images of athletes in the gym training, to images of athletes in domestic scenes of everyday life — this juxtaposition humanises and normalises not only them but also their life — often with a disability you are miss judged and pitied but they want to show that these athletes lead their lives just the same as anyone else

  • Juxtaposition between images of gruelling training are contrasted with celebratory images at the end of the ad when success is achieved

  • The advert isn’t trying to evoke sympathy, or glorify these athletes but more follow the narrative of their lives and the battles through training, but not because they are disabled e.g sequence of athlete on the phone singing happy bday to his daughter on a phone whilst cycling — reinforces clash between sport and family

  • On screen graphic ‘to b e a Paralympian theres got to be something wrong with you’ introduces a conceptual binary opposition between the audience perception of Paralympic athletes and the reality. — challenges how language is used set against the reality of the positive images in the ad — this opposition encourages the audience to reflect — jux. Between being a Paralympic athlete at the peak of your powers but being unable to get into a cafe for a drink.

  • The representation the producers have aimed to avoid stereotypes of disabled athletes as having to overcome their disability in order to succeed but instead celebrate them as high performance athletes

  • music cuts when a wheelchair user is faced with unaccessible infrastructure, she cannot get into a cafe this is to draw attention to the issues society still has — this is their reality

  • ending scene a blurred image of a paralympian in the back in a gym, with super. Human. Written across the screen, the Paralympian then throws a ball and shatters the ‘super’ — highlights although they are amazing athletes who fought against odds, they don’t need to be glorified for it, they just want to be seen as human before all else.

  • The primary aim of charity advertisements, including those like Super.Human., is to create an immediate impact that compels the audience to not just notice, but also engage with the issue being presented. This sense of urgency is vital in ensuring that the advertisement resonates with viewers on an emotional level, prompting them to consider their role in the society being portrayed.

  • In developing Super.Human., the producers recognized the risks of compassion fatigue, where audiences become numb to traditional portrayals of disabled individuals as merely victims. To counter this, the advertisement portrays disabled athletes not just as individuals with challenges, but as capable, strong figures who can inspire. This shift in narrative is reinforced through the choice of an upbeat yet emotionally resonant audio track, "So You Want to Be a Boxer" from Bugsy Malone. This sound, while acknowledging the struggles faced by disabled athletes, injects a tone of positivity and empowerment into the narrative.

  • The advertisement employs a variety of sound techniques. It starts with powerful voiceovers and dramatic music, which are common conventions in advertisements, but quickly shifts to alarm sounds that reflect the harsh realities of daily life for these athletes. This soundscape effectively underscores the physical and emotional battles involved in their training routines, capturing the essence of their dedication through sounds of exertion, such as grunting and the application of tape for injuries.

  • Given the time constraints typical in advertisements, Super.Human. relies heavily on technical codes and rapid editing to communicate its messages effectively. The frequent and swift transitions between different camera angles, particularly close-ups of the athletes’ expressions, are designed to foster a deeper connection with the audience. This technique serves to humanize the athletes, emphasizing their emotions and personal challenges instead of merely defining them by their disabilities.

  • The determination of athletes like Ellie Simmonds is showcased through an establishing shot of her alone in the pool, which is then followed by a tightly framed close-up of her as she dons her goggles. This intimacy effectively highlights her focus and determination. Additionally, shooting from a lower angle gives her a sense of power, enforcing her status as a role model that viewers are encouraged to look up to.

  • The advertisement also employs binary opposition throughout its narrative, particularly in its use of iconography and contrasting settings. For instance, dark, serious scenes of athletes training in a gym are juxtaposed with lighter, more relatable scenes depicting their everyday lives. This contrast humanizes the athletes, challenging the audience's preconceived notions of disability and creating a more rounded portrayal that reflects their real experiences.

  • There is a distinct juxtaposition between the rigorous training sequences and the celebratory moments capturing athletes' successes. Rather than attempting to evoke pity or glorify the struggles of these athletes, the ad presents a narrative that acknowledges their typical experiences in both sports and life, such as an athlete casually singing Happy Birthday to his daughter while cycling. This moment profoundly conveys the duality of their existence, balancing the intensity of athletic training with the normalcy of family life.

  • On-screen graphics, such as "to be a Paralympian, there's got to be something wrong with you," introduce a conceptual binary opposition between societal perceptions of Paralympic athletes and the actual capabilities and realities these athletes embody. This statement challenges audiences to reflect critically on language and societal beliefs, particularly when contrasted against the positive imagery presented throughout the advertisement, such as the stark reality of an athlete being unable to access a café despite their athletic prowess.

  • The producers intentionally avoided reinforcing stereotypes that suggest disabled athletes must overcome their disabilities to achieve success. Instead, they aim to celebrate them for their high-performance capabilities, showcasing their strength and perseverance in a narrative that affirms their humanity.

  • A climactic moment occurs when the music cuts out as a wheelchair user approaches an unaccessible café, emphasizing the societal barriers that still exist. This stark reality serves as a reminder of the challenges faced beyond the athletic achievements, anchoring a deep social critique within the fabric of the narrative.

  • In the ending scene, a blurred image of a Paralympian is presented against a backdrop in a gym, culminated with the phrase "super. Human." across the screen. The imagery of the athlete shattering the word "super" reinforces a poignant message: although these athletes achieve extraordinary feats, the ultimate desire is for society to recognize and accept them as human beings first, placing their achievements within the context of their everyday challenges and triumphs.

  • Overall, Super.Human. employs a combination of innovative technical strategies, thematic depth, and emotional resonance to transcend traditional charity advertising tropes, creating a powerful statement about the capabilities and everyday realities of disabled athletes, while encouraging a shift in societal perceptions.