Who Killed the Electric Car vs. A Crude Awakening: The Oil Crash
Who Killed the Electric Car vs. A Crude Awakening: The Oil Crash
Who Killed the Electric Car directed by Chris Paine and A Crude Awakening: The Oil Crash directed by Basil Gelpke and Ray McCormack are similar documentary films in several aspects including their target audiences and viewpoints. Both documentaries choose to approach their messages differently concerning their use(s) of pathos, logos, and ethos. Who Killed the Electric Car relies much more on the use of pathos to relay its argument, while A Crude Awakening: The Oil Crash depends more on its use of logos and ethos. Overall, the argument presented by A Crude Awakening: The Oil Crash is more effective in its presentation and persuasion through its more effective use of music, juxtaposition, and cinematography. Who Killed the Electric Car (hereafter referred to as The Electric Car) and A Crude Awakening: The Oil Crash (hereafter referred to as The Oil Crash) both reach out to similar audiences: those that care about the environment and the impact of diminishing resources in the future. For example, The Electric Car starts out almost immediately with statistics about how much carbon dioxide is put into the atmosphere by gasoline powered cars and the effects it has on the health of the population. The documentary continues by explaining the reduced environmental impacts of electric powered cars, as it begins to build its argument for them. The Oil Crash similarly appeals to the same audience by revealing images of harmful environmental conditions (pollution, harm to animals, trash) juxtaposed with images of oil companies and wealth. These arguments against oil companies are further reinforced in both documentaries by the choice of music and commentary that is laid over the visual imagery. For example, in The Electric Car, as the documentary discusses the negative impact of the oil companies, fast-paced angry sounding music is playing while an interviewee explains the harm and negative
Who Killed the Electric Car directed by Chris Paine and A Crude Awakening: The Oil Crash directed by Basil Gelpke and Ray McCormack are similar documentary films in several aspects including their target audiences and viewpoints. Both documentaries choose to approach their messages differently concerning their use(s) of pathos, logos, and ethos. Who Killed the Electric Car relies much more on the use of pathos to relay its argument, while A Crude Awakening: The Oil Crash depends more on its use of logos and ethos. Overall, the argument presented by A Crude Awakening: The Oil Crash is more effective in its presentation and persuasion through its more effective use of music, juxtaposition, and cinematography. Who Killed the Electric Car (hereafter referred to as The Electric Car) and A Crude Awakening: The Oil Crash (hereafter referred to as The Oil Crash) both reach out to similar audiences: those that care about the environment and the impact of diminishing resources in the future. For example, The Electric Car starts out almost immediately with statistics about how much carbon dioxide is put into the atmosphere by gasoline powered cars and the effects it has on the health of the population. The documentary continues by explaining the reduced environmental impacts of electric powered cars, as it begins to build its argument for them. The Oil Crash similarly appeals to the same audience by revealing images of harmful environmental conditions (pollution, harm to animals, trash) juxtaposed with images of oil companies and wealth. These arguments against oil companies are further reinforced in both documentaries by the choice of music and commentary that is laid over the visual imagery. For example, in The Electric Car, as the documentary discusses the negative impact of the oil companies, fast-paced angry sounding music is playing while an interviewee explains the harm and negative
Bibliography: A Crude Awakening: The Oil Crash. Dir. Basil Gelpke, Ray McCormack. Lava Productions AG, 2006. DVD. Who Killed the Electric Car. Dir. Chris Paine. Perf. Prod. Jessie Deeter. Sony Pictures Classics, 2006. DVD.