Assignment Prompt & Instructions
attached
**files (3)**
– ## Week4ExampleRhetoricalSituationAnalysisReport.docx
– ## ComparativeRhetoricalAnalysisExampleEssay.docx
– Assignmentweek4.docx
**## Week4ExampleRhetoricalSituationAnalysisReport.docx**
**Rhetorical Situation Analysis Report**
**Example Rhetorical Situation Analysis Report (Week 4)**
**Text**: Week 4 Nissan Commercial
[https://www.youtube.com/watch?v=8RqL000AmfE](https://www.youtube.com/watch?v=8RqL000AmfE)
**Task:** Listen to the text assigned for this report and then answer the questions below. Write your responses in the form of short answers to each question. You will later use those responses to develop your Comparative Rhetorical Analysis Essay.
1.
When and where did this text originally appear? As an advertisement on broadcast television, during on-demand app viewing, and on social media apps such as YouTube.
2.
Is there a context for this text’s publication? What was going on in the world at the time? What event, situation, or argument is the writer responding to? (This one may take some basic research!) Keeping in mind traditional gender roles and how those affect how advertisements target men and women differently, at times, would be important for understanding the rhetoric of this advertisement.
3.
How would you describe the discourse community in which this text is operating? Who is part of the discourse community, what values are important to them, what do members of this discourse community consider credible evidence? The larger discourse community involves all audiences who view entertainment in any of the avenues mentioned in the answer to question 1. Within this group, there are viewers of different genders, races, ages, socio-economic backgrounds. Some in this group are already interested in purchasing in a car before viewing this commercial, and some do not need a vehicle or are not able to afford one. We may safely assume that the audiences who see this advertisement on broadcast television may be older because of the audience who still views appointment television. At the same time, we can assume a younger overall audience for app streaming.
4.
Who is the writer's intended audience, and what textual clues help you name that audience? Remember that the rhetorical audience is always more specific than anyone who reads the text
_._The primary/intended audience would be males who are interested in purchasing a vehicle or who can be persuaded, possibly, to purchase one. This means they either have the disposable income to do so, or they have a cosigner who can assist them with this purchase.
Because of the technical language in the advertisement and the cost of the vehicle, it is safer to assume that the male audience for this advertisement refers to someone who has learned about vehicles in their time on this earth, has positioned themselves in their career enough to have the income to purchase this vehicle, and has an interest in driving forcefully. The age group of the intended audience, then, is probably older than college age but younger than retirement age. The men in this group have disposable income and likely want to drive fast, using performance tires.
The male persona in this ad focuses on performance rather than emotion. He describes a “twisty lane of asphalt that begs to be driven” and goes on to highlight technical features like performance brakes, transmission details, electric-assist power steering, suspension and shock absorber specifics, and performance wheels and tires. Phrases like “control and balance to power on” emphasize the driver’s mastery over the vehicle and the engineering behind it. All of the rhetorical choices here speak to a more male audience due to the appeal to control and power. The advertisement is portraying the car as begging to be driven, a much more forceful and male-centric view of vehicles.
Unlike the Larson ad, which appealed primarily to emotion, nostalgia, and aesthetic excitement, this commercial appeals to rational, detail-oriented viewers and people who care about specs, precision, performance, and power. The tone is more serious, almost instructional, and the visuals match this focus: close-ups of wheels, suspension systems, and handling shots communicate the car’s capabilities rather than its emotional “thrill.”
The male persona talks about performance because the target audience for this commercial is likely enthusiast drivers or consumers who prioritize engineering and technical excellence. By highlighting features that demonstrate control, stability, and innovation, the ad persuades through logic and credibility (ethos) rather than pure emotional appeal.
5.
What is the writer’s message, the key point(s) he or she is trying to convey? What is the writer trying to say? The advertisement is saying that if someone
_does_ buy this car, they are making a smart choice from an engineering standpoint, and that when driving this car, even if their life is a little less stable or controlled, they will have all of that control, power, and stability behind the wheel.
6.
What is the writer's rhetorical purpose? What does the writer want the audience to feel, know, believe, or do as a result of reading this text? In short, combining the answer from Question 5, Nissan wants men to purchase this vehicle based on the feelings mentioned in the previous answer.
7.
What rhetorical appeals does the writer use to accomplish his or her rhetorical purpose?
a.
Describe the writer's constructed ethos. How effectively does the writer construct himself or herself as credible, trustworthy, and knowledgeable? By using the specificiations throughout the commercial, the advertisement and its voiceover is trying to position itself as one of the audience members. Like the male audience, the company values the aspects that make a driver feel in control. They gain authority/trustworthiness by sharing the same values as the audience members and by giving data to back up their ‘argument’ to purchase this car. Also, by attempting to make a connection directly with the viewer through the use of second person (“You know that road…”), they are suggesting that the viewer is an insider with the male persona in the commercial. In fact, use of the second person merges into first-person plural (“We know their secrets…”), becoming one with the target audience in that moment through language.
b.
Describe the writer’s appeals to logos. What types of reasoning does the author present or use? To what values, beliefs, and assumptions does the writer appeal, and how likely is the intended audience to be persuaded by appeals to those values, beliefs, and assumptions? Nissan, through this commercial, is basically arguing, “If you value the specifications given to you in this advertisement, you will purchase the vehicle.” There are a number of factors that could get in the way of this advertising to the overall discourse community, but for the ones in the target audience, it’s not that far of a jump from valuing the ideas put forth by the commercial to purchasing a car that aligns with these concepts.
c.
Describe the writer’s appeals to pathos. How effectively does the writer elicit an emotional response from the intended audience, and how effectively will those appeals to pathos help achieve the writer’s rhetorical purpose? The language of the commercial is exciting. There are hidden roads only “we” know about. The pictures presented are exciting as well. Shifting into the corners, speeding out of them. Target audience members can get excited while watching this commercial. And that excitement, along with the connection to the logos of the male persona, can be a powerful force to get the target audience member to get up and find their nearest Nissan dealer.
8.
How appropriate do you think the text is for its rhetorical situation? How likely will the text achieve its rhetorical purpose?
If we consider that the primary rhetorical purpose of the commercial is to get the target audience to purchase a car, it may be a difficult sale. While a rhetorical purpose that is meant to inform or even to change an opinion—though changing target audience opinions is extremely difficult, as well—getting a target audience member out of the house to purchase a $40,000 car could be almost impossible. However, Nissan also knows that their hit rate on convincing target audience members to buy this vehicle from them does not have to be a super high percentage to be worth it to them. Overall, though, the chances that this commercial—however well designed to meet its target audience where it is—will achieve its rhetorical purpose are low.
## image.jpg
**## ComparativeRhetoricalAnalysisExampleEssay.docx**
| | |
| — | — |
| Running head: GUIDED IMAGERY AND PROGRESSIVE MUSCLE RELAXATION | 2 |
12
**Nissan Advertisements & Gendered Marketing: A Comparative Rhetorical Analysis**
Josephine Smith
Department of Nursing, South College
HUM2001: Critical Thinking
Professor Jones
October 10, 2025
**Nissan Advertisements & Gendered Marketing: A Comparative Rhetorical Analysis**
Advertisements are designed to do much more than sell a product. Advertisements tell stories, target emotions, and try to shift how people see themselves in relation to what is being sold. Two recent Nissan commercials show how the same product can be presented in completely different ways depending on the audience. One ad features actress Brie Larson and focuses on the emotional excitement of driving, particularly reaching out to female drivers who may have felt excluded from traditional car culture. The second, narrated by a male voice, is aimed at performance-minded drivers who value specs, precision, and control, which is likely a more male-centered demographic. While both ads make deliberate appeals to their audiences’ emotions, they take different rhetorical routes to do so. While both the creators of the Brie Larson Nissan commercial and the male-narrated performance-oriented Nissan ad appropriately appeal to their respective audiences’ emotions, the Larson ad is more likely than the performance-focused ad to succeed in accomplishing the goal of changing their audience’s mind about driving because the speaker presents herself as someone the intended readers will more readily identify with and offers evidence that her audience will find more compelling.
Brie Larson’s Nissan ad builds ethos and credibility by leaning into her public image as a strong, empowered woman. Larson is known for her role as Captain Marvel, a character associated with independence, confidence, and control, which are all themes that the ad wants to associate with the experience of driving. When she says that “driving used to be an act of freedom, inspiration” (Brie Larson, 2021, 0:05), she is not just selling a car. Larson is reinforcing a feeling that many viewers, especially women, may already associate with her. In a space like car advertising, which has long been dominated by male voices and imagery, Larson’s presence immediately feels different and more inclusive to her audience. Her celebrity status gives her ethos, but more importantly, it is her cultural identity as a figure of female empowerment that helps women see her as someone they can trust, making the ad’s message more believable and persuasive.
The performance-centered ad also builds ethos, but does so by leaning into a more traditional, voice-over male spokesperson that is typical of car advertisements. The speaker is not a recognizable face or public figure but is instead a voice that conveys authority through technical knowledge. He walks the audience through specs like “performance brakes,” “electric-assist power steering” (Nissan USA, 2022, 0:22), and suspension and shock absorber specifics, showing that he knows what he is talking about. For a target audience made up of car enthusiasts—people who value engineering, precision, and performance—this kind of credibility matters. It tells the target audience that Nissan knows what makes a car worth driving. However, this kind of ethos can feel limited because the speaker is anonymous and the tone is instructional. The message might come across as cold or inaccessible to anyone outside the performance-focused car world. There is less opportunity for connection or trust for casual drivers who do not relate to technical authority.
Larson’s ad may not use technical details, but logos is still present, and Larson makes a logical argument that fits her audience’s values through logical progression and connotations. Instead of focusing on how the car performs mechanically, she focuses on how driving used to feel. When she says cars were “our sanctuaries and co-conspirators” (Brie Larson, 2021, 0:10), she is tapping into a logical connection many people can make, especially women, between vehicles and personal freedom, safety, and independence. The underlying logic is simple: if driving used to feel exciting and empowering, this car can help you feel that way again. Her audience, one not swayed by specs and horsepower, is likely to make this jump in logic with her because emotional logic is more meaningful to this audience. It encourages them to rethink their relationship to driving in a way that still feels grounded in real experience, not fantasy.
By contrast, the second ad focuses on a more conventional kind of logos: technical details. Every line is filled with language about the mechanics and engineering of the car. Phrases like “twisty lane of asphalt that begs to be driven” (Nissan USA, 2022, 0:20) are paired with visuals of suspension systems, close-ups of tires, and precision driving shots. For car lovers, this approach is logical. It gives them the information they need to make a reasoned choice. The ad clearly speaks the language of drivers who care deeply about how a vehicle handles. But for a broader audience outside of the target audience, this kind of argument can feel too niche or overly specialized. If the viewer is not fluent in automotive specs, the message can feel confusing or irrelevant. The logic holds up, but it is only persuasive if you already care about the things it highlights.
What really makes Larson’s ad stand out, though, is its emotional appeal. From the very first line of “remember when driving was fun?” (Brie Larson, 2021, 0:01), she invites the viewer into a shared feeling of nostalgia. This is not just about selling a car; it is about recapturing a lost sense of joy and freedom. The ad is visually bright, with colorful shots of the car and confident, sweeping camera angles that suggest motion, freedom, and possibility. For women who may not have felt seen by traditional car ads, this message is affirming. The ad makes them feel like they belong in the driver’s seat, not just literally but symbolically. It repositions driving as a personal, even transformative experience, one that is about more than getting from point A to B. This advertisement is a call to reclaim something that many people, especially women, might have forgotten they missed.
The second, more performance-driven ad, uses emotion, too, but in a different, more intense way. It tries to build excitement through a sense of thrill and control. When the narrator describes a “twisty lane of asphalt that begs to be driven” (Nissan USA, 2022, 0:20), the ad invites the viewer to imagine themselves as someone who dominates the road. It is a more aggressive kind of emotional appeal, rooted in power and mastery. For the intended audience, likely male drivers who are passionate about cars, this feeling can be exhilarating. It feeds into the desire to be in control and to experience driving as a kind of personal challenge. However, this emotional appeal is narrowly focused. It does not invite a wide range of viewers into the experience, making the audience too narrow, and by proxy, the advertisement less effective. Instead, it speaks to a specific kind of driver, and anyone outside that category might find the tone too intense or exclusive.
In the end, both commercials are successful in their own ways, but the Brie Larson ad does a better job of opening the experience of driving to a wider audience and changing how that audience might think about cars. While the performance-centered ad builds authority and appeals to a niche group of car enthusiasts, its appeal feels limited by its technical focus and narrow emotional range. The Larson ad, by contrast, offers a message of inclusion, freedom, and empowerment, backed by a spokesperson that viewers can relate to and trust. Fifty percent of the car driving public is women, while those heavily invested in cars and their specifications make up a much smaller percentage of the general public, so the audience for Larson’s ad is larger from the start, making it have a higher chance of success from the beginning. Larson’s ad is persuasive not because it talks about the car in traditional terms, but because it reframes what driving means. It reminds the audience, especially women, that driving can be exciting again, not just in terms of speed or power, but in terms of identity and emotion. Larson’s use of pathos when discussing driving excitement paired with her credibility as an actress and speaker is what makes it more likely to succeed in shifting how its audience thinks: not just about the car, but about their relationship to the road.
**References**
Brie Larson Worldwide. (2021, June 1).
_Brie Larson presents The New Nissan_ [Video]. YouTube.
[https://www.youtube.com/watch?v=StAPejF7KI8](https://www.youtube.com/watch?v=StAPejF7KI8)
Nissan USA. (2022, August 9).
_2023 Nissan Z Performance and Handling_[Video]. YouTube.
[https://www.youtube.com/watch?v=8RqL000AmfE](https://www.youtube.com/watch?v=8RqL000AmfE)
**Assignmentweek4.docx**
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**Assignmentweek4.docx**
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**## Week4ExampleRhetoricalSituationAnalysisReport.docx**
**Rhetorical Situation Analysis Report**
**Example Rhetorical Situation Analysis Report (Week 4)**
**Text**: Week 4 Nissan Commercial
[https://www.youtube.com/watch?v=8RqL000AmfE](https://www.youtube.com/watch?v=8RqL000AmfE)
**Task:** Listen to the text assigned for this report and then answer the questions below. Write your responses in the form of short answers to each question. You will later use those responses to develop your Comparative Rhetorical Analysis Essay.
1.
When and where did this text originally appear? As an advertisement on broadcast television, during on-demand app viewing, and on social media apps such as YouTube.
2.
Is there a context for this text’s publication? What was going on in the world at the time? What event, situation, or argument is the writer responding to? (This one may take some basic research!) Keeping in mind traditional gender roles and how those affect how advertisements target men and women differently, at times, would be important for understanding the rhetoric of this advertisement.
3.
How would you describe the discourse community in which this text is operating? Who is part of the discourse community, what values are important to them, what do members of this discourse community consider credible evidence? The larger discourse community involves all audiences who view entertainment in any of the avenues mentioned in the answer to question 1. Within this group, there are viewers of different genders, races, ages, socio-economic backgrounds. Some in this group are already interested in purchasing in a car before viewing this commercial, and some do not need a vehicle or are not able to afford one. We may safely assume that the audiences who see this advertisement on broadcast television may be older because of the audience who still views appointment television. At the same time, we can assume a younger overall audience for app streaming.
4.
Who is the writer's intended audience, and what textual clues help you name that audience? Remember that the rhetorical audience is always more specific than anyone who reads the text
_._The primary/intended audience would be males who are interested in purchasing a vehicle or who can be persuaded, possibly, to purchase one. This means they either have the disposable income to do so, or they have a cosigner who can assist them with this purchase.
Because of the technical language in the advertisement and the cost of the vehicle, it is safer to assume that the male audience for this advertisement refers to someone who has learned about vehicles in their time on this earth, has positioned themselves in their career enough to have the income to purchase this vehicle, and has an interest in driving forcefully. The age group of the intended audience, then, is probably older than college age but younger than retirement age. The men in this group have disposable income and likely want to drive fast, using performance tires.
The male persona in this ad focuses on performance rather than emotion. He describes a “twisty lane of asphalt that begs to be driven” and goes on to highlight technical features like performance brakes, transmission details, electric-assist power steering, suspension and shock absorber specifics, and performance wheels and tires. Phrases like “control and balance to power on” emphasize the driver’s mastery over the vehicle and the engineering behind it. All of the rhetorical choices here speak to a more male audience due to the appeal to control and power. The advertisement is portraying the car as begging to be driven, a much more forceful and male-centric view of vehicles.
Unlike the Larson ad, which appealed primarily to emotion, nostalgia, and aesthetic excitement, this commercial appeals to rational, detail-oriented viewers and people who care about specs, precision, performance, and power. The tone is more serious, almost instructional, and the visuals match this focus: close-ups of wheels, suspension systems, and handling shots communicate the car’s capabilities rather than its emotional “thrill.”
The male persona talks about performance because the target audience for this commercial is likely enthusiast drivers or consumers who prioritize engineering and technical excellence. By highlighting features that demonstrate control, stability, and innovation, the ad persuades through logic and credibility (ethos) rather than pure emotional appeal.
5.
What is the writer’s message, the key point(s) he or she is trying to convey? What is the writer trying to say? The advertisement is saying that if someone
_does_ buy this car, they are making a smart choice from an engineering standpoint, and that when driving this car, even if their life is a little less stable or controlled, they will have all of that control, power, and stability behind the wheel.
6.
What is the writer's rhetorical purpose? What does the writer want the audience to feel, know, believe, or do as a result of reading this text? In short, combining the answer from Question 5, Nissan wants men to purchase this vehicle based on the feelings mentioned in the previous answer.
7.
What rhetorical appeals does the writer use to accomplish his or her rhetorical purpose?
a.
Describe the writer's constructed ethos. How effectively does the writer construct himself or herself as credible, trustworthy, and knowledgeable? By using the specificiations throughout the commercial, the advertisement and its voiceover is trying to position itself as one of the audience members. Like the male audience, the company values the aspects that make a driver feel in control. They gain authority/trustworthiness by sharing the same values as the audience members and by giving data to back up their ‘argument’ to purchase this car. Also, by attempting to make a connection directly with the viewer through the use of second person (“You know that road…”), they are suggesting that the viewer is an insider with the male persona in the commercial. In fact, use of the second person merges into first-person plural (“We know their secrets…”), becoming one with the target audience in that moment through language.
b.
Describe the writer’s appeals to logos. What types of reasoning does the author present or use? To what values, beliefs, and assumptions does the writer appeal, and how likely is the intended audience to be persuaded by appeals to those values, beliefs, and assumptions? Nissan, through this commercial, is basically arguing, “If you value the specifications given to you in this advertisement, you will purchase the vehicle.” There are a number of factors that could get in the way of this advertising to the overall discourse community, but for the ones in the target audience, it’s not that far of a jump from valuing the ideas put forth by the commercial to purchasing a car that aligns with these concepts.
c.
Describe the writer’s appeals to pathos. How effectively does the writer elicit an emotional response from the intended audience, and how effectively will those appeals to pathos help achieve the writer’s rhetorical purpose? The language of the commercial is exciting. There are hidden roads only “we” know about. The pictures presented are exciting as well. Shifting into the corners, speeding out of them. Target audience members can get excited while watching this commercial. And that excitement, along with the connection to the logos of the male persona, can be a powerful force to get the target audience member to get up and find their nearest Nissan dealer.
8.
How appropriate do you think the text is for its rhetorical situation? How likely will the text achieve its rhetorical purpose?
If we consider that the primary rhetorical purpose of the commercial is to get the target audience to purchase a car, it may be a difficult sale. While a rhetorical purpose that is meant to inform or even to change an opinion—though changing target audience opinions is extremely difficult, as well—getting a target audience member out of the house to purchase a $40,000 car could be almost impossible. However, Nissan also knows that their hit rate on convincing target audience members to buy this vehicle from them does not have to be a super high percentage to be worth it to them. Overall, though, the chances that this commercial—however well designed to meet its target audience where it is—will achieve its rhetorical purpose are low.
## image.jpg
**## ComparativeRhetoricalAnalysisExampleEssay.docx**
| | |
| — | — |
| Running head: GUIDED IMAGERY AND PROGRESSIVE MUSCLE RELAXATION | 2 |
12
**Nissan Advertisements & Gendered Marketing: A Comparative Rhetorical Analysis**
Josephine Smith
Department of Nursing, South College
HUM2001: Critical Thinking
Professor Jones
October 10, 2025
**Nissan Advertisements & Gendered Marketing: A Comparative Rhetorical Analysis**
Advertisements are designed to do much more than sell a product. Advertisements tell stories, target emotions, and try to shift how people see themselves in relation to what is being sold. Two recent Nissan commercials show how the same product can be presented in completely different ways depending on the audience. One ad features actress Brie Larson and focuses on the emotional excitement of driving, particularly reaching out to female drivers who may have felt excluded from traditional car culture. The second, narrated by a male voice, is aimed at performance-minded drivers who value specs, precision, and control, which is likely a more male-centered demographic. While both ads make deliberate appeals to their audiences’ emotions, they take different rhetorical routes to do so. While both the creators of the Brie Larson Nissan commercial and the male-narrated performance-oriented Nissan ad appropriately appeal to their respective audiences’ emotions, the Larson ad is more likely than the performance-focused ad to succeed in accomplishing the goal of changing their audience’s mind about driving because the speaker presents herself as someone the intended readers will more readily identify with and offers evidence that her audience will find more compelling.
Brie Larson’s Nissan ad builds ethos and credibility by leaning into her public image as a strong, empowered woman. Larson is known for her role as Captain Marvel, a character associated with independence, confidence, and control, which are all themes that the ad wants to associate with the experience of driving. When she says that “driving used to be an act of freedom, inspiration” (Brie Larson, 2021, 0:05), she is not just selling a car. Larson is reinforcing a feeling that many viewers, especially women, may already associate with her. In a space like car advertising, which has long been dominated by male voices and imagery, Larson’s presence immediately feels different and more inclusive to her audience. Her celebrity status gives her ethos, but more importantly, it is her cultural identity as a figure of female empowerment that helps women see her as someone they can trust, making the ad’s message more believable and persuasive.
The performance-centered ad also builds ethos, but does so by leaning into a more traditional, voice-over male spokesperson that is typical of car advertisements. The speaker is not a recognizable face or public figure but is instead a voice that conveys authority through technical knowledge. He walks the audience through specs like “performance brakes,” “electric-assist power steering” (Nissan USA, 2022, 0:22), and suspension and shock absorber specifics, showing that he knows what he is talking about. For a target audience made up of car enthusiasts—people who value engineering, precision, and performance—this kind of credibility matters. It tells the target audience that Nissan knows what makes a car worth driving. However, this kind of ethos can feel limited because the speaker is anonymous and the tone is instructional. The message might come across as cold or inaccessible to anyone outside the performance-focused car world. There is less opportunity for connection or trust for casual drivers who do not relate to technical authority.
Larson’s ad may not use technical details, but logos is still present, and Larson makes a logical argument that fits her audience’s values through logical progression and connotations. Instead of focusing on how the car performs mechanically, she focuses on how driving used to feel. When she says cars were “our sanctuaries and co-conspirators” (Brie Larson, 2021, 0:10), she is tapping into a logical connection many people can make, especially women, between vehicles and personal freedom, safety, and independence. The underlying logic is simple: if driving used to feel exciting and empowering, this car can help you feel that way again. Her audience, one not swayed by specs and horsepower, is likely to make this jump in logic with her because emotional logic is more meaningful to this audience. It encourages them to rethink their relationship to driving in a way that still feels grounded in real experience, not fantasy.
By contrast, the second ad focuses on a more conventional kind of logos: technical details. Every line is filled with language about the mechanics and engineering of the car. Phrases like “twisty lane of asphalt that begs to be driven” (Nissan USA, 2022, 0:20) are paired with visuals of suspension systems, close-ups of tires, and precision driving shots. For car lovers, this approach is logical. It gives them the information they need to make a reasoned choice. The ad clearly speaks the language of drivers who care deeply about how a vehicle handles. But for a broader audience outside of the target audience, this kind of argument can feel too niche or overly specialized. If the viewer is not fluent in automotive specs, the message can feel confusing or irrelevant. The logic holds up, but it is only persuasive if you already care about the things it highlights.
What really makes Larson’s ad stand out, though, is its emotional appeal. From the very first line of “remember when driving was fun?” (Brie Larson, 2021, 0:01), she invites the viewer into a shared feeling of nostalgia. This is not just about selling a car; it is about recapturing a lost sense of joy and freedom. The ad is visually bright, with colorful shots of the car and confident, sweeping camera angles that suggest motion, freedom, and possibility. For women who may not have felt seen by traditional car ads, this message is affirming. The ad makes them feel like they belong in the driver’s seat, not just literally but symbolically. It repositions driving as a personal, even transformative experience, one that is about more than getting from point A to B. This advertisement is a call to reclaim something that many people, especially women, might have forgotten they missed.
The second, more performance-driven ad, uses emotion, too, but in a different, more intense way. It tries to build excitement through a sense of thrill and control. When the narrator describes a “twisty lane of asphalt that begs to be driven” (Nissan USA, 2022, 0:20), the ad invites the viewer to imagine themselves as someone who dominates the road. It is a more aggressive kind of emotional appeal, rooted in power and mastery. For the intended audience, likely male drivers who are passionate about cars, this feeling can be exhilarating. It feeds into the desire to be in control and to experience driving as a kind of personal challenge. However, this emotional appeal is narrowly focused. It does not invite a wide range of viewers into the experience, making the audience too narrow, and by proxy, the advertisement less effective. Instead, it speaks to a specific kind of driver, and anyone outside that category might find the tone too intense or exclusive.
In the end, both commercials are successful in their own ways, but the Brie Larson ad does a better job of opening the experience of driving to a wider audience and changing how that audience might think about cars. While the performance-centered ad builds authority and appeals to a niche group of car enthusiasts, its appeal feels limited by its technical focus and narrow emotional range. The Larson ad, by contrast, offers a message of inclusion, freedom, and empowerment, backed by a spokesperson that viewers can relate to and trust. Fifty percent of the car driving public is women, while those heavily invested in cars and their specifications make up a much smaller percentage of the general public, so the audience for Larson’s ad is larger from the start, making it have a higher chance of success from the beginning. Larson’s ad is persuasive not because it talks about the car in traditional terms, but because it reframes what driving means. It reminds the audience, especially women, that driving can be exciting again, not just in terms of speed or power, but in terms of identity and emotion. Larson’s use of pathos when discussing driving excitement paired with her credibility as an actress and speaker is what makes it more likely to succeed in shifting how its audience thinks: not just about the car, but about their relationship to the road.
**References**
Brie Larson Worldwide. (2021, June 1).
_Brie Larson presents The New Nissan_ [Video]. YouTube.
[https://www.youtube.com/watch?v=StAPejF7KI8](https://www.youtube.com/watch?v=StAPejF7KI8)
Nissan USA. (2022, August 9).
_2023 Nissan Z Performance and Handling_[Video]. YouTube.
[https://www.youtube.com/watch?v=8RqL000AmfE](https://www.youtube.com/watch?v=8RqL000AmfE)
**Assignmentweek4.docx**
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**## Week4ExampleRhetoricalSituationAnalysisReport.docx**
**Rhetorical Situation Analysis Report**
**Example Rhetorical Situation Analysis Report (Week 4)**
**Text**: Week 4 Nissan Commercial
[https://www.youtube.com/watch?v=8RqL000AmfE](https://www.youtube.com/watch?v=8RqL000AmfE)
**Task:** Listen to the text assigned for this report and then answer the questions below. Write your responses in the form of short answers to each question. You will later use those responses to develop your Comparative Rhetorical Analysis Essay.
1.
When and where did this text originally appear? As an advertisement on broadcast television, during on-demand app viewing, and on social media apps such as YouTube.
2.
Is there a context for this text’s publication? What was going on in the world at the time? What event, situation, or argument is the writer responding to? (This one may take some basic research!) Keeping in mind traditional gender roles and how those affect how advertisements target men and women differently, at times, would be important for understanding the rhetoric of this advertisement.
3.
How would you describe the discourse community in which this text is operating? Who is part of the discourse community, what values are important to them, what do members of this discourse community consider credible evidence? The larger discourse community involves all audiences who view entertainment in any of the avenues mentioned in the answer to question 1. Within this group, there are viewers of different genders, races, ages, socio-economic backgrounds. Some in this group are already interested in purchasing in a car before viewing this commercial, and some do not need a vehicle or are not able to afford one. We may safely assume that the audiences who see this advertisement on broadcast television may be older because of the audience who still views appointment television. At the same time, we can assume a younger overall audience for app streaming.
4.
Who is the writer's intended audience, and what textual clues help you name that audience? Remember that the rhetorical audience is always more specific than anyone who reads the text
_._The primary/intended audience would be males who are interested in purchasing a vehicle or who can be persuaded, possibly, to purchase one. This means they either have the disposable income to do so, or they have a cosigner who can assist them with this purchase.
Because of the technical language in the advertisement and the cost of the vehicle, it is safer to assume that the male audience for this advertisement refers to someone who has learned about vehicles in their time on this earth, has positioned themselves in their career enough to have the income to purchase this vehicle, and has an interest in driving forcefully. The age group of the intended audience, then, is probably older than college age but younger than retirement age. The men in this group have disposable income and likely want to drive fast, using performance tires.
The male persona in this ad focuses on performance rather than emotion. He describes a “twisty lane of asphalt that begs to be driven” and goes on to highlight technical features like performance brakes, transmission details, electric-assist power steering, suspension and shock absorber specifics, and performance wheels and tires. Phrases like “control and balance to power on” emphasize the driver’s mastery over the vehicle and the engineering behind it. All of the rhetorical choices here speak to a more male audience due to the appeal to control and power. The advertisement is portraying the car as begging to be driven, a much more forceful and male-centric view of vehicles.
Unlike the Larson ad, which appealed primarily to emotion, nostalgia, and aesthetic excitement, this commercial appeals to rational, detail-oriented viewers and people who care about specs, precision, performance, and power. The tone is more serious, almost instructional, and the visuals match this focus: close-ups of wheels, suspension systems, and handling shots communicate the car’s capabilities rather than its emotional “thrill.”
The male persona talks about performance because the target audience for this commercial is likely enthusiast drivers or consumers who prioritize engineering and technical excellence. By highlighting features that demonstrate control, stability, and innovation, the ad persuades through logic and credibility (ethos) rather than pure emotional appeal.
5.
What is the writer’s message, the key point(s) he or she is trying to convey? What is the writer trying to say? The advertisement is saying that if someone
_does_ buy this car, they are making a smart choice from an engineering standpoint, and that when driving this car, even if their life is a little less stable or controlled, they will have all of that control, power, and stability behind the wheel.
6.
What is the writer's rhetorical purpose? What does the writer want the audience to feel, know, believe, or do as a result of reading this text? In short, combining the answer from Question 5, Nissan wants men to purchase this vehicle based on the feelings mentioned in the previous answer.
7.
What rhetorical appeals does the writer use to accomplish his or her rhetorical purpose?
a.
Describe the writer's constructed ethos. How effectively does the writer construct himself or herself as credible, trustworthy, and knowledgeable? By using the specificiations throughout the commercial, the advertisement and its voiceover is trying to position itself as one of the audience members. Like the male audience, the company values the aspects that make a driver feel in control. They gain authority/trustworthiness by sharing the same values as the audience members and by giving data to back up their ‘argument’ to purchase this car. Also, by attempting to make a connection directly with the viewer through the use of second person (“You know that road…”), they are suggesting that the viewer is an insider with the male persona in the commercial. In fact, use of the second person merges into first-person plural (“We know their secrets…”), becoming one with the target audience in that moment through language.
b.
Describe the writer’s appeals to logos. What types of reasoning does the author present or use? To what values, beliefs, and assumptions does the writer appeal, and how likely is the intended audience to be persuaded by appeals to those values, beliefs, and assumptions? Nissan, through this commercial, is basically arguing, “If you value the specifications given to you in this advertisement, you will purchase the vehicle.” There are a number of factors that could get in the way of this advertising to the overall discourse community, but for the ones in the target audience, it’s not that far of a jump from valuing the ideas put forth by the commercial to purchasing a car that aligns with these concepts.
c.
Describe the writer’s appeals to pathos. How effectively does the writer elicit an emotional response from the intended audience, and how effectively will those appeals to pathos help achieve the writer’s rhetorical purpose? The language of the commercial is exciting. There are hidden roads only “we” know about. The pictures presented are exciting as well. Shifting into the corners, speeding out of them. Target audience members can get excited while watching this commercial. And that excitement, along with the connection to the logos of the male persona, can be a powerful force to get the target audience member to get up and find their nearest Nissan dealer.
8.
How appropriate do you think the text is for its rhetorical situation? How likely will the text achieve its rhetorical purpose?
If we consider that the primary rhetorical purpose of the commercial is to get the target audience to purchase a car, it may be a difficult sale. While a rhetorical purpose that is meant to inform or even to change an opinion—though changing target audience opinions is extremely difficult, as well—getting a target audience member out of the house to purchase a $40,000 car could be almost impossible. However, Nissan also knows that their hit rate on convincing target audience members to buy this vehicle from them does not have to be a super high percentage to be worth it to them. Overall, though, the chances that this commercial—however well designed to meet its target audience where it is—will achieve its rhetorical purpose are low.
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**## ComparativeRhetoricalAnalysisExampleEssay.docx**
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**Nissan Advertisements & Gendered Marketing: A Comparative Rhetorical Analysis**
Josephine Smith
Department of Nursing, South College
HUM2001: Critical Thinking
Professor Jones
October 10, 2025
**Nissan Advertisements & Gendered Marketing: A Comparative Rhetorical Analysis**
Advertisements are designed to do much more than sell a product. Advertisements tell stories, target emotions, and try to shift how people see themselves in relation to what is being sold. Two recent Nissan commercials show how the same product can be presented in completely different ways depending on the audience. One ad features actress Brie Larson and focuses on the emotional excitement of driving, particularly reaching out to female drivers who may have felt excluded from traditional car culture. The second, narrated by a male voice, is aimed at performance-minded drivers who value specs, precision, and control, which is likely a more male-centered demographic. While both ads make deliberate appeals to their audiences’ emotions, they take different rhetorical routes to do so. While both the creators of the Brie Larson Nissan commercial and the male-narrated performance-oriented Nissan ad appropriately appeal to their respective audiences’ emotions, the Larson ad is more likely than the performance-focused ad to succeed in accomplishing the goal of changing their audience’s mind about driving because the speaker presents herself as someone the intended readers will more readily identify with and offers evidence that her audience will find more compelling.
Brie Larson’s Nissan ad builds ethos and credibility by leaning into her public image as a strong, empowered woman. Larson is known for her role as Captain Marvel, a character associated with independence, confidence, and control, which are all themes that the ad wants to associate with the experience of driving. When she says that “driving used to be an act of freedom, inspiration” (Brie Larson, 2021, 0:05), she is not just selling a car. Larson is reinforcing a feeling that many viewers, especially women, may already associate with her. In a space like car advertising, which has long been dominated by male voices and imagery, Larson’s presence immediately feels different and more inclusive to her audience. Her celebrity status gives her ethos, but more importantly, it is her cultural identity as a figure of female empowerment that helps women see her as someone they can trust, making the ad’s message more believable and persuasive.
The performance-centered ad also builds ethos, but does so by leaning into a more traditional, voice-over male spokesperson that is typical of car advertisements. The speaker is not a recognizable face or public figure but is instead a voice that conveys authority through technical knowledge. He walks the audience through specs like “performance brakes,” “electric-assist power steering” (Nissan USA, 2022, 0:22), and suspension and shock absorber specifics, showing that he knows what he is talking about. For a target audience made up of car enthusiasts—people who value engineering, precision, and performance—this kind of credibility matters. It tells the target audience that Nissan knows what makes a car worth driving. However, this kind of ethos can feel limited because the speaker is anonymous and the tone is instructional. The message might come across as cold or inaccessible to anyone outside the performance-focused car world. There is less opportunity for connection or trust for casual drivers who do not relate to technical authority.
Larson’s ad may not use technical details, but logos is still present, and Larson makes a logical argument that fits her audience’s values through logical progression and connotations. Instead of focusing on how the car performs mechanically, she focuses on how driving used to feel. When she says cars were “our sanctuaries and co-conspirators” (Brie Larson, 2021, 0:10), she is tapping into a logical connection many people can make, especially women, between vehicles and personal freedom, safety, and independence. The underlying logic is simple: if driving used to feel exciting and empowering, this car can help you feel that way again. Her audience, one not swayed by specs and horsepower, is likely to make this jump in logic with her because emotional logic is more meaningful to this audience. It encourages them to rethink their relationship to driving in a way that still feels grounded in real experience, not fantasy.
By contrast, the second ad focuses on a more conventional kind of logos: technical details. Every line is filled with language about the mechanics and engineering of the car. Phrases like “twisty lane of asphalt that begs to be driven” (Nissan USA, 2022, 0:20) are paired with visuals of suspension systems, close-ups of tires, and precision driving shots. For car lovers, this approach is logical. It gives them the information they need to make a reasoned choice. The ad clearly speaks the language of drivers who care deeply about how a vehicle handles. But for a broader audience outside of the target audience, this kind of argument can feel too niche or overly specialized. If the viewer is not fluent in automotive specs, the message can feel confusing or irrelevant. The logic holds up, but it is only persuasive if you already care about the things it highlights.
What really makes Larson’s ad stand out, though, is its emotional appeal. From the very first line of “remember when driving was fun?” (Brie Larson, 2021, 0:01), she invites the viewer into a shared feeling of nostalgia. This is not just about selling a car; it is about recapturing a lost sense of joy and freedom. The ad is visually bright, with colorful shots of the car and confident, sweeping camera angles that suggest motion, freedom, and possibility. For women who may not have felt seen by traditional car ads, this message is affirming. The ad makes them feel like they belong in the driver’s seat, not just literally but symbolically. It repositions driving as a personal, even transformative experience, one that is about more than getting from point A to B. This advertisement is a call to reclaim something that many people, especially women, might have forgotten they missed.
The second, more performance-driven ad, uses emotion, too, but in a different, more intense way. It tries to build excitement through a sense of thrill and control. When the narrator describes a “twisty lane of asphalt that begs to be driven” (Nissan USA, 2022, 0:20), the ad invites the viewer to imagine themselves as someone who dominates the road. It is a more aggressive kind of emotional appeal, rooted in power and mastery. For the intended audience, likely male drivers who are passionate about cars, this feeling can be exhilarating. It feeds into the desire to be in control and to experience driving as a kind of personal challenge. However, this emotional appeal is narrowly focused. It does not invite a wide range of viewers into the experience, making the audience too narrow, and by proxy, the advertisement less effective. Instead, it speaks to a specific kind of driver, and anyone outside that category might find the tone too intense or exclusive.
In the end, both commercials are successful in their own ways, but the Brie Larson ad does a better job of opening the experience of driving to a wider audience and changing how that audience might think about cars. While the performance-centered ad builds authority and appeals to a niche group of car enthusiasts, its appeal feels limited by its technical focus and narrow emotional range. The Larson ad, by contrast, offers a message of inclusion, freedom, and empowerment, backed by a spokesperson that viewers can relate to and trust. Fifty percent of the car driving public is women, while those heavily invested in cars and their specifications make up a much smaller percentage of the general public, so the audience for Larson’s ad is larger from the start, making it have a higher chance of success from the beginning. Larson’s ad is persuasive not because it talks about the car in traditional terms, but because it reframes what driving means. It reminds the audience, especially women, that driving can be exciting again, not just in terms of speed or power, but in terms of identity and emotion. Larson’s use of pathos when discussing driving excitement paired with her credibility as an actress and speaker is what makes it more likely to succeed in shifting how its audience thinks: not just about the car, but about their relationship to the road.
**References**
Brie Larson Worldwide. (2021, June 1).
_Brie Larson presents The New Nissan_ [Video]. YouTube.
[https://www.youtube.com/watch?v=StAPejF7KI8](https://www.youtube.com/watch?v=StAPejF7KI8)
Nissan USA. (2022, August 9).
_2023 Nissan Z Performance and Handling_[Video]. YouTube.
[https://www.youtube.com/watch?v=8RqL000AmfE](https://www.youtube.com/watch?v=8RqL000AmfE)
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