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Follow That Bird!
A Rhetorical Analysis of Sesame Street
Why was Sesame Street
      Created?
 Created by Children’s
 Television Workshop
 (CTW) in 1969
 Preschool Audience
 Low-Income Families
 Focus on Curriculum
 Based Skills
 Taught Social Skills and
 Displayed Interactions
!Cultural Education
!Multiculturalism
Kairos Then:
Education & Television in the 1960’s


Cognitive Revolution
Active Participants
vs. Slaves to Stimuli
President Johnson’s
“War on Poverty”
Project Head Start
Government funding
Kairos Today:
     Globalization & Multiculturalism
No Eurocentric Majority
Clips set in other cultures
Bilingual Puppets
20 Countries Produce the show
locally
           Live casts, Reflection
           of Culture
Needs Sensitive Muppets
           Takalani Sesame
           Empowerment of
           Female Muppets
           Cultural Understanding
           Disabilities

                                    1   2   3
Audience:
   Youth According to Aristotle
Passionate           Injure Through
                     Insolence
Quick to Anger
                     Fond of Friends
Highly Resentful

Believe in Human
Goodness

Trusting/Easily
Deceived

Impulsive/No
Calculation
Logos:
         Cognitive & Montessori

Cognitive Development
vs. Social or Emotional
  Focus on Mental Skills
Montessori Method
  Sensory and Motor
  Development
  “Hands-On” Experience



                           Video
Ethos:
              Invented vs. Situated
Invented:                              Situated:
Characters                                40 Years
Innovative                             (1969-2008)
Television                            Broadcasted on
Educational                             PBS (Public
Intentions                               Television)
                                          Time Slot
Commonplaces

        Teaches Children how to
        Deal with Change

        Depicts Everyday
        Activities

        Different Cultural Styles
        of Music

Video
Pathos
    The Emotional Nature of the Audience
 Excites:                           Through:
Passions                           Music
Feelings                           Audience
Sympathies                         Involvement
                                   Honorific &
                                   Pejorative
                                   Language
Visual Rhetoric
      Big Bird

Tallest Character on
the show
Yellow Body, Orange
Legs, Red Mouth
Slow, Gentle
Movements
Visual Rhetoric
  Cookie Monster

Widest Character
Googly Eyes
Deep, Growly Voice
Simplistic Diction
Visual Rhetoric
        Elmo

3 1/2 Years Old
Smallest Character on
Show
Hyperactive Movements
Visual Rhetoric
Oscar the Grouch

Lives in a Garbage
Can
Dirty Green Fur
Rough Singing
Voice
A Rhetorical Analysis of Sesame Street
Works Cited

Shalom M. Fisch, Lewis Bernstein, "Formative Research Revealed: Methodological and Process Issues in Formative Research". In Shalom M.
Fisch, Rosemarie T. Truglio (eds.), "G" is for "Growing": Thirty Years of Research on Children and Sesame Street. Mahwah, N.J.: Lawrence
Erlbaum Associates, 2000. ISBN 0805833943. Pp 39–40.

Fisch, Shalom M., Rosemarie T. Truglio, and Charlotte F. Cole. "The Impact of Sesame Street on Preschool Children: A Review and Synthesis of 30
Years' Research." Media Psychology 1999: 165-90.

Hendershot, Heather, “Sesame Street: Cognition and Communications Imperialism.” Kid’s Media Culture. Ed. Marsha Kinder. Duke University Press,
1999. 139-176.

Hey, Damian Ward. “Sesame Workshop’s Fight Against AIDs in South Africa.” Television Quarterly. 33:4 (Spr 2003): 54-61. 16 Oct. 2008 <http://
www.emmyonline.org/national/default.asp>

Kraidy, Ute Sartorius, “Sunny Days on Sesame Street? Multiculturalism and Postmodernism.” Journal of Communication Inquiry. 26:1 (Jan 2002):
9-25. SAGE. Elmhurst College Lib., Elmhurst. 16 Oct. 2008 <http://jci.sagepub.com/>

Shyles, Leonard. The Art of Video Production. Los Angeles: Sage Publications. 2007.

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A Rhetorical Analysis of Sesame Street

  • 1. Follow That Bird! A Rhetorical Analysis of Sesame Street
  • 2. Why was Sesame Street Created? Created by Children’s Television Workshop (CTW) in 1969 Preschool Audience Low-Income Families Focus on Curriculum Based Skills Taught Social Skills and Displayed Interactions !Cultural Education !Multiculturalism
  • 3. Kairos Then: Education & Television in the 1960’s Cognitive Revolution Active Participants vs. Slaves to Stimuli President Johnson’s “War on Poverty” Project Head Start Government funding
  • 4. Kairos Today: Globalization & Multiculturalism No Eurocentric Majority Clips set in other cultures Bilingual Puppets 20 Countries Produce the show locally Live casts, Reflection of Culture Needs Sensitive Muppets Takalani Sesame Empowerment of Female Muppets Cultural Understanding Disabilities 1 2 3
  • 5. Audience: Youth According to Aristotle Passionate Injure Through Insolence Quick to Anger Fond of Friends Highly Resentful Believe in Human Goodness Trusting/Easily Deceived Impulsive/No Calculation
  • 6. Logos: Cognitive & Montessori Cognitive Development vs. Social or Emotional Focus on Mental Skills Montessori Method Sensory and Motor Development “Hands-On” Experience Video
  • 7. Ethos: Invented vs. Situated Invented: Situated: Characters 40 Years Innovative (1969-2008) Television Broadcasted on Educational PBS (Public Intentions Television) Time Slot
  • 8. Commonplaces Teaches Children how to Deal with Change Depicts Everyday Activities Different Cultural Styles of Music Video
  • 9. Pathos The Emotional Nature of the Audience Excites: Through: Passions Music Feelings Audience Sympathies Involvement Honorific & Pejorative Language
  • 10. Visual Rhetoric Big Bird Tallest Character on the show Yellow Body, Orange Legs, Red Mouth Slow, Gentle Movements
  • 11. Visual Rhetoric Cookie Monster Widest Character Googly Eyes Deep, Growly Voice Simplistic Diction
  • 12. Visual Rhetoric Elmo 3 1/2 Years Old Smallest Character on Show Hyperactive Movements
  • 13. Visual Rhetoric Oscar the Grouch Lives in a Garbage Can Dirty Green Fur Rough Singing Voice
  • 15. Works Cited Shalom M. Fisch, Lewis Bernstein, "Formative Research Revealed: Methodological and Process Issues in Formative Research". In Shalom M. Fisch, Rosemarie T. Truglio (eds.), "G" is for "Growing": Thirty Years of Research on Children and Sesame Street. Mahwah, N.J.: Lawrence Erlbaum Associates, 2000. ISBN 0805833943. Pp 39–40. Fisch, Shalom M., Rosemarie T. Truglio, and Charlotte F. Cole. "The Impact of Sesame Street on Preschool Children: A Review and Synthesis of 30 Years' Research." Media Psychology 1999: 165-90. Hendershot, Heather, “Sesame Street: Cognition and Communications Imperialism.” Kid’s Media Culture. Ed. Marsha Kinder. Duke University Press, 1999. 139-176. Hey, Damian Ward. “Sesame Workshop’s Fight Against AIDs in South Africa.” Television Quarterly. 33:4 (Spr 2003): 54-61. 16 Oct. 2008 <http:// www.emmyonline.org/national/default.asp> Kraidy, Ute Sartorius, “Sunny Days on Sesame Street? Multiculturalism and Postmodernism.” Journal of Communication Inquiry. 26:1 (Jan 2002): 9-25. SAGE. Elmhurst College Lib., Elmhurst. 16 Oct. 2008 <http://jci.sagepub.com/> Shyles, Leonard. The Art of Video Production. Los Angeles: Sage Publications. 2007.