The effectiveness of the video relies in the contrast. The main comparison of note is between funny and serious. With a humorous slideshow introduction, Cullen eases the viewer into the more thoughtful interviews and provides a logical foundation for the question posed. Some of the answers, however, reflect societal ills like depression and poverty. He ends with another slideshow that shows a silly future society in space and a kid with crazy goggles, yet also an image of a baby’s toes—far more sympathetic and sentimental imagery.
After that sweet moment, Cullen comes back with a credits roll set to silly banjo music. He claims in his reflection that the music was selected to avoid pretentiousness. I doubt that a less-comical approach would make the author seem pompous, as his account seems credible because he has a vested interest in his daughter’s future. However, this attitude seems to be more consistent with his authentic point of view, which is consistent in his reflection and video.
Also, Cullen contrasts the present, what he actually knows—how a baby grows in the womb in comparative sizes to fruit—to the unknown. By initiating the slideshow with facts about himself, he creates a positive and definite scenario. But the final slideshow establishes the curiosity of the future—the unknown.
Still, one could easily argue that Cullen is flip-flopping his point of view for such a short film. It could be more effective if he chose to remain either serious or funny. By weaving fantastically edited interviews with raw emotional appeal in between low-quality slideshows and absurd banjo music, the viewer feels torn about the intent of his message and the mixed feelings it arises. I'm not sure if his rhetorical choices were the most effective because he did have such high quality interview material that could have held a more uniform tone throughout.
Without assuming too much about Cullen's inner psyche, it seems that this just may be his own personal sense of humor and not a reluctance to take matters seriously. No movie is exciting without its ups and downs of drama and comedy, so Cullen's attempt at this rhetorical balance is admirable.
Still, one could easily argue that Cullen is flip-flopping his point of view for such a short film. It could be more effective if he chose to remain either serious or funny. By weaving fantastically edited interviews with raw emotional appeal in between low-quality slideshows and absurd banjo music, the viewer feels torn about the intent of his message and the mixed feelings it arises. I'm not sure if his rhetorical choices were the most effective because he did have such high quality interview material that could have held a more uniform tone throughout.
Without assuming too much about Cullen's inner psyche, it seems that this just may be his own personal sense of humor and not a reluctance to take matters seriously. No movie is exciting without its ups and downs of drama and comedy, so Cullen's attempt at this rhetorical balance is admirable.
