Who Killed the Electric Car vs. A Crude Awakening: The Oil Crash

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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
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These juxtapositions capture the attitude of the United States several decades ago when people believed that the oil supply was infinite and free of consequences. The Oil Crash however, uses similar archival footage to a greater, more powerful effect due to better placement in crucial points of the documentary. The old advertisements are placed directly after interviews that discuss the modern attitudes and problems associated with oil such as its finite supply, location in unstable countries and environmental impact around the world. Juxtaposition is also used when pairing visual and auditory elements in both documentaries. For example in The Oil Crash classical music is used when displaying images of the government or politicians to create a divide between the viewers and the political policy that is being presented. The Electric Car uses music more sparingly and only during emotional interviews or film sequences. Music is successfully used by both directors to create certain emotions or attitudes within the audience. The Electric Car overall contains a much stronger appeal to emotion or Pathos. One example is the first scene of the movie, which contains a funeral for the EV1. The movie continues to appeal to emotion mainly through interviews with people who previously owned an electric vehicle. Images of cars being crushed are overlaid with music evoking emotions of sadness and death. The interviews are

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