Conventions Films have been used since 1984 and serve as an introduction of the candidate at the Convention, generally immediately preceding their acceptance speech. Candidate films “function as rhetorical narratives, strategically constructed & presented for persuasive ends.” (Timmerman)

History of Political Conventions

Characteristics of Nomination Acceptance Speeches

The Modern Convention Guest Speakers Scripted Events Each party define themselves through: Theme Character Scheme Plan for enactment (Farrell) Guest Speakers Scripted Events

Rhetorical Techniques in Convention Speech Polarization Strategy Flag Issue Flag Individual

Films

“The candidate film is a unique showcase for story telling” (Timmerman) There is “pleasure in the process of learning about leaders and their lives, their histories, and their personalities that is maximized in the contemporary media environment.” (Perry-Giles) Conventions films are biographical re-introductions of the candidate. They tend to focus on the personal side of the candidate and emphasize their life experiences and personalities. They allow for family and friends to personalize the candidate through narration, still images, home video, filmed appearances and music.

“Pictures provide the proof for verbal assertions” (Timmerman) “it was used extremely effectively and sort of melded into the whole picture of the last four years. "Return me to office. Here's what I've done for America."   Timmerman suggests that rather than simply mentioning in a speech that as a teenager Bill Clinton met JFK, the film allows the viewer to see the “excitement & awe” on his face while hearing him recount that event. The campaign film allows the viewer to see and interpret the event, and do so through the context of the candidate.

Films “provide comprehensive, structured storehouses of mythic images of the president, the country, and its citizens.” (Morreale)

“The Man From Hope” Clinton Campaign film, 1992 Democratic National Convention Strategic counter to questions raised about the candidate’s character. “11th Hour reinvention” of Clinton’s image. (Novak) Designed to “replace his checkered image with a human persona that was vulnerable, humble, and accessible to ordinary people.” (Goldman) Clinton was struggling with a great deal of personal baggage entering the Convention, many voters still harbored doubts about his personality and morals. The film focuses almost entirely on his personal side, rather than his career in public service. “The narrative portrays Clinton as a sincere individual who has taken his lumps in life but has responded positively to them.”

American Dream… “Lets the viewer see that dream’s enactment in Clinton’s life and to gain pleasure from the knowledge the Bill Clinton represents that dream for all of America.” (Parry-Giles) Clinton is portrayed in his ’92 campaign film as a “true believer in the American system who values government and public service and did so even as a boy.” He is projected as the antithesis to the “slick willie” persona. “I still believe these things are possible. I still believe in the promise of America. I still believe in a place called Hope.”