Today’s modern society focuses on wanting things bigger, better, and faster. According to filmmaker Robert Kenner there is no place this symptom of greedy progress is more prevalent than the modern food system. Kenner’s film Food Inc paints an all to realistic picture of the sinister effects of the industrial food system, ranging from the abuse of the animals and workers to the destruction of the environment and public health. Through his use of powerful imagery, such as video footage of baby chicks being fed through metal slaughterhouses, and carefully crafted comparisons, like those drawn between the metal and gore of industrial farming and the light and cleanliness of organic farming, Kenner, who uses varied and significant interviews to
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It, being such a crucial rhetorical strategy to the piece, is introduced to the audience immediately through the dissonant sounds of minor chords. The music is then followed by images of classic american farmland; the kind of thing one would see in a 1950s movie featuring plenty of green grass and cowboys on horseback. While the music here is slightly cheerful, it is then followed by a sudden shift as the images fall away from the charming green farms to the fake farm labels in a metal and plastic supermarket. Discordant sounds play along with this shift of scenery causing viewers to not only feel tense and agitated but also allowing them to visibly understand the separation between what they thought might be and what actually might be. Ultimately this prepares the audience for the information of how corrupt and immoral the system, that they once put blind faith into, is. The next scene depicts a metal factory mass producing chicken. Viewers watch in disgust as workers, who are donned in white aprons, hair nets, and long rubber gloves, slap chicken carcasas onto hooks, there by dispelling any notion that the food always comes from a quaint little farm. This is only the beginning of startling images. Footage of baby chickens at a slaughterhouse being treated as if they were only balls of fluff, not living breathing creatures, alarms viewers. Images of pigs being
It, being such a crucial rhetorical strategy to the piece, is introduced to the audience immediately through the dissonant sounds of minor chords. The music is then followed by images of classic american farmland; the kind of thing one would see in a 1950s movie featuring plenty of green grass and cowboys on horseback. While the music here is slightly cheerful, it is then followed by a sudden shift as the images fall away from the charming green farms to the fake farm labels in a metal and plastic supermarket. Discordant sounds play along with this shift of scenery causing viewers to not only feel tense and agitated but also allowing them to visibly understand the separation between what they thought might be and what actually might be. Ultimately this prepares the audience for the information of how corrupt and immoral the system, that they once put blind faith into, is. The next scene depicts a metal factory mass producing chicken. Viewers watch in disgust as workers, who are donned in white aprons, hair nets, and long rubber gloves, slap chicken carcasas onto hooks, there by dispelling any notion that the food always comes from a quaint little farm. This is only the beginning of startling images. Footage of baby chickens at a slaughterhouse being treated as if they were only balls of fluff, not living breathing creatures, alarms viewers. Images of pigs being