Super Size Me represents an example of a work that both circumvents and reinforces the tenets of corporate capitalism. Morgan Spurlock uses the grotesque human body in his film in order to address excessive consumption and the facilitation of this consumption by capitalism. However, in doing so, he inevitably uses capitalism as a tool to promote his message, creating a paradox Ross Singer dubs a “commodified form of cinematic dissent” (150). The irony of protesting capitalism through capitalism still has the potential to result in widespread viewership and subsequent activism. Indeed, Spurlock uses this method effectively in Super Size Me. Particularly, by attracting the audience in manner that is more entertaining than serious, as well
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He is able to critique the excess of corporate capitalism, and even succeeds in making changes in the wake of his film, as evidenced by the attempts McDonald’s made to change their restaurant and remove the “super size me” catchphrase (Singer 126). He definitely makes use of commodified cinematic dissent; however, from a film perspective, Spurlock misses out on an opportunity to challenge corporate capitalism further by prioritizing publicity over breaking with cinematic tradition. By focusing on the grotesque rhetorical body, Spurlock fails to take action on an economic front, as his goal is still promotional in nature. Furthermore, his use of the excess in imagery is typical of commodified films, and fails to meet Comolli and Narboni’s concept of taking action on both the “signified” and “signifiers” (690). With regard to this definition, Spurlock takes action on the signified, but fails to properly acknowledge the signifiers. The methods he uses to promote his film are typical of capitalism and he does not acknowledge this either implicitly or explicitly. His attempts to be more entertaining than serious, combined with the grotesque imagery present in Super Size Me, culminate in a message that impacts viewers superficially but also overwhelms their capacity for criticism, not unlike a blockbuster film. Ultimately, Spurlock does amplify his political message, but in doing so he allows his message to be nullified by
He is able to critique the excess of corporate capitalism, and even succeeds in making changes in the wake of his film, as evidenced by the attempts McDonald’s made to change their restaurant and remove the “super size me” catchphrase (Singer 126). He definitely makes use of commodified cinematic dissent; however, from a film perspective, Spurlock misses out on an opportunity to challenge corporate capitalism further by prioritizing publicity over breaking with cinematic tradition. By focusing on the grotesque rhetorical body, Spurlock fails to take action on an economic front, as his goal is still promotional in nature. Furthermore, his use of the excess in imagery is typical of commodified films, and fails to meet Comolli and Narboni’s concept of taking action on both the “signified” and “signifiers” (690). With regard to this definition, Spurlock takes action on the signified, but fails to properly acknowledge the signifiers. The methods he uses to promote his film are typical of capitalism and he does not acknowledge this either implicitly or explicitly. His attempts to be more entertaining than serious, combined with the grotesque imagery present in Super Size Me, culminate in a message that impacts viewers superficially but also overwhelms their capacity for criticism, not unlike a blockbuster film. Ultimately, Spurlock does amplify his political message, but in doing so he allows his message to be nullified by