Nature Shows from a Rhetorical Perspective
Nic Hopkins
Emily Petersen
Estera Varga
Jacqualine Wong
Michael Zafiris
Professor A. McMurry
ENGL 104
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Table of Contents
Section
Page
Table of Contents
2
Introduction
3
Methods
4
Background
5
Results
11
Discussion
22
Conclusions
34
Works Cited
36
3
Introduction
This paper is a case study on the use of rhetoric in nature shows on television.
Several different types of shows were selected for this report, from children’s
programming (such as Zoboomafoo) to programming for adults (National Geographic).
At the core of all nature shows is a message. The message varies from show to show, but
in most cases it is a message of preservation; preserving nature for future generations to
enjoy. While some shows have admittedly blunter ways of getting the message across,
most shows opt instead to present the viewer with images of nature and a soothing
presenter—all in an effort to connect with the viewer on a deep emotional level.
Television in general is designed to send messages to the viewer, either overtly
(as in telling the viewer exactly what is meant) or more covertly (using more subtle hints
to get the message across). There are several different ways in which a television show
(in this case, nature shows) can convey that message to the viewer. One way is to use
music to elicit an emotional response, thus creating a feeling within the viewer that there
is a need to act. Another way is to use both images and a narrator, who has a certain
“quality” to his voice (nature shows are almost exclusively the realm of male
announcers). This paper will investigate the ways Zoboomafoo, National Geographic,
Mutual of Omaha’s Wild Kingdom and various TV channels use rhetoric.
The report includes an overview of the way data on each show was collected,
background information on nature shows and documentaries themselves, and reports on
how each show utilises rhetoric in its quest to present the audience with a solid grasp of
its subject matter.
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Methods
To investigate the different rhetorical methods that are employed by various
nature shows and channels, the investigation took the following format. There were three
“content experts” who each chose either specific nature shows or a TV channel for their
investigation. Their task was to then watch a designated number of a certain number of
hours and record all rhetorical techniques employed. The criteria included analysing
“Characters” (the hosts/narrators in the show/on the channel), “Setting” (where the show
was shot/where it took place), “Tone” (music, sound effects, tone of voice), “Rhetorical
Balance” (the balance between logos, ethos and pathos; how is the information portrayed
to the audience?), “Balance” (are the two sides being presented equally?),
“Arrangement/Form” (how does the show generate interest, excitement, or urgency
through structure?), “Media-specific Features” (how was the show shot? Long shots,
close-ups, set design, lighting, etc.), and “Style” (correct use of grammar; clarity;
evidence, etc.).
The shows and channels selected were Zoboomafoo (a children’s nature show
hosted by two brothers and a lemur puppet), National Geographic (for its strength of
character and its history as a highly rated nature show), Mutual of Omaha’s Wild
Kingdom (for a more humorous take on nature shows), and the channels TVO (Television
Ontario—a government-funded channel), BBC Kids, History Channel, National
Geographic Channel, and The Discovery Channel. Each content expert watched 10 hours
of television shows (either of their own show, or 10 hours of nature shows on a given
channel). The results were then cast into a template with the criterion above. Each show
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varied from the next in several different ways, but those which were aimed at the same
target audience appeared to share similar rhetorical techniques.
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Background
Nature and television, two entirely separate entities, have both succeeded in
gaining the attention of the North American public over the course of the last century.
Heightened interest in our natural world, accompanied by a growth in the sophistication
of one of man’s most important inventions (the television) has caused the birth—and
rapid growth—of nature shows. Pressures of an ever-changing environment, natural
habitat and animal species, along with fears of resource depletion and global warming
have sparked a continuum of environmentally conscious citizens. Television, as a
medium, is regarded as an effective means of broadcasting and promoting information.
Television allows for easy distribution of prime issues related to nature; different
audiences can be both educated and entertained by either a documentary, short film or
narrative endeavour. “Until relatively recently, the impact of the human race on the
physical environment was trivial by comparison with natural changes in ecosystems”;
however, it is television, as a visual and auditory medium, which has aided in unlocking a
topic that was, for so many years, hidden behind inadequate technology (Beckerman 14).
It is a common sight to see many television sets in North American households;
family members gather in different segments of the house in order to view their desired
show. The overall acceptance of television as a medium, since its official introduction in
the United States and the United Kingdom before World War II, has been described by
Gary Steiner as “obvious and virtually universal” (1963). In fact, “young couples added
babies and televisions as newest members to their homes in almost equal numbers in the
decade after the Second World War” (Mittman 134). Figures show that between 1946 and
1955, “over 38 million babies were born in the United States [and n]early 41 million
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television sets were manufactured and sold during the same period” (Mittman 134). In
1963, over 90% of households had their own sets, and used them “an average of five to
six hours a day”, and this trend has continued on into the 21st century (Steiner 17). For
example, figures published by Statistics Canada show that in 2004, Canadian citizens
watched on average 25.6 hours of television per week (Statistics Canada). Furthermore, a
study conducted by the Target Group Index (TGI) highlights the relationship between
television and nature. The study found that 33% of participants from both Mexico and
Brazil admitted watching nature and wildlife shows (Soong). Similar figures were present
in Canada, where 31% watched nature shows on television (Soong). This newfound
reliance on the television as an educational and informational device improves the
chances of reaching a wider population and voicing environmental concerns.
Before television “became a fixture in every American home, manufactures
promoted its ability to take viewers to the far corners of the globe” (Mittman 148). For
instance, in early 1944, Dumont Television advertisement was credited for “promising to
make everyone an armchair Columbus” (Mittman 148). The Promotional copy declared
that “you’ll sail with television through vanishing horizons into exciting new worlds”,
which excited parents and children alike (Mittman 148). A “wholesome, educational, and
entertaining experience…demonstrated to parents that the company was concerned”; it
was playing upon the emotional disposition of the potential audience in attempt to
strengthen their own ethos (Mittman 153).
Early developments in the wildlife genre generally confined representations to a
“show-and-tell format” (Chris 45). In the United States,
wildlife and nature programming made its first appearance
in 1948, with the success of a fifteen-minute science
program called The Nature of Things”(Wildlife and
Figure 1: National Geographic's
iconic logo.
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Nature Programs). Television networks “capitalized on a cultural fascination with the
non-human, the mysterious, the unknown, the exotic and the remote aspects of natural
world”, and produced shows that were able to both educate and entertain (Wildlife and
Nature Programs). Over time, significant technological advances as well as a keen base
audience helped to secure nature shows a permanent position on daily television. A
consequential increase in the “quantity of wildlife TV on the air”, the successful securing
of a “place in network programming strategies” as well as the switch from “studio-based
programs” to field locations, where animals were shown “in their natural habitats”, were
all due to enthusiastic audiences (Chris 45). It was during the 1960s that two distinct
paradigms emerged for wildlife TV (Chris 55). “The organizing principle of both was a
quest- for a particular animal and for observations about it from which knowledge could
be produced” (Chris 55). And definitive examples of this quest can be witnessed in an
array of National Geographic specials.
Moreover, documentary productions have grown in stature over the years, and are
commonly aired on public television. Television documentaries gained success on the
BBC “with the long-running series Look, a studio based magazine program” (Nature
Documentary). Ratings for both “wildlife and natural history films” have soured way
above initial expectations. They have been “one of modern society’s most important
sources of information about the natural world” (Nature Documentary). Nature
documentaries tend to focus upon a desired “species, ecosystem or scientific idea”, and
the shows catered towards a definite adult population, proceed to paint a clear picture of
natures unknown. In contrast, documentaries designed for the younger population tend to
showcase information in a simple, yet exhilarating fashion; often subjects are
anthropomorphized to enhance a viewer’s pleasure (Nature Documentary). Almost all
have a male presenter, although his role varies (Nature Documentary). It can range from
“explanatory voiceovers to extensive interaction or even confrontation with the animals”
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(Nature Documentary). Documentaries are usually made for
television and have a duration of 45-50 minutes; long enough
to present the given information and to keep the audience
enticed (Nature Documentary).
Figure 2: Sir David
Attenborough
World renowned producer and host Sir David
Attenborough is largely responsible for the continued success of nature and wildlife
shows in Britain. His most notable contribution to the genre lies with the Life series, and
his first instalment was titled Life on Earth in 1979 (Nature Documentary). Most recently
(2005), he brought out a series called Life in the Undergrowth, which was composed of
five episodes and in 2008, a new series titled Life in Cold Blood is expected to hit British
Television screens (Nature Documentary). Undoubtedly, increased ratings and pressure
from an earnest audience have forced produces to compete against other popular genres.
For example, in 1982, Sir Peter Scott, in conjunction with WWF-UK, founded The
Wildscreen Festival (Wildscreen festival). The festival is held every two years in Bristol,
and “its aim is to encourage and applaud excellence in the
production of moving images about the natural world, and
so increase the global viewing public’s awareness and
understanding of nature and the need to conserve it”
(Wildscreen festival). Furthermore, “the centrepiece of
every Wildscreen Festival is the bestowing of its Panda
Awards”, which are essentially nature’s equivalence of
Figure 3: The Wildscreen Festival.
the Oscars (Wildscreen festival). In the year of 2002 alone, “nearly 400 films from 35
different countries competed for these prestigious awards” (Greenpeace International).
The event is another step in the direction of ridding our nation of global ignorance.
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While many commercial networks relaxed “their commitment to the wildlife
genre and to the documentary” throughout North America, “science, nature and
exploration programming found a home on public TV” (Chris 69). It was PBS, which
aired virtually all documentaries, that became known as the BBC’s North American
equivalent, and was successful in providing “regular timeslots for nature and wildlife
programming” (Chris 69). Nature documentaries have been labelled as having “unusually
long shelf life”; they have an unprecedented ability to be “rerun season after season
without loosing audience” (Chris 87). However, in today’s society, a number of nature
and wildlife programs have changed the way they broadcast; they “have stepped beyond
the most common US television goals of entertaining and informing” (Wildlife and
Nature Programs). They have endurably tried to “support the preservation of species and
environments but to hold corporations and governments accountable for acts of pollution
and destruction” (Wildlife and Nature programs).
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Nature and wildlife audiences successfully “complement its low costs and
recyclability” (Chris 87). Audiences have been both “reliable and appealing to
advertisers”, although they often hold demographic characteristics (Chris 87). For
instance, in 1995 “audience share for TBS’s National Geographic Specials grew almost
50% in 1995” (Chris 87). And in 1996, Forbes described the typical audience for
National Geographic Specials as “male viewers ages 25
to 54”, a tough group to reach out to with television
(Chris 87). Other companies which have become
extremely well known and accepted on the small screen
are the Discovery Channel, which “played a large role
Figure 4: The Animal Planet logo.
in repositioning non-fiction, in developing hybrid
reality subgenres and in recommodifying wildlife programs” (Chris 80). For example, in
1996, Discovery linked with the BBC to produce Animal Planet, “devoted entirely to
companion animals and wildlife” (Smith 80). Focus was placed upon casting animals in
“games shows, talk shows, talent shows, athletic contests and docudramas”; once again,
producers were trying to stretch their limits, in the hope of reaching out to a greater
audience (Chris 80).
Overall, the content and form of nature and wildlife shows is constantly evolving.
For example, the topic of ecology “has become a new, all-inclusive, yet often metanarrative” (Brereton 1). Today, “multi-set households find different family members
spending time apart using different sets for different purposes” (Ellis 4). The ultimate
goal of the producer of a nature show is to gain individuals’ trust and support so that they
choose to view nature shows on TV. In part, this is achieved by presenting the
information in a fun, adventurous and captivating fashion, while, at the same time,
staying true to the genre and presenting the necessary facts. In fact, “active watching of
television”, or the “mechanical storage or mental retention of program content” is the
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ultimate goal (Ellis 9). If an individual can walk away satisfied with what he/she has just
watched and remember at least one main premise, then the production company has
succeeded.
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Results
National Geographic
30 Years of National Geographic Specials was of particular interest because it
covers a wide range of topics, such as wildlife, population growth, modernization, and
the environment. It deals largely with the wonders of nature and unknown cultures and
civilizations, and emphasizes the need for the human population to co-exist with the
wildlife of the world. It was interesting to observe that the rhetorical methods used were
consistent with all the other films, even though the style of this one was slightly different.
The film Elephant focuses on the elephant: its intelligence, beauty, and
mysteriousness. In depth, it examines the significance and importance that it be
preserved. Rhetorical methods are quickly recognizable and effective in persuading the
viewers and eliciting emotions.
Forces of Nature takes a look at the mysteries of nature’s immense power. From
the United States to Europe, it becomes evident that natural disasters know no
boundaries. The science of volcanoes, earthquakes, and tornadoes are all explored. The
same rhetorical methods are used, and pathos and logos play particularly large roles in
this film.
Nature’s Fury deals with the environment—Mother Nature’s wonders and
mysterious powers. The film also examines the science and causes of earthquakes, floods,
tornadoes, and hurricanes and explores new scientific methods of possibly predicting
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future disasters. In this film pathos and logos are important in eliciting emotions and
reaching the viewers on a personal level.
San Francisco’s Great Quake takes an in-depth look at the 1906 earthquake as the
most destructive of all natural disasters in American history; this film also examines the
science of earthquakes and explores new scientific methods of possibly predicting future
earthquakes. It also takes a look at how people react to natural disasters and how they
come together in the struggle to survive. Rhetorical methods are balanced and effective in
drawing out emotions.
Secrets of the Titanic focuses on the absolute power of Mother Nature with
respect to man’s limited abilities. Even in the midst of the most modern technology man
is helpless in the competition to outlast powerful weather conditions. Pathos is very
important in this film and simultaneously works together with logos to elicit emotions.
The Siberian Tiger, whose population is rapidly declining, is often the subject of
extensive scientific research in hopes of preserving its species. In their relentless effort to
stop the tiger’s route to extinction, biologists venture into the wild to examine the
animal’s behaviour and habits. The journey was then turned into the show Tigers of the
Snow. Rhetorical methods work effectively in persuading the audience.
The true elegance of National Geographic lies in the fact that each documentary
simultaneously entertains and educates, leaving its viewers more knowledgeable, aware,
and equipped to better face the world. The purely artistic beauty lies in its rhetorical
balance. Pathos is largely responsible for creating an emotional connection within the
viewer to the subject at hand, and works together with logos to strengthen and reinforce
the connection. Truth is a powerful form of rhetoric, and because the documentaries are
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completely logos-driven (that is to say that they are entirely factual), the viewer is
prepared to accept the facts and be moved through enlightenment and new insight. Ethos
is instrumental in persuading the viewers. For example, in each documentary, scientists,
authors, historians, and other authoritative figures who have done extensive, usually lifelong research, are interviewed and guide the viewers in explaining the wonder at hand.
The audience trusts National Geographic before even beginning to watch, and it is
usually for this reason that the show is chosen, above all others, in the first place. The
National Geographic films that were analyzed were chosen at random, in order to truly
analyze the rhetorical methods and media-specific features without any bias. And in fact,
the documentaries, though vast in their topics and unique in their compilation, all carry
the same rhetorical methods and media-specific features; and so the films find their voice
and elegance, exclusive and specific to National Geographic.
Children’s Shows vs. Adult’s Shows
The Magic School Bus is a popular children’s series that teaches children about
nature and explores popular issues. The children of The Magic School Bus begin by
learning that butterflies actually start out as caterpillars. They then travel to a swamp to
research “bog beasts.” There is a lot of music and sound effects throughout the show. Ms.
Frizzle and the children always have a great deal of excitement in their voices which
results in the children at home getting excited about the topic as well. The show is very
artistic and creative as the bus often transforms into different animals or modes of
transportation. Logos is used as the viewer believes that all the information presented to
us by Ms. Frizzle must be accurate as she is a teacher. There are two sides being
presented in this episode. One of the children does not believe that butterflies are
interesting enough to be the school mascot and it is up to Ms. Frizzle to convince the girl
and the audience that they are in fact interesting creatures. The show is interesting and
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exciting because the kids on the show get to learn about the butterflies by actually turning
into one. This creates a great deal of excitement for the viewers at home—as they wonder
if they too can learn that way. The show flows from one topic to another and children can
easily follow. The show begins in the classroom and then moves to the magic school bus
where Ms. Frizzle then takes the children to a swamp. The colors are very bright which
helps to set a very exciting mood. There is always music playing in the background and
special effects to keep the children’s attention.
The Great Bears of Alaska portrays the great bears of Alaska in their natural
habitat and allowed us to view them with their families, trying to catch food and coming
into conflict with other bears. This program features wild bears in remote areas of Alaska.
The viewer watches the bears in their natural habitats and witnesses their constant quest
for food and proper shelter. The video also captures the animals conflicting with other
animals and being intimate with one another. The tone of the narrator is relatively
serious. At times throughout the program there was music playing in the background.
However, there weren’t any special effects or sound effects. Pathos is presented to the
viewer throughout the entire program as we feel frightened when the mother attacks other
bears to protect her cubs. The viewer is excited and anxious as we watch the bears trying
desperately to catch fish. Finally, a great deal of emotion is felt when the mother is
nursing her cubs and they are lying together cuddling. There is only one side being
presented in this program as the narrator provides the viewer with information about
bears. The viewer is shown the life of bears from birth to adulthood so there is definitely
a sense of order. There is a great deal of excitement when the mother is protecting the
cubs and the sense of urgency is felt when the bears are fishing for food. The setting is
very natural as it is in the bears own habitat. The lighting used is also natural and the
camera angles vary from close up shots to medium shots and long shots. The narrator
speaks in regular dialect with proper grammar. The spoken material is very straight
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forward and easily compliments footage. The target audience is adults but children could
easily interpret the information presented.
National Geographic’s Hawaii: Strangers in Paradise seemed as though it would
be interesting to watch and it covers a broad range of subjects, including plants, animals,
endangered animals, sea animals and even landscaping. It also includes a look into the
Hawaiian Islands and their volcanoes, tropical wildlife (found nowhere else on earth),
their waterfalls, endangered plants and endangered animals. The narrator’s voice is very
serious and their Hawaiian tribal music often plays in the background. Pathos is used in
this program as is appeals to our emotions by introducing us to real hardworking
Hawaiians who pollinate many of the plants themselves so they will not become extinct.
The breath taking waterfalls, terrifying volcanoes and adorable endangered species also
appeals to our emotions. There is only one side being presented in this program as the
narrator provides the viewer with information about the Hawaiian Islands. Excitement is
generated through the story of the Polynesians, waterfalls and volcanoes. The story is
structured starting with the volcanoes, waterfalls, animals, endangered animals, plants
then endangered plants. The lighting is natural and all the footage is real. There is an
assortment of angles used, some on land and from helicopters. The program takes place
in the mountains, ocean and on the land. There is often Hawaiian tribal music playing in
the background. The grammar and language used is proper. The material being presented
is geared toward adults but children could easily comprehend it as well. All the
information is interesting and exciting which compliments the footage and captures the
audience’s attention.
Eyewitness: Prehistoric Life was chosen because it investigates a very interesting
topic: how human beings have evolved. It looks at two of the different theories as to how
the earth evolved: The “Big Bang” theory and “Darwin’s” theory are explored. How
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plants and animals became what they are today is also explored. The tone is quite serious
however there are some sound effects throughout the program. Logos is evident
throughout the program as the viewer is presented with scientific information from the
narrator but there is no other expert of scientist there to contradict these theories. The
narrator presents us with these two theories which we are expected to explore and come
to our own conclusions. There is a clear sequence of events starting at the beginning of
time. There isn’t really any sense of excitement throughout the documentary. There are
some special effects with dinosaurs at one point in the documentary. The color
throughout the program is quite dull, dark and dreary with exception of some of the
underwater shots of the ocean. The lighting is natural and there is an assortment of angles
used. The tone is very serious and the language is tailored towards adults. The spoken
material compliments the visual images quite nicely.
Crisis in the Atmosphere was chosen because it explores a very hot (and
somewhat controversial) topic in the world today: global warming. Experts explain that
as the earth grows warmer, the ozone layer is diminishing. If left unchecked, these
conditions could lead to a melting of the polar caps which would set off an ecological
chain or devastating consequences. Many ways we can save our planet is revealed
throughout this documentary. Unlike many of the other shows viewed, there is no music
or sound effects. The tone of the narrator, scientists and experts is very serious and
almost urgent at times. Pathos is used as the viewed feels a great deal of emotion because
they feel as though their lives are being threatened. Animals are suffering from oil spills
and there are famines around the world which grips the viewer’s heart. Logos is also used
as the scientists and experts make the viewer feel that it is only logical to do everything
we can t help save our planet. There is only one point of view being portrayed throughout
the program. All the scientists and experts agree that changes need to be made in order to
save our planet. The plot is very organized and well structured. There is a great sense of
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urgency felt throughout the entire program. The lighting is all natural; there is a variety of
angles used throughout the program. The footage is all very dark and dull in order to
compliment the serious subject. The speech is formal and the dialect is normal. All to
footage compliments the spoken material. Thee target audience would have to be adults
because the information is very in-depth and difficult.
BBC Kids’ TV show See How They Grow was chosen because it offers a more
international view of nature shows for children. The show follows different desert
animals from their birth until adulthood to see how they grow and develop. It also
explains how they are able to survive in the extreme heat of the desert. The narrator’s
voice is very childish which relates well to the children. There is constant music in the
background with many sound effects. Logos is used throughout the program as the viewer
is presented with information and the real animals help to enhance it. There is only one
side being presented in this program as the narrator provides the viewer with information
about animals. The program is very structured and organized, it introduces one animal at
a time and keeps everything very simple making it easy for younger viewers to follow.
The lighting is un-natural as is the setting. There are many different camera angles used
and the show takes place on the same man made desert the entire way through. The
colors are not as bright and vibrant as they were in many of the other children shows I
viewed, they were more neutral. Language is very simple and tailored towards young
children. The spoken material is very simple, not too many facts are given but they do
manage to introduce many animals.
National Geographic’s children’s spin-off show, Really Wild Animals, was chosen
for its overwhelming popularity as a nature show for kids. The episode used was Deep
Sea Dive. The host, “Spin”, which is an animated globe, explores many of the different
oceans. He focuses on whales, sharks, penguins, sea otters, stingray and plants. He also
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studies bodies of water in general, explaining the difference between lakes, rivers, oceans
and streams. The tone is more serious than the other children’s programs viewed. But
there was music and sound effects throughout the program. The information is portrayed
in an artistic form as “Spin” often pops into the actual ocean with the sea creatures.
Pathos is used when the viewed is overcome with emotion after seeing the animals
suffering after an oil spill in the ocean. There is only one side being presented in this
program as the narrator provides the viewer with information about animals of the ocean.
The show is very organized and is presented in a sequence explaining one animal at a
time. The lighting and all the footage is natural. There are a lot of close-up angles of
plants and fish in the ocean and a lot of long-angle shots from over the ocean. The pace is
rather quick as they feature many different animals and plants in a one hour program.
“Spin” speaks with an Australian accent which can be difficult to understand at times
probably even more so for children. He also uses a great deal of early 90’s surfer slang
which would appeal to kids as they would see him as being fun and friendly.
National Geographic’s Creatures of the Mangrove was chosen because National
Geographic is a very reliable and popular show and one can glean a great deal of
information from it. The program captures many of the wildlife and the ways in which
they have adapted to daily flooding, search for oxygen and food in a wilderness
untouched by man. The program also introduces some of the plants, trees and flowers that
grow in the Mangrove. The narrator is very monotone which makes it hard to keep the
viewers attention. There is some music and sound effects throughout the program. Logos
is used to convey the information. The narrator explains the information and uses the
wildlife to back up the information. The program was relatively inartistic and produced
information without any special effects. There is only one point of view, the narrator
simply provides the viewer with information on the creatures of the mangrove. There
isn’t really a clear sequence; it jumps from many different animals, plants and flowers.
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There is a sense of urgency in a few scenes such as the scene when the snake and dragon
and stalking their prey. The lighting is natural; there are many different camera angles.
The show takes place in many different scenes: the trees, in the ocean, or shore…etc. The
pace is very slow and in many scenes there is no narration, we just simply watch the
animals in their natural habitat. The grammar is very formal. Language is tailored
towards an educated adult but an older child might be able to comprehend the
information as well.
Zoboomafoo
Zoboomafoo was chosen as a case study for this research because of its popularity
among a younger audience. The DVD “Baby Critters & Animal Giants” had two 50
minute episodes which allowed careful examination of the itinerary and arrangement of
the show. It also enabled a good understanding of how the show presents its information.
The episode “Chirp and Chatter & Farm Friends” confirmed that each episode
followed a similar arrangement: It starts off with a problem that will be solved later on in
the show.
The episode “Dogs and Cats” was interesting because the show featured two
house-hold pets. Not often are dogs or cats featured in a nature show, thus this episode
was a fairly drastic departure from characteristic nature shows. Once again, it shows that
Zoboomafoo features a variety of animals.
In the episode “Farm Friends”, a wide range of farm animals were shown. This
episode illustrated that Zoboomafoo featured a wide range of animals—both wild animals
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and domesticated animals. Every animal was just as significant as the next. Zoboomafoo
introduces every possible kind of animal to the audience.
Once again, “Incredible Sea Animals” introduces animals to the audience. This
show is obviously directed to a very young audience because of the tone and the
numerous childish songs which are sung in every episode. In this episode, the Kratt
Brothers swam in a small pool with several water animals. In a formal documentary, the
hosts of the show would never do that. Also, they filled their set up with sand, another
thing a formal nature show documentary would never do.
In “Jumpers and Thinkers”, the audience is taught that very different animals can
share something in common, specifically it the way they travel. Once again, the hosts
appeal to the emotions of the audience by getting involved in the activities; Zoboomafoo
jumps around Animal Junction just like the guest animals.
During a “Snowy Day at Animal Junction”, it is revealed that the set is fictitious
because it was snowing in the “rainforest” where the show was supposed to be set.
Computer editing was used to make it look like it was snowing outside. The hosts start
the show off by entering the set through the window on their skis. This shows that the
hosts are constantly doing things to keep the audience excited and intrigued.
In “Very Special Creatures”, the show once again brought in puppies. The show
has a fairly common trend of the starting off the show with “guest starring” baby animals.
This is probably because baby animals appeal to the emotions of the audience. This
episode also features some sea animals and some members of the primate family. This
supports earlier findings that the show features a wide range of animals in each episode.
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“Wild Creatures and Furry Fashion” taught the audience how animals keep warm
in cold weather. Even though this show is educational, the hosts find ways to make the
learning process fun and interesting. One of the hosts was painted with stripes like a tiger
and the other way painted spots like a Dalmatian. This shows that the hosts will go out of
their way to make their audience laugh.
Zoboomafoo is an educational PBS Kids television program designed to introduce
preschoolers to the animal world. In the westernized world, channels like PBS Kids are
becoming a child’s third parent because of their reliability. Children’s channels nurture
the young minds and have the ability to show us the world right in the comfort of our
own homes.
Ethos is established by the show’s production company, Cinar, which is now
known as The Cookie Jar Company. Cinar was a well known and trusted Canadian
producer of many children shows. The show is aired on PBS Kids, a channel which many
parents trust. Pathos is established by the hosts of the show. The Kratt Brothers and
Zoboomafoo—the puppet—would go out of their way to make the audience laugh. A
common trend on the show is baby animals. Often baby animals are featured on the show
to pull the heartstrings of the audience. Logos is not as evident in Zoboomafoo because
there were facts presented that weren’t true. In one episode, there was information about
the fictitious Brontosaurus (Wikipedia, 2007). However, that doesn’t take away from the
show’s popularity. The goal of the show isn’t to educate preschoolers with cold hard
facts; it is simply to introduce preschoolers to animals.
The show, which started in 1999 and ended in 2001, aired 65 episodes in total and
is now an Emmy-winning series. Being a huge success to young children, their re-runs
are still being broadcasted on television today. Zoboomafoo gives kids the incredible
experience of meeting new animals for the first time and makes learning about them
enjoyable.
24
Discussion
Over the years, television has established itself as an effective medium. Citizens
across North America choose to watch television in their free time; the small screen
captivates their eager imaginations. Growth in the nature/wildlife genre has recently been
aided by heightened interest in global issues. Television networks “capitalized on a
cultural fascination with the non-human, the mysterious, the unknown, the exotic and the
remote aspects of natural world”; they produced shows that were able to both educate and
entertain (Wildlife and Nature Programs). Emphasis was placed on expedition travelogue,
and scientific activity, which in turn highlighted the dominance of global resources
(Chris). National Geographic (one of today’s most prominent production companies) has
established a respectful ethos, by showing the public the severity of environmental
degradation. Modern documentaries are primarily filmed on location, meaning that
wildlife is shown in its natural habitat. Documentaries are usually made for television and
have a duration of 45-50 minutes; long enough to present the given information and to
keep the audience enticed (Nature Documentary).
Figures provided by the Target Group Index (2003) show that 33% of participants
surveyed watch Nature shows in Canada (Soong). Similarly, Backchannel media shows
that there is certainly not a lacking of nature shows aired across America. For example,
2,137 National Geographic programs were aired during the week of March 19th 2007
(Backchannel media). Producers choose to highlight global problems through
exploration, discovery and adventure themes, and with continual exposure, the genre’s
audience is likely to increase.
25
National Geographic has a distinct way of exciting, encouraging, and challenging
the audience to explore the world. It presents astonishing scientific discoveries and
mysterious historical events in a fun, adventurous, amusing way – ideal for a solid
learning experience, no matter the age. It is sure to captivate and amaze, leaving its
viewers more knowledgeable, aware, and equipped to better face the world. Enhancing
education or satisfying curiosity, National Geographic is suited for everyone as it is not
confined to specific themes or subjects. Each National Geographic documentary is in
itself entertaining and educational, and each is entirely factual. National Geographic
portrays the environment through its unique arrangement, style, invention, and other
media-specific features, and so has become a valued and timeless resource of
information.
Most National Geographic documentaries have a narrator, usually male, whose
speech is scientific, but in terms understandable to younger audiences. He introduces the
topic(s) of discussion, characters and scientists, and strings the line of facts together into
a story-line; that is, even a script of pure facts can, and in this case, does become a story
with an introduction, rising action, climax, falling action, and conclusion of its own. It is
this story-type arrangement of the facts that makes National Geographic not only unique,
but also extremely successful in captivating the audience. It has been said that “truth is a
powerful function of rhetoric” and this, no doubt, is the driving force behind the
attention, fan-base, and critical acclaim that National Geographic has received over the
years.
National Geographic is also often praised for how well it knows and understands
its audience. Keeping in mind that many viewers will be students, the language leans
toward their level of understanding. At the same time, there will inevitably be an
audience of curious adults who do not wish to be bored with child’s language—the result
26
is a remarkably tailored level of language that satisfies all. Even more stimulating and
engaging is the fact that all people interviewed, most often scientists who specialize in
the area of discussion, are visibly real, honest, normal people, and they are even more
easily trusted by the viewers.
National Geographic is notorious for its spectacular visuals as they capture, in
truth and in their essence, destructive forces of nature, mysteries of the world, and secret
societies and cultures. The true elegance of its style lies in the fact that all the spoken
material is presented so that it supports and enhances the visuals. Even more remarkable
is when the directors include, in the documentary, home-videos of individuals recording
certain events (i.e., an earthquake or volcano) and the audience experiences everything as
if being there.
All aspects of rhetoric are taken into consideration in National Geographic
documentaries, and each film demonstrates incredible rhetorical balance. For example,
ethos is effortlessly achieved in its reputation and credibility alone. It is respected worldwide for its efforts to give the world a better understanding and appreciation for other
cultures and nature. Its foundation is always truth: always. In each documentary,
scientists, authors, historians, and other authoritative figures are interviewed and guide
the audience in explaining the wonder at hand. The audience trusts National Geographic
before even beginning to watch (it is usually for this reason that the show is chosen,
above all others, in the fist place). Pathos is also established with ease in each
documentary. The purpose of the show is to teach, but not just to teach and to affect the
hearts and minds of the viewers so that each thinks of the world critically, and in new
light. Because each show interviews scientists, the viewers see first-hand that the concern
of (for example) the Siberian Tiger is one of grand importance that will have even
grander consequences if nothing is done. Emotions of sympathy, shock, awe, amazement,
27
fear, wonder, and disbelief, among others, are consistent in each film. Finally, logos is
achieved with ease. National Geographic uses both artistic and inartistic proofs, though it
depends on the subject at hand. Each subject is shared through first-hand accounts of
survivors and professionals. For example, everything about the Siberian Tiger is being
learned and discovered through observation (induction, artistic) of behaviours that preexist (inartistic proofs) and experiment (deduction, artistic). Since all National
Geographic documentaries are entirely factual, these methods are used in every single
episode.
Finally, the directing in National Geographic shows sets them apart from others.
For example, the camera most often pans very slowly, so that all details can be observed
closely; all details are important in eliciting emotions and touching the hearts of the
viewers. Besides this, National Geographic trademarks the long shot and extreme long
shot, which show extreme devastation. Equally identifiable with National Geographic are
the close ups and extreme close ups, which show specific devastation (i.e., in San
Francisco’s Great Quake, a crushed animal in the street under a pile of bricks can be
seen, a child’s distressed, dirty face is focused on), and all shots elicit emotions of
astonishment and shock, and compassion, among others.
While there are many distinct trends in National Geographic shows, the most
obvious is the positive portrayal of the environment, and the importance that wildlife and
culture be preserved. Although several films expose man’s struggle to deal with nature’s
awesome power and to co-exist with other species, nature is always portrayed in a
positive light. Moreover, the bias is always toward the environment rather than the
difficulty man has in dealing with it, but even still, nature is viewed optimistically. For
example, in San Francisco’s Great Quake, even this earthquake – the causer of so much
damage, famous for being the biggest natural disaster in American history – is portrayed
28
as a spectacular event that simply needs to be understood in order that man can live in
harmony with it. National Geographic shows and documentaries always portray the
environment in a positive light, hoping simultaneously to entertain, and to leave viewers
more knowledgeable, aware, and equipped to better face the world.
Instead of viewing one distinct category of nature programming, I viewed a
variety of children and adult programming on different television channels. Many of the
shows were specials on TVO, BBC Kids, History Channel, National Geographic or The
Discovery Channel. There were many similarities in the themes, style and features of the
show.
Where children’s nature programming is concerned, three episodes of Magic
School Bus, one episode of Zoboomafoo, See How They Grow, Animals of the Ocean and
Really Wild Animals: Deep Sea each were watched. All of the children’s shows were
somehow portrayed in a creative manner that would grab the child’s attention. Almost all
of them had some sort of animated feature. Many of them had animated hosts which
guided the children through the information being presented. Most of the shows with the
exception of two of them were thirty minutes in length in order to keep the children’s
attention. This was also because a child can only retain so much information at once, so
more time was not necessary. The other two shows were more documentary style rather
than television series. All of the shows had fun and upbeat music playing in the
background which again, keeps the attention of the child. They also had many special
effects throughout the show. Another common aspect among children’s programming
was the use of bright colors. The sets on the shows were also very bright and colourful.
When filming outdoors the sun was always shinning and the underwater shots used light
to illuminate the water.
29
With all the shows, there was only one side being portrayed. There was never any
debate about an issue and there were never any scientists or experts interviewed to back
up the information being presented. There was simply a narrator providing the viewer
with facts about a certain topic. Unlike the adult shows, there was never anything to
debate about; the shows were not about a crisis or environmental issue. They were simply
about different animals: how they survive, where they live and how they grow.
Pathos is often used in portraying nature in children’s programming. Children
always enjoy seeing cute animals as this excites them. Logos is also used as the narrator
simply provides information to the viewer and the animals are there to compliment it. It is
up the reader to do the rest.
The episode of Zoboomafoo that was watched featured the two hosts of the show
and Zoboomafoo (a lemur) explaining why water is necessary for the survival of different
animals. Various real life animals are used on their set to show children that when
animals are busy playing, they need to stay hydrated or else they will become very tired,
much like humans. Therefore, this acts as a lesson for children to stay hydrated while
they are playing as well. Many of these shows find a way to add in a life lesson for the
children.
The three episodes of The Magic School Bus that were watched all began with the
children learning about a specific topic in the classroom and then Ms. Frizzle magically
transporting them into the world of the topic they are studying—in order to gain more indepth knowledge. All of the episodes are unique in the way they portray the topic which
is very creative and captures the attention of the child.
30
Really Wild Animals: Deep Sea Dive, features the host “Spin” which is an
animated globe explores many of the different oceans. He focuses on whales, sharks,
penguins, sea otters, stingray and plants. He also studies bodies of water in general,
explaining the difference between lakes, rivers, oceans and streams. This program, like
all the others, finds a way to make learning fun and exciting. They feature animals which
children will find exciting and the underwater shots are always very colourful. The pace
of the show is quite fast. They are able to portray many different animals in a short period
of time which is common among the other programs.
See How They Grow was much like the Really Wild Animals. The program
followed different desert animals from their birth until adulthood to see how they grow
and develop. It also explains how they are able to survive in the extreme heat of the
desert. This show was like the others because they used a narrator who was a child to
portray the information to other children.
On the other hand, the adult programming was quite different. I watched many
different documentary style programs which included topics such as: The Great Bears of
Alaska, Hawaii, Prehistoric Life, Global Warming and Creatures of the Mangrove. These
shows were not like the children’s programming because other than the material covered
they did not differ from one another. They were all narrated by men and they rarely
featured a scientist or expert to compliment the material. All the programs provided the
viewed with knowledge on a specific subject and were at least sixty minutes in length.
The programs always had a more serious vibe than the children’s shows and the footage
captured would have been much harder and dangerous to obtain. The language was also
quite different from the children’s, much more advance. All of the programs had male
narrators and many of them had an English accent.
31
Pathos is often used in many of the adult programs. It is presented to the viewer
throughout the programs as we feel frightened when the mother attacks other animals to
protect their children. Excitement is felt when animals are captured preying on their next
meal or when they are playing around with other animals. Pathos is also generated
through the breathtaking scenery in many different countries, adorable endangered
animals and terrifying sharks and volcanoes.
The Great Bears of Alaska featured wild bears in remote areas of Alaska. The
viewer watched the bears in their natural habitats and witnessed their constant quest for
food and proper shelter. The video also captured the animals conflicting with other
animals and being intimate with one another. The shots up-close of the animals would
have been very hard and dangerous to obtain much like the footage of sharks, snakes,
reptiles and spiders in the other programs. Like the other programs the lighting was
always natural. The footage was always real and never included any animated portions.
National Geographic’s Hawaii: Strangers in Paradise provided interested
individuals with a look into the Hawaiian Islands and their volcanoes, tropical wildlife,
waterfalls, endangered plants and animals found nowhere else on earth. This program
captured many beautiful and breath-taking aspects of Hawaii which adults appreciate.
There were many long angle shots from a helicopter used in this program which many of
the other programs did not use.
Eyewitness: Prehistoric Life was a look at two of the different theories as to how
the earth evolved. The “Big Bang” theory and “Darwin’s” theory are explored. How
plants and animals became what they are today is also explored. This show wasn’t as well
done as the other programs. It had great potential and could have used experts and
scientist to their advantage but they chose to use neither. This documentary was much
32
like the other adult ones in that the images were not as children friendly. The images
were more dark and realistic which appeals to adults because they are only interested in
the truth.
In Crisis in the Atmosphere, experts explain that as the earth grows warmer, the
ozone layer is diminishing. If left unchecked, these conditions could lead to a melting of
the polar caps which would set off an ecological chain or devastating consequences.
Many ways we can save our planet is revealed throughout this documentary. This show is
much like the children’s programming as it educates adults in an area where we
obviously are not informed. As well as many of the other programs viewed, there was not
any music being played in the background which gives it a more serious vibe.
Zoboomafoo is an educational PBS Kids television program designed to introduce
preschoolers to animals. The show features animals varying from wildlife to house-hold
pets. The show is shot on a set named Animal Junction. The set is built in a huge lemur
cage at the Duke Primate Centre in North Carolina. The cage, with its abundant amount
of trees, gives the set the illusion that it is in a forest. Even though the set appears to be
located in a forest, a variety of animals are featured in each episode. The set is lit up by
sunlight which enters through the large windows from all around. In addition, the set is
painted bright colours to make the place look livelier. A portion of the show is filmed
outdoors to let the audience see what animals are like in the wild. Because the show is
shot both indoors and out, a range of camera angles are used. Close ups are used when
showing details on an animal’s body. Long shots are used usually outdoors when
shooting landscape. The main reason for building the set in a lemur cage is because a real
lemur is used from time to time in each episode. This is because one of the hosts of the
show is, in fact, a lemur, or rather, a lemur puppet.
33
The show was created by the Kratt Brothers: Martin and Chris. A lemur puppet,
named Zoboomafoo, and the Kratt Brothers host the show. Zoboomafoo, the puppet,
accompanies the audience in the learning experience. Because Zoboomafoo is a lemur
from Madagascar, he is as surprised as the children in the audience when meeting new
animal friends. Martin Kratt, a prominent graduated from the Duke University, received a
Bachelors of Science in Zoology. Chris Kratt graduated from Carleton College with a
Bachelors of Science in Biology. With an adequate amount of knowledge behind animals,
parents can trust that these men are teaching your children well. Even though
Zoboomafoo is an educational nature show, the Kratt Brothers make it fun and interesting
for the audience to learn about wildlife. The hosts know exactly how to keep the audience
intrigued.
The hosts use an amicable tone of voice, sometimes talking into the camera to
make it seem like they are talking to the viewers. Because Zoboomafoo is a show for
kids, it is important to find ways to keep the interest of the audience. This is done by
asking questions towards the audience as a means of getting their audience involved. The
show also has guessing games which provides opportunities for the children and their
parents to engage in the learning experience. They use a vocabulary that is easy for
preschoolers to understand. Often when a guest animal is introduced, the name of that
guest animal will be spelt out, aiding in the learning process. Sound effects are used
throughout the show to emphasize a comedic moment. Many songs are sung in each
episode, allowing their viewers to sing along. The show follows a routine of events in
each episode, usually starting with a question that will be solved later on. An example
would be “How to make a Kookaburra sing” in the episode “Chirp and Chatter.”
.
A small section of the show is focused on a group of children, also known as the
“Animal Helpers.” This portion is usually led by a little girl named Jackie somewhere off
34
the set. Jackie and her friends are usually involved in small projects to help animals
around the city. She explains to the Kratt brothers what she and her friends are doing to
help the animals. The main goal of this section is to teach the children at home how to get
involved in protecting animals. Another small section of the show is shown through
claymation, which is where clay figures are filmed as if they are moving on their own.
The clay figures on the show are shaped like animals, except they are all fictitious in that
they only resemble some parts of an animal. These fictitious claymation characters talk in
a very vivacious tone of voice, often acting in a goofy manner.
Inartistic proofs are more evident than artistic proofs simply because the hosts are
giving out facts about the animals that appear on their show. Artistic proofs, mainly ethos
and pathos are used in the show.
Ethos is established by the show’s production company, Cinar, which is now
known as The Cookie Jar Company. Cinar was a well known and trusted Canadian
producer of many children shows. The show is aired on PBS Kids, a reliable channel
which also airs other famous children’s shows such as Author and Barney and Friends.
The Kratt Brothers are also trusted individuals in the entertainment world.
Pathos is established by the hosts of the show. The Kratt Brothers are always
performing wild activities to entertain the audience. They would go out of their way, for
example, to fall into a mud puddle or get thrown into a lake by an African Elephant, just
to make their audience laugh. The animals that are brought on set are usually still babies,
perfect for pulling on the heartstrings of the audience. The clips of these baby animals are
highly appealing to the emotions of the audience.
35
Logos, a means of persuasion through reasoning, is not as apparent as ethos and
pathos. Deductive reasoning is hard to find on the show just because some members of
the audience might be very young. When syllogism is used, the hosts often point out the
major and minor premises to make the statement clear and understandable for the young
audience.
The show, having started in 1999 and ended in 2001, has aired 65 episodes in
total and has become an Emmy-winning series. Being a huge success on television, they
have made the computer as one of their education mediums. Re-runs of Zoboomafoo are
still being shown on television today because of its popularity. Zoboomafoo give kids the
incredible experience of meeting new animals for the first time and makes learning about
them fun.
36
Conclusions
Television in general and nature shows and documentaries in particular have
enjoyed a feverish following over the last six decades. While a lot of modern television
shows have very little in the way of actual realism, nature shows and documentaries have
realism in spades. Primarily based on logos, or an accurate representation of facts, nature
shows automatically establish their own credibility via their reputation for this. There are
very few, if any, nature shows that are based off speculation. As well, nature shows and
documentaries usually use some sort of expert testimony to prove the point they wish to
make.
A strong sense of pathos also adds to the overall effectiveness of nature shows
and documentaries. By changing subtle elements such as the music or even the colour of
the screen, the nature show can change the way it is perceived by its audience. Appealing
to the audience’s emotions opens the show up to be interpreted in several different ways.
For instance, the image of a babbling brook overlaid with powerful bass tones can create
a menacing image in the viewer’s mind. On the other hand, the same image overlaid with
upbeat, light music can create a very peaceful image in the viewer’s mind. These subtle
changes are one of the most important differences between nature shows and most other
shows on TV.
Along with pathos and logos, the next important element of a nature show or
documentary is its ethos, or a sense of expertise and knowledge (that is, the speaker’s
credibility on his/her subject matter). When combined with strong pathos and logos, a
show’s sense of ethos can make or break it. For instance, this research found that
National Geographic has, over the course of it’s more than 30-year history, established an
almost unbreakable ethos. Viewers trust what is being told to them without having to
37
question whether or not the source is reliable, because National Geographic has
established a very good record of ethos.
There were, of course, some limitations in this research. Not least of which was
the relatively small sample size compared to all the available nature shows and
documentaries. The week of March 18th-24th, 2007 alone saw over 4,000 airings of nature
shows; this research covered a mere 40 hours. To truly get a good understanding of
nature shows, the sample size would have to be much greater, which would require a
much greater investment of time and resources, let alone raw manpower.
Along with the small sample size, the study can still be expanded to cover several
different areas of nature shows and documentaries. These include one-time special airings
(such as National Geographic’s San Francisco’s Great Quake), shows about very specific
topics, and shows geared towards a very specific audience (such as Zoboomafoo). Some
more in-depth study in these very specific areas (as opposed to a broad study such as this
one) would probably reveal much more information than a far-reaching study quite alike
this one.
Nature shows and documentaries have found their true home on television.
Whether it be children’s shows like The Magic School Bus or Zoboomafoo, or shows
targeted to a higher-educated audience (like National Geographic or show specials such
as Crisis in the Atmosphere), nature shows are bound to remain almost exclusively on the
television. Some major documentaries (such as An Inconvenient Truth) make it to the
holy grail of documentaries, the movie theatre, but these are very few and far between.
Another area where nature shows are popular (but not nearly to the extent as on
television) is IMAX movies. IMAX movies are designed to blow their audience away
with amazing pictures and sound, and there really is no better genre to use to do that than
nature shows.
38
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