Kennedy 1 Billy Kennedy Dr.

Erin Dietel-McLaughlin Multimedia Writing & Rhetoric, Section 13 9 October, 2013 Mark Zuckerburgs Reversal of Relationships as Seen Through Rhetorical Elements in The Social Network The Social Network, directed by David Fincher, illustrates the underlying founding story of the multibillion-dollar social networking site, Facebook. The viewer follows Mark Zuckerburg, the CEO and co-founder of Facebook, throughout the film to uncover the gilded story of the sites emotional and cruel origins. Eager to be recognized and have status within his Harvard community and beyond, Mark Zuckerburg programs a social networking site for the Harvard college experience, the idea for which he took from the entrepreneurial intentions of Cameron and Tyler Winklevoss, both of whom are students at Harvard University. The film details Mark pursuing the momentum of the site with his friend Eduardo Saverin, but we later find Mark faced with lawsuits by not only the Winklevoss twins, but also Eduardo himself. The medium of film itself also offers a whole new dimension for analysis, as Lancioni describes in the words of Kathleen Hulser, film Encourages viewers to Join in the mental exercise, thus establishing a pattern in which viewing becomes an act of purposeful discovery (Lancioni 108). Through the rhetorical elements of the film, we can construct an understanding of the ideals of status that Mark holds, which eventually incentives him to create Facebook, causing the deterioration of well-intentioned friendships that Mark originally had, while fostering other friendships that change Marks character for the worse. During the exposition of the film, the viewer is immediately thrown into a heated discourse taking place between Mark and his girlfriend, Erica Albright, at a local bar. From

Kennedy 2 this first encounter with Mark the viewer gets a very full sense as to what Mark deems as important in the context of college status, as he talks with Erica about what it takes to get into the various Harvard finals clubs. Although the viewer can quickly establish that the two are dating, we witness a conversation that is saturated with criticism, condescending questions, and remarks, which work in conjunction with the rhetorical elements in the scene. For example, during the scene we find a fast pace in the camerawork, swiftly cutting from Marks face to Ericas during the back and forth conversation. In some cuts of the scene, Erica is shown not even having a chance to respond to Marks remark, only to cut back to Mark who continues to lead the conversation in a way that is critical of Ericas standpoints. Alongside the visual editing of the medium, the audio of the scene accentuates the contrast of the conversation to the casual bar setting. Even before the movie fades in from black to show the bar scene, leisurely guitar music plays in the background. This track we hear is the very first rhetorical element of the directors choice we witness in the film, already giving us a casual tone to soon contrast with the tense conversation. In the bar, one can also hear the contact of glasses, the hitting of pool balls, and the laughter in the background, evoking even more of a sense for the viewer that Mark and Ericas conversation does not belong in the atmosphere of the bar where people are enjoying themselves. After Mark insults Erica by saying she does not have to study Because she goes to BU, Erica chooses to leave the bar, rendering a wide camera shot of Mark being depicted alone and having just lost a friend (The Social Network). It is from rhetorical choices like these throughout the film that we find Mark deconstructing his friendships through his greed for recognition and status amongst his college peers, which is also the mindset that leads him to create Facebook with his best friend, Eduardo Saverin. Our first impression of Eduardo Saverin is in Marks dorm room at Kirkland House right after Mark has departed from his scene with Erica. Having noticed Marks blog and the fact that he had broken up with Erica, Eduardo immediately offers his comfort by letting

Kennedy 3 Mark know that he is there for him. Already occupied and underway with programing his Face-Mash website, Mark brushes Eduardos sympathy aside and demands an algorithm that will help him on his website. Again, we see how Marks eagerness to make a presence among his college community comes at the expense of recognizing his friends feelings. After FaceMash paralyzes the Harvard computer network, viewers are transitioned to the first of many scenes that takes place in the future lawsuit hearings. This rhetorical strategy exploits the use of the medium to offer a dual perspective of character as the story progresses in both time settings. In the first hearing, we find Mark sitting on the opposite side of Eduardo, both of whom are armed with lawyers, causing us to re-asses the relationship they have in the earlier time. During the time in-between the overhaul of friendship between Mark and Eduardo, other events utilize the setting of the scene to depict the decay of their relationship. For instance, as Facebook gains momentum later in the movie and Mark relocates to California, we find Eduardo joining them only to presented as completely drenched in the rain at the front door upon arriving; Mark had disregarded Eduardos email about picking him up at the airport, despite the fact that Eduardo had made the whole effort to join Mark in Silicon Valley. Even through small instances like these, we can draw from the rhetorical components chosen by the director to synthesize a fuller sense of the crumbling relationship Mark induces between himself and Eduardo. Although we may find that Mark is driven by his longing for status through the maturation of Facebook, which leads to the decomposition of the friendships with Erica and Eduardo he originally had, this same motivation of Marks fosters his relationship with Sean Parker. The first time we see Mark together with Sean is in the company of Eduardo and Eduardos girlfriend, Christy, over lunch. This scene utilizes the dynamic use of audio, and camera editing to portray the luxurious atmosphere that Sean envelopes his company in. During the scene, the footage rolls in slow motion as laughter is exchanged and lavish food is

Kennedy 4 presented, while a chaotic, vibrating music plays in the background. In the rhetorical presentation of the scene, physically we find Sean doing his best to entertain his guests during their time together, but the slow motion and disturbing music devises a deceptive tone in the events, and thus Seans intentions. Wanting to be a part of the growth of Facebook and the byproduct of reputation that the company can produce, Sean manipulates Mark in order to tailor Facebook in a way that he envisions it will be successful. Back in the lawsuit setting, Eduardo even voices how, After that meeting, Sean owned Mark, showing the extent of Seans influence in such a short time. Much like in the lunch scene with Eduardo and Christy, Sean speaks to Mark about business strategies in a club one night. Not only does the scene run parallel with the lunch encounter in that Sean treats Mark to luxury whenever he converses with him, but the visual strategies used in the atmosphere of the club inspire a manipulative tone in Seans impression. Due to the dim lighting and flashing lights, Seans face is continually in and out of shadows, impairing the viewers visual of Seans face, and when combined with the loud, deep music muffling Seans words, the viewer gets an impression of Seans illusionary nature. This manipulative nature Sean uses to change Marks character later shows through Marks dilution of Eduardos Facebook stock, rendering him powerless in the companys enterprise. Although one may think of Sean as simply offering Mark positive business advice in order to move Facebook forward, we see how this positive influence is compromised by the fact that Marks incentives and ideals have been altered in a way that pushes the company forward at the expense of his relationship with Eduardo. Despite the plethora of intended rhetorical factors we can see throughout the film, what gives the viewer the impression that what they are seeing is believable, having the knowledge that actions within the film were intended by a director? Jay David Bolter and Richard Grusin argue that, The case for immediacy in film is complicated by the intervention of the director and the editor, but film is still experienced as immediate during

Kennedy 5 the time of its showing, exemplifying how we can draw from our experience of the rhetorical elements in the instant to still evoke genuine emotion (Bolter 26). While a film can seem like a very artificial construction of images and discourse at times, the weight of the rhetorical scenario ensures that we derive intended emotions. Under the rhetorical media decisions of David Fincher, The Social Network portrays the drastic exchange of friendship for the byproducts of Facebook for Mark Zuckerburg. Whether it be through the use of lighting, music, or visual editing, the conscious decisions made in the film substantiates the changes in Marks character and his willingness to dissolve his relationships with genuine friends, and instead follow his pursuit of Facebook and what it can become. Marks success through Facebook may be observable, but the execution of rhetorical symbols and how they show fallen relationships makes us question as to what expense Marks hopes were fulfilled.

Kennedy 6 Works Cited Bolter, Jay David, and Richard Grusin. "Immediacy, Hypermediacy, and Remediation." Remediation: Understanding New Media. N.p.: MIT, 2000. 20-50. Print. Lancioni, Judith. Rhetoric of the Frame. N.p.: n.p., 2008. Print. The Social Network. Dir. David Fincher. Perf. Jesse Eisenberg and Andrew Garfield. Sony Pictures, 2010. DVD.