Salonee Seecharan

Dr. Erin Mclaughlin

WR13300

October 10 2014

Rhetorical Analysis of The Social Network

Directed by David Fincher, and starring Jesse Eisenberg, Andrew Garfield, and Justin

Timberlake, The Social Network was released in 2010. The Social Network depicts the creation

and development of the famous social media site, Facebook. Throughout the course of the

movie, we, the viewer get a chance to see TheFacebook develop from its roots in Harvard, to

Facebook, an international sensation. At the same time, we can observe the constantly shifting

social complexity that surrounds the site. Through the use of rhetorical features, Fincher invites

the viewer to analyze the film in a Mark-biopic universe, and through this lens understand the

difference between friendships and social acceptance, and how friendships can fall prey to

temptation.

Rhetoric is defined by Herrick as “the systematic and intentional practice of effective

symbolic expression”(7). Through the use of symbols, planning, adapting, and other things,

images/text convey meaning. Visual rhetoric, used in film, makes use of images, movement, and

sound to infuse purpose in objects or actions to sway the viewer to believe certain interpretations

about characters/settings. Fincher uses these, as well as specific strategies, such as character

foiling, to develop the viewers’ mindsets towards concepts, and characters throughout the film.

The movie opens with Mark firing off speech like a machine gun, even before visuals set

in. From the get-go the viewer has a solid foundation of commencement-film Mark’s character.

We see that he’s condescending, brilliant, self-elevating, but at the same time self-conscious.

This is especially highlighted in the topic of conversation in opening the film, Final Clubs. Mark

is constantly lamenting over these clubs, stressing the importance of being in one, and his

inability to be in one thus far. When his soon to be ex-girlfriend asks which is easiest to get to,

his defensiveness peaks, and it is particularly at this point where we see that this exchange is

going to be a driving force in the film.

We learn quickly that Mark’s motives are fixated on the social scene. He lusts after

popularity and acceptance, and most everything he does in the film following his break-up is a

step towards this goal (the goal is distorted along the way however). From the introductory

scenes we know he is alienated, and desires to change this image of himself. This is especially

shown through the use of visual rhetoric, in the dual scenes, the parallel between him coding, and

the party going on. Whilst Mark is sitting in his room in front of a computer, digitally viewing

and objectifying women, the same is going on where he would rather be, at the Final Clubs. He

is viewing them electronically, sexualizing them by using his vast knowledge of computing to

create a program to rate their attractiveness. This is where he has power, where he can achieve

what he wants indirectly. He doesn’t have the power, or in this case, popularity, to directly

objectify women, which what was shown with the Final Clubs. In contrast to him being in him

room drinking beer while coding, in the party women are stripping and making out for the

voyeuristic pleasure of the members of the club. In the grand scheme of things, this is a want vs.

have in Mark’s life. The have was the means by which to achieve the want.

From one of the first scenes we are introduced to Eduardo, a have, who we quickly learn is

Marks best, and only, friend. Using auditory and visual rhetoric, Fincher draws attention to the

open nature of Eduardo to Mark. His friendly posture, supportiveness, “I’m here for you”, he

says in their first scene together, this all added to the already established friendship.

Throughout the film, Eduardo is a symbol of a purer side, of friendship. “A symbol”, Herrick

says, “is a general term referring to any mark, sign, sound, or gesture that communicates

meaning…” (5). Eduardo symbolizes a true friendship. For the length of their friendship,

Eduardo is constantly positioned at Mark’s side, to reinforce his claim “I’m here for you”. When

Mark and Eduardo engage in conversation, such as in the Caribbean themed party, Eduardo is

always attentive, while making eye-contact, while Mark’s eyes wander as he remains fairly

unresponsive to Eduardo’s good news. Eduardo is also often the voice of reason and support, and

his actions reflect that. He supports Mark’s ambitions, verbally, and, by investing and

networking for the company.

One may question the significance of the term “friend” in the social network. The term

“friend” was often coined loosely, it usage ranging from referring to a Facebook friend, or a

hookup in a bar. Fincher is sure to depict the difference between these “friends” and the

relationship Mark and Eduardo share(d) though. Eduardo is shown as a devout friend, supporting

Mark in his ambitions, and funding Facebook since it was just an idea. It can be noted that there

is a seemingly one-sidedness of the relationship, but in the beginning, there is a mutual respect

there that isn't present between other relationships created throughout the course of the movie.

Mark sees Eduardo’s capabilities, which he voices to Erica, “My friend Eduardo made $300,000

betting on…”, and when he requests Eduardo’s algorithm for FaceMash. Eduardo see’s and

trusts Mark’s projects, and supports Mark in his ambitions. There is a genuine relationship built

on trust, a certain degree of care, and mutual recognition of each.

As the movie progresses, however, Marks views shift, and as a result Eduardo’s image is

altered also. Seeing the movie center around Mark allows us to not only have a unique

perspective throughout the film, but also to question Mark, and those around him. From a very

Mark-centric universe, we first see Eduardo as an intelligent young man, a comrade with

respectable drives, to impress his father and look out for Mark. This relationship turns sour

however, when he is cheated out of his share of Facebook, because he placed too much faith in

Mark and the company. He essentially lost all part of the company for being “the business head

of the company and you made a bad deal with you own company?!” said Mark. This was

followed by Sean Parker's retort “Its not going to be like you’re not part of Facebook, you’re not

part of Facebook”.

Sean Parker could be considered a character foil to Eduardo. Character foiling is another

visual rhetoric strategy used by Fincher, where one character, in this case Sean Parker, embodies

seemingly opposite traits of another character, Eduardo, to draw attention to said traits. In

highlighting these attributes, the viewer is paying more attention to what Fincher wanted more

attention on, so the viewer can draw the desired conclusions about the characters.

As opposed to Eduardo, Sean represents more social acceptance, and doing what is appealing to

others. Social acceptance, throughout the film is depicted as doing what is “cool” to gain the

admiration and recognition of others. This idea is first presented to the viewer from the casting of

Sean’s character, Justin Timberlake. This initial observation already carries weight to the viewer,

through what Lancioni describes as “the expectations and attitudes an audience brings to its

encounter with a particular visual text” (107). We already know Justin Timberlake as a cool

“swaggy” guy. The ethos, or the credibility, of Sean Parker’s character is reinforced by the

casting of Justin Timberlake. Similarly, Andrew Garfield’s popularity and likeability as an actor

reinforced the image of Eduardo.

In Mark’s eyes Sean was the epitome of coolness. Visual and auditory rhetoric plays key

parts in the development of Mark and Sean’s relationship. Even before Mark and Sean meet,

Mark has high regards about him. While Eduardo complains that Sean is late, Mark defends him,

saying he’s entitled to it, and when Eduardo comments that he isn't a god, Mark asks, “then what

is he?” It can be noted that even before they all officially meet, Sean is already an active agent in

Eduardo and Mark’s schism. Their first meeting could be considered the official turning point in

Mark’s attitude, and his relationships. Sean Parker walks in with the swagger of a champion, a

lovely lady on his arm, and people greeting him left and right. He charms Christy in a matter of

moments, and most notably, the music picks up pace, a club-like tune, and there is a great use of

reframing in this scene. Reframing, according to Lancoini is “often used to provide close-ups of

individuals barely noticeable in the original photograph” (106) In this scene, all eyes are on

Sean. Being the viewer, though, allows us to challenge these constraints and see others as well.

Its particular here where we see the discontent on Eduardo’s face, in contrast with Mark’s and

Sean’s glee that we know there’s a storm brewing between this group.

Sean could be considered the main reason for the changes Mark undergoes. His cunning and

crafty nature is shown in his content when he hears Eduardo wasn't with Mark in California. He

jumps at the chance to further separate the two, smiling when he hears this from Mark, and later

on, without Eduardo there as the voice of reason, continues to intoxicate Mark with the lust for

power and admiration. Sean understood how to manipulate Mark through playing on Mark’s

motives. He made use of rhetoric’s appeal to human motives, what is described by Herrick as

when “rhetors address audiences with goals in mind, and the planning and adaptation process

that mark rhetoric are governed by the desire to achieve these goals” (11). His sliver tongue

spoke exactly what Mark wanted to hear, “The Facebook is cool, that’s what it’s got going for

it…you don’t want to ruin it with ads because ads aren't cool…it’s like you’re throwing the

coolest party on campus and someone’s telling you it’s gotta be over by 11:00”, all the while

Mark is nodding his head, fervently agreeing, “Yes…exactly, exactly”. It’s through Sean’s

helping hand -his presentation of an enticing lifestyle- that Mark drifts away from Eduardo and

into Sean’s awaiting presence. The viewer on the other hand is able to see Sean’s tricks from a

third person perspective, and can avoid falling prey to him like Mark does. In depicting these

characters in this specific way, Mark the victim to Sean, and Eduardo the victim to the situation

Sean creates by manipulating Mark, the viewer is lead to sympathize with Eduardo and

antagonize Sean.

The shift in friendship to social acceptance is highly supplemented by visual strategies.

Lighting plays a significant role in the development of character arcs. In the beginning, both

Eduardo and Mark are seen in well-lit areas when they converse, neither of their faces are

hidden, they’re out in the open to each other. Later on however, as they become more separated,

we can see the lighting change. An occurrence as such is when Mark calls Eduardo about

freezing the account. We can see both their faces have shadows dancing across them, and this

adds to the overall tone of malcontent with each other. Sean is seen in the light very few times.

His one encounter entirely in the light is their first, when he hooks Mark. After that, Mark is

reeled in with the temptation Sean presents. These temptations of power, fame and money are

amplified by the seemingly ominous lighting Sean is placed in. A prime example of this is when

Sean and Mark are at the club in California after their reunion there. The strobe lights play along

Sean’s face giving off a dark tone, and an almost frightening feeling, especially when the camera

pans close to his face to further magnify this effect.

Additionally, placement of characters adds to the delivery of the theme.. This is especially

relevant with Mark and Eduardo. Their relationship starts with them next to each other, for

example, when they’re sitting together, networking across from possible sponsors. There is a bit

of a separation on their first encounter with Sean, where Christy sits between them, yet they’re

still on the same side. We see the scene flicker back and forth between Mark and Sean’s side of

the table. Add Sean’s influence to the mix, their friendship becomes tainted, and next we see

them sitting across from each other in during the case, once again flickering from one side to the

next, excepting this time Mark and Eduardo are on different sides.

Throughout the film we are led to believe that friendship is better than social acceptance. One

may ask, however, are they mutually exclusive? Is it not possible for someone to want friends,

but be socially accepted also? According to the film, no it’s not. Taking into account the

depiction of what a real friendship looks like, it is shown that it’s one or the other. Mark gave up

Eduardo to reach the social status he did. Throughout the film it is also shown that people have

“friends” on Facebook, but that relationship pales in comparison to what a true friendship is like.

The Social Network is a film that holds immense relevance to this period of the 21st century.

This is a time of rapidly growing social media, a constantly changing medium. Facebook has

become an internet phenomena, something that everyone in the world knows about. Years ago,

this type of networking wouldn't have even been dreamt of being created, and years from now,

Facebook could become a forgotten medium in this expanding digital age. The Social Network

not only tells a story about the creation of Facebook, but frames a social mentality that is unique

to this generation and time period. We as the viewer can relate to this shift from face-to-face

relationships to digital connections. It may not have to same effects upon our relationships as it

did to Mark in this dramatic film, but it presents a theme that is very pertinent to today’s society.

Works Cited

Bolter, Jay David and Richard Grusin. “Chapter 1: Immediacy, Hypermediacy, and

Remediation.” Remediation: Understanding New Media. 21-50. Cambridge: MIT Press,

1999. 

Lancioni, Judith. “The Rhetoric of the Frame: Revisioning Archival Photographs in the Civil

War.” Visual Rhetoric: A Reader in Communication and American Culture. Newbury

Park, CA: SAGE Publications, 2008. Print.

Herrick, A. James. “Chapter 1: An Overview of Rhetoric.” The History and Theory of Rhetoric.

Boston, MA: Allyn&Bacon, 2001. Print.

The Social Network. Dir. David Fincher. Perf. Jesse Eisenberg, Andrew Garfield, and Justin

Timberlake. 2010. Film.