Liz Lafferty
Criticism and Public Culture
5 December 2013
A Dramatistic Criticism of Apple’s “1984”
As of November 2013, Forbes considered Apple to be, “the world’s most valuable brand,” (“Apple is World's Most Valuable Brand”). In addition to Apple’s economic value, this corporation has created a multitude of dynamic and influential advertisements. Perhaps the most famous Apple commercial of all time is the company’s “1984” advertisement, which aired during the 1984 Super Bowl (“The 10 Best Ads to Come out of Steve Jobs' Reign at Apple”).
This advertisement is particularly interesting because it employs both characters and themes from George Orwell’s famous novel,
1984 . I believe that one can understand the strong influence this piece had over its audience when analyzing its power through dramatistic criticism. By utilizing a combination of Kenneth Burke’s pentad and a background of Orwell’s novel, viewers can understand how the agent (sexual female character running through the scene), act (throwing the hammer at the screen), and agency (defying cultural norms and expectations) fulfill Steve
Jobs’ purpose for this advertisement (what the new Mac represents).
“Julia”: The Sexual Agent
During the “1984” commercial, a young, attractive, blonde woman catches the audience’s eye immediately. She stands out in comparison to the blasé, complacent, and even robotic peers surrounding her. Her bold red shorts and white t-shirt strongly contrast with the gray, bleak characters that are either marching or seated beside her. The only members that appear to have the strength and ability to chase after this young woman are the guards, whom are also adorned in gray tones. Furthermore, this woman captures the audience’s attention because she is the only female figure visible within this commercial. Clearly, this woman is a symbol of something
1

different, out of the ordinary, and eventually (based upon her act and agency) an extraordinary being.
With this in mind, one can assume that this woman, within Jobs’ Mac commercial, represents 1984
’s very own Julia. Julia is the main female character and love interest in Orwell’s captivating storyline. Throughout the book, Julia is noted as being sexually deviant of her peers in Oceania (“Character Analysis: Julia”). When her partner, Winston, states that he hates
“purity” and “goodness,” (in reference to intercourse) Julia simply replies, “Well then, I ought to suit you, dear. I’m corrupt to the bones,” (Orwell 2.2.57-60). Obviously, Julia is a peculiar and expressive sexual character within the novel’s text.
This portrayal of feminine sexuality is recognizable within Jobs’ Apple commercial as well. As previously mentioned, a young, slim, and beautiful woman was selected to embody
“Julia’s” character. Her attractive figure is accentuated with her tight white t-shirt (revealing her large chest) and high-cut running shorts (displaying her slim, but athletic legs). In addition to this wardrobe selection, Julia is only portrayed running and throwing a hammer in slow motion.
Ergo, Julia’s slow motion camera time appears to be a modified Bay Watch Episode (since this camerawork stunt was utilized to accentuate her beauty and stunning figure). Arguably, this blonde woman’s sexuality is explicit not only because “sex sells” on television, but also because the context of 1984 demands her character to be overtly sexual.
Another interesting observation is that Apple selected a stunning blonde to play the role of “Julia.” Yet, Orwell’s text goes into extreme detail to describe her as a gorgeous, “darkhaired” young woman (“1984 George Orwell: Plot Overview”). This may appear to be a minute detail, but Julia’s hair color and style significantly contribute to her role as a sexual object. Steve
Jobs’ “Julia” can be perceived as the “dumb blonde” simply due to her hair color. He may have
2

deliberately selected a blonde woman in order to attract more men, and sell more of his brand new product (the Mac). Yet, this “Julia” does not sport the stereotypical long, luxurious locks, apparent within most sexualized advertisements. Instead, Jobs’ “Julia” has a short and trendy bob. While bobs were quite stylish in the 1980’s, this specific hair color and style both resist and assist her label as an object of desire. In other words, being a “blonde” assists in positioning her as a sexual object, whereas her short, bobbed haircut, helps to defy this label. One can argue that her bob aids in displaying “Julia” as an edgy, and athletic young woman - not simply a “blonde bimbo.”
The fact that “Julia” does not utter a word within this Mac advertisement further positions her as a sexual object. While Julia speaks defiantly about sex within Orwell’s text, she is completely mute during this 60-second commercial. Since this beautiful woman is unable to state her mind, she is automatically positioned as an object for the male gaze. While this is a minor characteristic within the commercial, one must note that it plays an important role in sexualizing her presence on camera. The combination of “Julia” positioned as the only female character in the room, her athletic and model-esque appearance, and her silence on camera, clearly presents her as a sexual agent and figure (of both Orwell’s and Jobs’ pieces, respectively).
The Final “Act”
Despite the fact that “Julia” is a notable sexual agent within this commercial, she is the only character powerful enough to literally run out and perform the ultimate “act” for this ad. In other words, “Julia” is the sole character whom has the power and skill to act out in a complacent and meek Oceania. “Julia” takes it upon herself to publicly take action, and interrupt the daily, laissez-faire, and controlling operations of Big Brother (the totalitarian ruler of Oceania depicted on the large screen within this commercial). Preceding her ultimate “act,” “Julia” runs from
3

pursuing authority figures, and interrupts the Oceanian ritual of listening to Big Brother’s commands.
“Julia” commits her ultimate and final “act” once she forcefully and vigilantly throws her sledgehammer into the large screen displaying Big Brother. Once more, this feat is depicted in slow motion, and a “whoosh-ing” sound effect plays in the background as “Julia” powerfully whips the sledgehammer around her head four times (before finally sending it spiraling into the air). The act itself is quite powerful and enrapturing for the audience, for Big Brother’s face bursts into a bright flame once her hammer strikes the screen. Since “Julia” is portrayed as a sexual object, this action is quite radical and noteworthy. The act itself allows viewers to perceive “Julia” not only as another “pretty face” on camera, but also as a woman that has a clear drive, compelling power, and true strength that comes from within. While she may not have the opportunity to voice her opinions, her actions, and physical strength, have the ability to grab both her gray peers’ and audience’s attention. It is evident her Oceania peers are aghast by her “act,” given their gaping expression after Big Brother’s face explodes before their very eyes.
Agency: An Oceanian Rebel
I contend that it is important to understand the visual aspects of Julia’s unexpected and astonishing “act” in order to fully comprehend her “agency” within this Apple commercial.
Orwell’s characterization of “Julia” labels her as a true rebel within the realms of Oceania.
Oftentimes, she is noted as being a cunning and independent individual within this piece of literature (“Character Analysis: Julia”). “Julia’s” disobedient act against the all-knowing, almighty, and god-like Big Brother presents these descriptions quite accurately. For, she is the only woman to have the muscle and courage to overtly challenge, what Orwell presents within his novel, a terrifying tyrant.
4

During the short duration of this ad, “Julia” is the sole leader to begin a rebellion against what Big Brother states (during the commercial) is the first anniversary of the, “Information
Purification Directives,” (“Apple Macintosh Ad”). Quite similarly to Orwell’s novel, Big Brother within this advertisement controls all citizens’ information, thought, and action according to his standards and preferences. Many characters follow these directions, and oblige Big Brother, because it has simply become the societal norm to do so. However, there are a select few characters, namely Julia and her lover, Winston, whom have the audacity to secretly challenge
Big Brother and his governmental rulings. In fact, these two love birds discretely disobey Big
Brother when they continually engage in sexual intercourse for pleasure, and not simply procreation. Such sexual deviance is simply not allowed in Oceania under Big Brother’s watchful eye.
In accordance with her characterization during Orwell’s novel, “Julia” breaks conformity to societal norms through her apparent and emphasized sexuality in this Apple commercial.
However, throughout 1984 , Julia only subtly breaks societal codes. While her partner, Winston, wishes to attack the ruling “Party” and Big Brother directly, Julia resists governmental oppression by following the basic ethical codes and norms. Hence, Julia resists cultural expectations, (namely by sleeping with her cohorts) while still existing within the specific expectations of Oceania (“1984 George Orwell: Plot Overview”).
Thus, there is a fundamental diversion of “Julia’s” character between this particular commercial and her fictional debut. During Jobs’ commercial, “Julia” is quite clearly and overtly resisting Big Brother through her final “act” (throwing a sledgehammer at his face on a television screen), and his promotion of, “Information Purification Directives,” (“Apple
Macintosh Ad”). She is literally shattering the governmental foundation of Oceania by thrusting
5

a sledgehammer into their ruler’s image. Such a direct and forceful act can hardly be labelled or recognized as subtle. One could argue that such a deviant act would be permissible with
Winston’s characterization from
1984 , but Julia would never fathom such a thing. Orwell’s Julia would much rather discretely fall in love with and/or make love to another Oceanian citizen to resist all governmental directives, (including the information purification presented within this ad) than commit a public and violent performance against Big Brother himself. Even though this commercial is built upon Orwell’s novel, there are some obvious differences in “Julia’s” presentation. Orwell and avid fans of 1984 would argue that while Julia would stray from societal norms, she would not do so in such an explicit fashion.
“1984”: An Advertisement with a Purpose
However, “Julia’s” blatant and unrestrained “act” and “agency” were wisely crafted for
Steve Jobs’ ultimate goal and “purpose.” First and foremost, “Julia’s” sexuality, in combination with her unrestrained “act,” immediately grabs and maintains the audiences’ attention.
Therefore, “Julia’s” explicit sexuality was a wise technique to reel in a (presumably) predominantly male audience
1
. After all, Jobs was competing with several other companies for viewership during one Super Bowl commercial break. Therefore, a beautiful actress, in addition to a compelling storyline based on, “one of the 20 th century’s best works of fiction,” had the potential to, and arguably did , make an intriguing and impactful statement about Apple’s new
Mac computer (Mosbergen).
In addition to maintaining the appropriate audience’s attention, this ad also fulfilled another “purpose” for Apple’s brand. Apple was not only introducing a new product with this
1 One can assume that Jobs’ target audience were males with this commercial, simply because the field of technology/computing has often been dominated by men. Hence, I presume Jobs would have intended to attract the “male gaze” with the characterization/sexualization of “Julia.”
6

commercial, but also skillfully critiquing the growth and fear of technology itself. At this point and time, the Cold War was still a pressing issue, and there was national distress over the fact that any sort of technology (including nuclear missiles), in combination with tyrannical/communist rulers, could bring the world to an end (Hayden). Jobs’ team recognized this national horror, and decided the Mac could change their audience’s negative perception of technology with an influential ad. During a time when most U.S. citizens did not own a computer, Apple’s creative force wanted to, “democratize technology, (by) telling people that the power was now literally in their hands,” (Hayden). Essentially, the commercial wanted to prove that people should not fear the technological advancement of personal computers, but recognize the potential these devices had to offer.
In noting the context of this time period, one can understand why Apple featured a few of
Orwell’s dominant characters and ideologies within this commercial. Jobs pounced on the opportunity to connect his company’s image, and new product, to a timely and beloved heroine
(Julia). Arguably, this apparent connection between “Julia” and the Mac was a true crowdpleaser, since this commercial is still widely renowned as Apple’s best commercial, nearly 30 years later (“The 10 Best Ads to Come out of Steve Jobs' Reign at Apple”).
This interesting juxtaposition and comparison of Apple and “Julia’s” motives neatly ties the commercial’s overall message and “purpose” together. First and foremost, there is a clear comparison between what “Julia” and Apple’s Macintosh Computer represent. Both are innovative forces that have the potential to create positive change in their respective worlds.
While “Julia” initiates a governmental revolution in a tyrannical Oceania, Apple follows this lead by generating a national, technological reformation (in announcing their new product). In both
7

instances, “Julia” and the Mac are defying the expectations of oppressive technological power.
2
Hence, the commercial is making a statement that the Mac is not only a personal computer – it has much more to offer the general public. Similarly to “Julia,” this device convinces the audience that it is an innovative and democratic force that has the power to improve the lives of all mankind.
These progressive interpretations and ideologies of the Macintosh are also backed up by the visual presentation of “Julia’s” final “act.” While her hammer literally shatters Oceania’s governmental foundation, the Apple Corporation is metaphorically “shattering” the societal norms and expectations of national technology. Ergo, the visual aspect of heroine “Julia” breaking free of repressive, societal norms creates an expectation that Apple’s Mac computer will be able to provide consumers with this same (albeit, technological) freedom. In other words,
“Julia’s” characterization and action supplement Apple’s overall argument that this computer, debuting, “On January 24 th ,” has the ability and power to create a positive, societal change
(“Apple Macintosh Ad”).
After briefly introducing the launch of the Mac, Apple draws the commercial to a close.
In a final attempt to drive the company’s message home, the commercial states/reads, “And you’ll see why 1984 won’t be like ‘1984,’” (“Apple Macintosh Ad”). This very phrase was cleverly constructed to emphasize the freedom and exponential potential the 1984 Mac represented. In order to ward off technological oppression, Apple took the initial plunge to fight the computer’s horrifying power over its citizens. Just like the commercial’s own heroine,
Apple’s Mac symbolizes the courage and hope that a national revolution demands.
2 I wanted to re-iterate that “Julia” is resisting the anniversary of the “Information Purification
Directives,” in this commercial, while the Mac is defying a worldwide fear of computing/technological power (since it is a new, personal computer).
8

This text reveals how an influential ad can truly withstand the test of time. While Apple has arguably created several other innovative commercials since the 1980’s, “1984” simply sticks out in comparison. The intricate connection between Orwell’s novel and the Apple brand allowed for this campaign to capture and sustain their audience’s undivided attention. Since
“1984” is historically renowned for its influential power, I thought it would be interesting to examine this ad through the perspective of a dramatistic critic. Through this analytical process, readers can now understand how the agent (a sexualized “Julia”), act (throwing the hammer at the screen), and agency (challenging “Big Brother”) all contributed towards achieving Apple’s ultimate purpose in “1984” (the potential of the Macintosh). It is no wonder that this commercial has been referred to as Apple’s best ad of all time, for I am examining and critiquing it nearly 30 years later. I can only hope that an advertisement as convincing and influential as “1984” is released during my own lifetime.
9

Works Cited
"The 10 Best Ads to Come Out of Steve Jobs' Reign at Apple." Advertising Age News RSS .
Advertising Age, 24 Aug. 2011. Web. 29 Nov. 2013.
<http://adage.com/article/news/apple-ads-steve-jobs-10-apple-advertisements/229465/>.
"1984 George Orwell: Plot Overview." SparkNotes . SparkNotes, n.d. Web. 29 Nov. 2013.
<http://www.sparknotes.com/lit/1984/summary.html>.
"Apple Is World's Most Valuable Brand; Microsoft, Coca-Cola, IBM, and Google Follows:
Forbes." The Economic Times . The Economic Times, 26 Nov. 2013. Web. 29 Nov. 2013.
<http://economictimes.indiatimes.com/news/international/apple-is-worlds-most-valuablebrand-microsoft-coca-cola-ibm-and-google-follows-forbes/articleshow/26421294.cms>.
Apple Macintosh Ad - Aired during the SuperBowl 1984 .
YouTube . Apple, 09 Nov. 2009. Web.
29 Nov. 2013. <http://www.youtube.com/watch?v=8UZV7PDt8Lw>.
"Character Analysis: Julia." CliffsNotes . N.p., n.d. Web. 29 Nov. 2013.
<http://www.cliffsnotes.com/literature/n/1984/character-analysis/julia>.
Hayden, Steve. "'1984': As Good as It Gets." AdWeek . N.p., 30 Jan. 2011. Web. 01 Dec. 2013.
<http://www.adweek.com/news/advertising-branding/1984-good-it-gets-125608>.
Mosbergen, Dominique. "George Orwell's '1984' Book Sales Skyrocket In Wake Of NSA
Surveillance Scandal." The Huffington Post . TheHuffingtonPost.com, 11 June 2013.
Web. 01 Dec. 2013. <http://www.huffingtonpost.com/2013/06/11/orwell-1984sales_n_3423185.html>.
10