Juxtaposition In The Cove

Released in 2009, the voyeuristic documentary The Cove reflects director Louie Psihoyos’ specific agenda. Using numerous positioning techniques, Psihoyos imposes an inducing dominant reading, constructing distinct social and cultural representations in the process. Viewing the issue of dolphin captivity through the lens of the director, audiences, whose values are challenged throughout the documentary, are inclined to affiliate their views necessarily. The Cove is exemplary of how documentary filmmakers set out with specific agendas in order to convince the intended audience of their argument.

The Cove aims to position the audience to accept the agenda of director Louie Psihoyos, whose visceral indignation of dolphin captivity is used as

One of many devices apparent throughout the documentary, juxtaposition is used to highlight the contrast between dolphins held captive in Taiji and those that swim freely in open waters, exposing the brutality of the Japanese fishermen’s inhumane practices and accentuating the need for their extrication in the process. Emotive footage of confined dolphins in a red sea filled with blood, complemented by non-diegetic music, is juxtaposed with tranquil pictures of dolphins conversing in the wild to illustrate that they are gentle, intelligent creatures that do not belong in captivity. Anthropomorphism is a corresponding technique implemented by Psihoyos to create a favourable dominant reading as human qualities are attributed to dolphins in order to stimulate viewer’s emotions. Ric O’Barry’s poignant anecdote of his alliance with a dolphin named Cathy, who he claimed committed suicide in his arms, serves as a prime example of anthropomorphism. Such stories of human interactions with dolphins are included to evoke a sense of consideration amongst viewers by conveying the message that dolphins are sensitive, “self-aware creatures” that are “smarter than we think they are”. Confronting images are used to great effect in The Cove in order to address Psihoyos’ desired agenda. Bleeding dolphins struggling to take their last breath and the effects of mercury poisoning on

The Japanese culture is largely fashioned negatively throughout the documentary, positioning audiences to view the nation as being inferior ethically, socially and culturally. Fishermen in Taiji, such as ‘Private Space’, are portrayed as fervent, aggressive oppressors whilst the Japanese Government are represented as unscrupulous by authorising the slaughter of dolphins as a matter of “pest control” and the sale of their meat, which contains “levels of mercury that are 20 times higher than The World Health Organisation recommends”. Joji Morishita (IWC delegate for Japan) is often seen wearing headphones whilst attending IWC meetings to symbolise the Japanese Government’s insular perspective, suggesting that those in power “do not like the West telling them what to do”. Represented as an incapable “ship of fools”, The International Whaling Commission illustrates a lack of democracy in society, highlighting that often “social change comes from the passion of individuals rather than the reliance on institutions”. Consequently, the intended audience is required to believe a number of things in order for the documentary to be successful. Aimed at adults who are politically active and financially capable of donating to the cause, as well as animal conservationists, it is expected that viewers have a democratic ideology and trust in