Shane Park

Reel Paper
COMM 2050-02
Shirene McKay
February 25, 2017
Into the Storm and Social Penetration Theory

Introduction
The movie Into the Storm showcases several examples of the communication theory of
Social Penetration. There are several different characters, all with different
backgrounds, and when met with disaster they are forced to make quick relationships
with the people whom they are experiencing disaster with. Throughout this essay we will
take a look at the film background, what Social Penetration Theory is, and how it applies
to the film. We will also discuss how this theory may have helped improve
communication as observed in the film. Finally, we will discuss what I learned about
communication, especially this theory, throughout this process.

Movie Background
Into the Storm is a disaster flick set in Silverton, Oklahoma. The town was met with
disaster when the largest tornado to hit the United States touched down devastating
everything in its path. The film follows several characters as they experience the
disaster and, in the process, create new relationships with strangers all working toward
the same goal of survival. The relationships developed had to be formed quickly in order
for the individuals to work together to accomplish their goal. Throughout the film many
lives were lost, but the characters that you grow to love survived, for the most part
(Garner & Quale, 2014).

Theory Definition
Social Penetration Theory is a communication theory conceptualized by Irwin Altman
and Dalmas Taylor (1973). Social Penetration refers to a process of relationship
bonding whereby individuals move from superficial communication to more intimate
communication (West & Turner, 2010, p.168).

Altman and Taylor developed this theory by conducting extensive study of various
couples, observing how they bonded and progressed in their relationships. According
to Altman and Taylor, intimacy involves more than physical intimacy; other dimensions
of intimacy include intellectual and emotional, and the extent to where a couple shares
activities (West & Turner, 2009). They observed that relationships follow a trajectory,
or a pathway to closeness, following different stages as the relationship develops.

There are four stages identified in the theory of social penetration. The first stage is
known as the orientation stage. This stage is where we only reveal small parts of
ourselves to others. This usually happens in public where people dont want to deviate
from what is normally socially acceptable. The second stage of social penetration is the
exploratory affective exchange stage. In this stage, the individuals communicating
reveal information to the party that was once private in an attempt to become more
comfortable with each other. This type of communication is often experienced between
casual acquaintances or neighbors. The next stage is call the affective exchange
stage. This is a stage that is achieved between close friends and intimate partners. The
communication between people in a relationship in this stage is spontaneous and
comfortable. People will often be able to willingly release intimate information about
themselves that would be withheld with most other people. The final stage is known as
the stable exchange stage. This stage is characterized by complete openness and
spontaneity between the two relational partners. Partners in this stage are highly
intimate and can often predict the behavior of the other person with relative accuracy.

One of the most recognized explanations of social penetration theory is the onion
analogy. This analogy proposes that people are made of layers and we only expose
certain layers to certain people, depending on the stage of social penetration the
relationship has reached. In the early stages we only allow others to see our public
image, reserving our deeper thoughts and feelings until a further stage of social
penetration is reached.

Analysis of Movie using the Theory

Social penetration theory assumes that relationships progress from superficial non-
intimate exchanges, to more intimate meaningful exchanges. In the film there are two
characters, Donnie and Kaitlyn, who progress through these stages as the story
progresses. Donnie has observed Kaitlyn for years but has never taken the opportunity
to attempt developing more of a relationship with her. The two begin the film as
acquaintances likely in the exploratory affective exchange stage. Donnies brother,
Trey, convinced him to approach Kaitlyn after they witness her uncomfortable
conversation with a teacher at their school. He approaches her in the library as she sits
at her computer, and attempts to make sure she is okay after the conversation he had
just witnessed. Their interaction ensued as follows:
Donnie: Hey, Kaitlyn?
Kaitlyn: Hey.
Donnie: It's Donnie.
Kaitlyn: Yeah. I know.
Donnie: Are you okay? I saw you outside with Miss Blasky.
Kaitlyn: Right. Uh... I had this application for an apprenticeship, and it had to be
submitted by the weekend. And Miss Blasky checked it for me, and it's just
completely corrupted. I don't know what happened to it. It was fine yesterday.
Donnie: Yeah. Yeah, that's toast. What was it about?
Kaitlyn: The abandoned factory on Garner.
Donnie: Oh, the paper mill?
Kaitlyn: Yeah. Yeah. When they shut it down, the state never paid for an official
cleanup. So there's all these chemicals and hazardous materials sitting there...
contaminating the soil and probably running off into the water. That's what the
film's about. Anyway, the submission doesn't make any sense at all without it. So
I'm screwed.
Donnie: You're into all this environmental stuff, huh?
Kaitlyn: Gotta take care of the planet, right?
 Donnie: Or else the planet will take care of us, right? Heh.
Kaitlyn: Heh. Yeah. Well, some of us care, or at least are trying to.
Donnie: No. I'm sorry. I can help. I have all these cameras and this editing
software and-
Kaitlyn: Really?
Donnie: Yeah. Well, this will be easy. We can reshoot this.
Kaitlyn: It'd have to be today.
Donnie: Today?
Kaitlyn: Oh, you're filming the graduation.
Donnie: No, it's fine. No. No. My brother, Trey, he's good with all this stuff too. -
He can get that. Like, he can get that footage.
Kaitlyn: Really?
Donnie: It's not a problem.
Kaitlyn: Sure?
Donnie: I'm sure. Yeah.
Kaitlyn: Thank you so much. No. You have no idea what this means for me. I owe
you so big for this.
Donnie: No. Well, you know, me and the planet go way back, so...
Kaitlyn: Thank you. I'll see you later.
Donnie: Cool.

Kaitlyn is hesitant at first, almost seeming as though she was deciding what information
she should disclose to Donnie, perhaps weighing if she would receive appropriate
reciprocity based on their exchange. They are both exploring their relationship with
what information they are willing to disclose, or the depth at which they are willing to
expose themselves to the other individual.

Throughout the film they enter different stages of social penetration. Moving from the
affective exchange stage all the way to the stable exchange stage, being completely
comfortable with each other in their interactions to where they are even comfortable
touching each other (holding hands, hugs, etc.). As their relationship progressed the
breadth of their discussions increased and they became more open with each other.
For example, Donnie lost his mother in a car accident and has had a hard time coping
with the loss for many years. In the early stages of social penetration he likely would not
have disclosed anything about this to Kaitlyn. Toward the end of the film they are shown
discussing their families and Donnie opens up, becoming completely vulnerable with
Kaitlyn. Donnie relays to Kaitlyn his last exchange between him and his mother and
expresses how much he regrets the fact that their last exchange was so negative, him
being rather angry with her for leaving their family. The depth at which they discussed
their families increased as they moved through the stages of social penetration.

Theory Recommendations
Early in the film Donnie is filming himself to be placed in a time capsule, to be opened in
25 years. As part of his filming he attempts to get some shots of his father eating
breakfast but his dad asks him to stop filming because he didnt have time for it, since it
was such a busy day. Donnie felt as though his father had no time for him and he
couldnt go to his dad for help or to talk about anything. Its almost as though they are
stuck in the orientation stage, only being comfortable revealing basic information to
each other. This is not a good stage to be stuck in when it is a father/son relationship. If
the two characters were able to devote more breadth time to topics that have more
meaning to them, they may be able to progress to further stages within social
penetration and have a closer relationship.

Conclusion
All relationships can be observed to be going through one of the four stages of social
penetration: orientation stage, exploratory affective exchange stage, affective
exchange stage, or stable exchange stage. From meeting new people and only
revealing only minor information about each other, to a fully developed relationship in
the stable exchange stage experiencing complete spontaneity and comfort to where you
can almost predict with accuracy the behavior of the other person in the relationship.
This was observed in the interactions between characters in the film who progressed
through the stages and eventually became much more comfortable with each other.

Looking at the relationships in my own life I can see what stage of social penetration I
am currently in. I can also see how my most intimate relationships have progressed
through the stages all the way to the stable exchange stage, such as with my wife.
Understanding the way we progress through the social penetration stages we will be
able to create strong relationships with those whom we want to.

In conclusion I will share a piece of the film where Donnie was recording what he
thought would be his last goodbye to his family since he could potentially drown and
never see them again. This is what he said:
Guess what, I spent the last week filming time capsules about people's futures...
and now it looks like I don't have one. So, uh... if there's no future... we should
talk about the past. Um... Some bad shit happened along the way. You know, like
it does to everybody, I guess. And... And I didn't move on, Dad. I blamed you. I
really gave you shit, and I wish I hadn't. I so wish I hadn't. No point in wishing
now, huh? What do I wanna say? Um... Go easy on Trey. He's gonna tell you that
this is all his fault. This was his idea. But it wasn't. It's just Trey. His attention-
seeking behavior. My idea. My fault. Trey, you should be the person you always
were, dude, because you're awesome. You're awesome and I'm proud of you...
and just live every day like it's your last. Because, shit, someday it will be. And for
once, I know what I'm talking about. And, Dad... Dad, I love you. I really love you
and I'm sorry.
References

Todd Garner (Producer) & Steven Quale (Director), 2014. Into the Storm [Motion
Picture]. United States: Warner Brothers Entertainment, Inc.

West, R., & turner, L. H. (2000). Introducing communication theory: Analysis and
application. (4th ed.). New York, NY: McGraw-Hill.