Advertising - Gauntlett and masculinity

) What examples does Gauntlett provide of the "decline of tradition"? How can we link our advertising CSPs (Score hair cream and Maybelline 'That Boss Life') to this idea?
- The score hair cream advert reinforces the old tradition of the patriarchal society and how women were obedient, and men had to be perceived in a certain way. Gauntlett suggests the decline of tradition through the Maybelline advert as it subverts gender stereotypes in modern day society.   As the protagonist is a male beauty star, which in the 1960s, this would not be heard of. This shows the decline of the masculine ideals of 
they have to be a certain way, as society is more acceptance of what men do and how they portray themselves.

2) How does Gauntlett suggest the media influences the way we construct our own identities?
- Gauntlett suggests the media influences us and believes that the construction of identity has become a requirement in modern day society. He believes that mainstream media also provides guidance for individuals to discover their own identity in society. He believes that individuals are influenced and do not form their own identities by themselves. 

3) How do the two CSPs reflect the generational differences that Gauntlett discusses? Is it a good thing that the media seems to promote modern liberal values?

- Gauntlett believes that Surveys have found that people born in the first half of the twentieth century are less tolerant of homosexuality, and less sympathetic to unmarried couples living together. This is contrasted between the younger generation as it has been found that they tend to tolerate and accept homosexuality and their difference in societal expectations. 

4) Why might Manny and Shayla be a good example of the role models that Gauntlett discusses - and also demonstrate how those role models have changed in recent years?
- Gauntlett believes role model's are important as they serve as a guidance for generations and cause people to reconsider and think about what should be accepted in society such as homosexuality etc. Manny and Shayla are good role models as they are portrayed in a positive manor and using Manny, subverts stereotypes in society causing a change in peoples thinking. 

5) Why does the Score hair cream advert provide such a good example of traditional masculinity? How can you link this to Gauntlett's discussion of whether masculinity is in crisis?
- The Score hair cream advert is a good example of masculinity as it portrays the man in a dominant fashion. Both physically and in society, the man is held above the women as men are seen as the more important gender and women are depicted to be submissive and inferior. Women are also sexualised and used for the male gaze and be subject to men's sexual desires. 

6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?
- This is evident as in society, it is largely accepted if a man is homosexual and subverting social norms. As Manny is used, this allows the depiction of the modern world to come through as men are accepted as gay or wearing make up. This shows how masculinity has evolved and meant that men can be accepted and do as they please rather than having to fulfil typical masculine stereotypes and having to behave in a certain way etc. 

7) Does advertising still reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses? Offer examples for both sides of the argument from the wider advertising industry.
- One may believe that advertising continues to reinforce the masculine stereotype in society. Men are still shown to be dominant and strong within adverts and are shown to be heroes themselves. Through this, it shows how society still believes that men are the dominant gender and are superior to women as they can protect them. 

- On the other hand, people such as Manny Gutierrez being used in the Maybelline advert subverts the masculine stereotype. This is because a male character is wearing make up which shows how the idea of masculinity has evolved over the years. Furthermore, this is a landmark in the adaptation of the way men are described as they wouldn't typically be shown wearing make up.  

8) Gauntlett discusses the idea of 'girl power' and offers examples from music and film. Does advertising provide evidence to support the idea of 'girl power' or is the industry still reinforcing traditional representations of men and women?
-  Gauntlett believes that women's magazines have an emphasis on raising awareness and bringing down social expectations of women. Female pop stars sing about financial and emotional independence, inner strength, and how they don't need a man which also reinforces ho females are becoming more independent and are escaping from social boundaries. From this, it shows how women are much more independent, and less reliant on men, which in contrast years ago, women were seen to be heavily reliant on men, however the idea of 'girl power' highlights the fact that women are less dependent on men and are more equal in society.

9) Do you agree with Gauntlett's argument under 'Popular feminism, women and men' where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes? Does advertising (and our CSPs in particular) provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles? 
- McRobbie believes that there is a generation of younger men who have adapted to the modern world and are completely accepting and defy social expectations that typical masculinity has set. This shows how the younger generation are probably more naive and disregard gender roles, whereas in the 1960s, there was shown to be a fixed set of gender roles, that women had to stay at home, and submissive towards men, while men were the breadwinner and provided for the family etc. 

10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?
- Gauntlett states that homosexual, transgender people etc are still under represented in modern society and that old societal values are still being reinforced in the modern day. However, this is slowly changing in the media, In particular, television is offering prime-time audiences the chance to 'get to know' nice lesbian and gay characters in soap operas, drama series and sitcoms which shows how society is changing. In the Maybelline advert, Manny is used to subvert gender roles and showing the change in gender representation. 

11) What examples from advertising does Gauntlett provide for the changing nature of gender in society (from the section on Judith Butler's Gender trouble)?
- Fragrance brands are used by Gauntlett such as Calvin Klein. This was shown as one fragrance used imagery to represent how the fragrance was gender neutral and catered to everyone. 

12) How can the Maybelline 'That Boss Life' advert be applied to Judith Butler's work on 'gender trouble'? ("The binary division of 'male' and 'female' identities should be shattered, Butler suggested, and replaced with multiple forms of identity...")
- A male character was used to promote make up showing the growing tolerance and differentiating ideology of masculinity in the modern world. Furthermore, by using both men and women, it allows the product to be advertised to a wider range of audiences rather than a particular gender. 

13) How can our two advertising CSPs be used to argue that power has shifted from media institutions to audiences? (Clue: how did Manny and Shayler from the Maybelline advert first become famous?)
- Maybelline have deliberately chosen to use these two digital influences, due to their large social media following. Furthermore, as Manny is a homosexual, this allows the representation of men to be shown in a different manor and allows a modern perception of masculinity to be seen. This also allows people to be influenced by them due to their high status in society. 

14) Why is advertising such a good example of the 'contradictory elements' that Gauntlett discusses with regards to the mass media? In other words, how does advertising continue to both reinforce and challenge gender stereotypes?

- Advertising is a good example of the contradictory elements because the multiple messages contribute to the perception of a new amount of possibilities within society. In advertising, there is no longer a set gender stereotype and products are being advertised to both genders rather than a particular gender. 

15) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. How do our advertising CSPs demonstrate the changing attitudes towards gender and sexuality in society?
- The Score advert reflects the old, traditional values and ideologies that are currently being deconstructed by advertisements such as the Boss Life beauty campaign, which indicates how society has evolved over the years.
David Gauntlett, believes that, Views of gender and sexuality, masculinity and femininity, identity and self hood, are all in slow but steady processes of change and transformation.

score

1) How did advertising techniques change in the 1960s and how does the Score advert reflect this change?
- Advertising techniques changed in the 1960s due to advertising agencies relying less on market research and leaning toward creative instinct in planning their campaigns. The Score advert changed this as the advert focuses on an image rather than the product itself. The product being demonstrated is a small image at the bottom of the text whereas the poster primarily relies on the image of a man and several women to try and sell the product. 

2) What representations of women were found in post-war British advertising campaigns?
- Negative representations of women were found as women were seen as sexual objects. The objectification of women was used by advertising agencies to try and sell the product to a male audience. Female bodies were used as part of the 'male gaze' (Laura Mulvey) and was clearly done by advertisers to attract the audiences attention to the product. There forth, women were heavily objectified by men ultimately to sell the product they are promoting. 

3) Conduct your own semiotic analysis of the Score hair cream advert: What are the connotations of the mise-en-scene in the image?
- The setting of the advert suggests a safari and jungle vibe. The clothing worn by the male within the advert suggests this with a hunters type of style top along with shorts. The phallic symbol of the gun is used as a sexual innuendo. Furthermore, females are used and sexually objectified within the advert to attract a male audience which is ultimately the audience the product is being sold too. The women wear less clothes and skin is shown which instantly attracts a males attention.  

4) What does the factsheet suggest in terms of a narrative analysis of the Score hair cream advert?
- The factsheet suggests the analysis is presented as  aesthetically pleasing. Furthermore, the man in the advert is identified to the audience as a 'hero' (Propp) within the narrative. The advert suggests that the male is the worker such as being a 'hunter' within his 'tribe' which the advert suggests. Due to the male being revealed to be a 'hero', it would encourage a male audience to want to be the 'hero' in their own life. The women are shown to be the mans prize for doing his job. 

5) How might an audience have responded to the advert in 1967? What about in 2019?
-  In 1967, and audience would of had no issue with the advert as women were identified to be the 'more submissive' gender whereas males were 'dominant.' However, in 2019, women's rights have become increasingly equal to that of men. If the advert were to be shown in the modern age, there would be an outrage due to the way women's rights have progressed. 

6) How does the Score hair cream advert use persuasive techniques (e.g. anchorage text, slogan, product information) to sell the product to an audience?
- The Score advert uses persuasive techniques to sell the product towards the audience mainly through the use of female objectification. Women were subjected to wearing limited clothes and this would appeal to men. The product is displayed at the bottom of the scream which ultimately demonstrates how the product is not the main focus of the advert. The main focus consists of male power compared to women. The text is in a small box and this also shows how the image is more important than the text itself. 

7) How might you apply feminist theory to the Score hair cream advert - such as van Zoonen, bell hooks or Judith Butler?
- Van Zoonen can clearly be applied to this advert as women are clearly being objectified and subject to the heroes masculine power. Women within the advert are demonstrated to be the males award for being masculine. Judith Butler's feminist theory, can be applied as they reveal the difference between male and female equality. Men are the heroes whereas women have no sense of power. Women also are used as somewhat 'slaves' and clearly men are superior. 

8) How could Stuart Hall's theory of representation and David Gauntlett's theory regarding gender identity be applied to the Score hair cream advert?
- These theories can be applied to the advert as they suggest the gender differences that were evident within the 1960's. Where men were seen as powerful and fighters, women were seen as rewards to men after their hard work. The imbalance of power between genders would not be accepted in the modern day due to how women's rights have drastically come since the 1960's. 

9) What representation of sexuality can be found in the advert and why might this link to the 1967 decriminalisation of homosexuality (historical and cultural context)?
- Masculinity in the advert is represented through power and dominance. The male protagonist in the advert is revealed as a hero and shows how women are reliant on the protection of men. Ultimately, men are perceived as powerful and women are shown to be the prize of the man's hard work. This allows men to revealed to be the dominant gender and reinforce societal standards. 

10) How does the advert reflect Britain's colonial past - another important historical and cultural context?
- The advert conveys to the audience Britain's colonial past due to the mise-en-scene of the advert. The costumes both men and women are wearing suggest a jungle style in which foreign countries may habit. Furthermore, the weapon the man carries suggests his power which demonstrates to the audience how Britain had power over colonies in the past.  


Wider reading

The Drum: This Boy Can article

Read this article from The Drum magazine on gender and the new masculinity. If the Drum website is blocked, you can find the text of the article here. Think about how the issues raised in this article link to our Score hair cream advert CSP and then answer the following questions:

1) Why does the writer suggest that we may face a "growing 'boy crisis'"?
- The writer suggests this as boys growing up in modern day society may question what society states is the way to behave and act as a 'man' which means boys will not know how to act in society. Furthermore, as more people are comfortable and being identified as homosexual or transgender etc, boys will question their own sexuality which means boys will defy what is associated as a man's behaviour. The writer believes due to homosexuality being increasingly accepted in society, more boys will question their sexuality. 

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?
- Axe/Lynx has changed its marketing to portray masculinity in a different way to allow all boys and men to feel comfortable with themselves. Some boys may not be as strong and act the same as someone within the advert so the company changed the marketing to allow those too feel accepted.

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?
- Advertisers reinvent gender constructs by advertisers ''dare to paint a world where boys like pink, don’t like going out and getting dirty, or aren’t career ambitious, for example.'' This clearly reveals that advertisers are trying to change the way male and female stereotypes are perceived. 

4) How have changes in family and society altered how brands are targeting their products?
- Changes in both family and society have caused brands to change who they target their brand towards due to the way male and females are being shown in modern society and being perceived in this day and age. Due to boys and girls allowing genders to be reconstructed means that brands have to target audiences who are classed in a certain way and to appeal to both genders. 

5) Why does Fernando Desouches, Axe/Lynx global brand development director, say you've got to "set the platform" before you explode the myth of masculinity?
- Desouches states this as masculinity is clearly changing and that the being yourself is what the brand supports meaning they do not care about a persons sexuality etc. “What being a man means, and what ‘success’ means, is changing and this change is for the good. The message hasn’t exploded yet but we will make it explode. We will democratise it.” This reveals how the director wants to set societal standards. 


Campaign: Why brands need to change

Read this Campaign article on Joseph Gelfer and why brands need to change their approach to marketing masculinity. If the Campaign website is blocked, you can find the text of the article here. Think about how the article relates to our work on gender and advertising then answer the following questions:

1) What are two ways advertising traditionally presented masculinity and why does the writer Joseph Gelfer suggest this needs to change?
- Advertising traditionally presents masculinity both through, ''either a glamorous James Bond-style masculinity that attracted ‘the ladies’, or a buffoon-style masculinity that was firmly under the wifely thumb'' which indicates how masculinity is perceived in society. Gelfer suggests this needs to change as people need to perceive masculinity in different ways and allow males to behave how they want instead of living up to societal expectations which may make them feel uncomfortable. 

2) What are the five stages of masculinity?
- Stage 1 is defined as "unconscious masculinity", which means that traditional masculinity has been adopted by someone without them even thinking about it.
- Stage 2 is defined as "conscious masculinity", which means that traditional masculinity has been consciously adopted by someone.
- Stage 3 is defined as "critical masculinities" and is largely aligned with feminist thought. People at Stage 3 are aware that society is often patriarchal and homophobic and want to counter these problems.
- Stage 4 is defined as "multiple masculinities" and suggests that masculinity can mean anything to anyone.
- Stage 5 is defined as "beyond masculinities" and proposes the simple truth that masculinity does not exist.

3) What stage of masculinity do you feel you are at in terms of your views of gender and identity? You can read more about the five stages of masculinity here.
- I believe I am at stage 3. This means that I believe there are issues with patriarchy and homophobia within society and want to allow people to be happy with themselves in society. I also do not have a problem with peoples sexuality or their views on male and female behaviour. This is the reason I believe I am at stage 3 when it comes to the five stages of masculinity along with most people in our generation. 

4) What stage of masculinity was the Score advert aiming at in 1967?
- The Score advert in 1967 was targeted at stage 1 as women were seen as slaves to men as they were inferior and submissive to male dominance in society. Females wore less clothing in the advert and were shown to be sexual symbols in society and were appealing to the male gaze. (Mulvey) Women were depicted to serve men who were accepted as the dominant gender in society in 1967. 

5) Why are the stages of masculinity important for companies and advertisers when targeting an audience?
- The stages of masculinity are important for companies and advertisers so that they can allocate their product towards a certain type of group. The product needs to target audiences which sit in a certain stage in society so that they can sell a successful product. Furthermore, they do not want to upset certain groups of people in society.

maybelline

1) Narrative & genre: narrative theory and sub-genre
- The narrative of the advert is to do with how the product being advertised e.g the mascara can cause someone to become more glamorous. This advert however subverts stereotypes as the protagonist is a male instead of a female. However, stereotypes are also reinforced as the man is shown to be in the dominant position compared to the female supporting character who is inferior. Engima codes are also created in the advert when the suitcase is exposed and opened yet not shown immediately to the audience.

2) Cinematography: camera shots and movement
- Camera shots are effective within the advert as the opening features an establishing shot and reveals the location of the advert to the audience. This is contrasted by the wide shot of the room which indicates how the shoot for the advert was low budget. The rest of the advert focuses on close ups of the characters and the mascara. The close shot of the suitcase emphasises how important the mascara is to the audience along with the close up of the characters using it to also highlight the mascara as it is the selling point of the advert.

3) Mise-en-scene: costume & props
- The costume and the props are the most effective items within the advert. The costumes which include golden jackets emphasise how high quality and important the mascara is. This also attracts the audience aswell through the eye catching colours being used within the advert. Throughout the advert, there is an emphasis on the colour gold as the suitcase and the mascara are covered in gold which attracts the audience and further demonstrates the product they are selling to the audience.

4) Mise-en-scene: actors, setting, lighting and colour
- The actors featured within the advert consist of two males and one female. The fact that a male character is featured within a make up advert shows how Maybelline is subverting masculine stereotypes and paving the way for the modern view of masculinity. The setting of the room is bland and does not feature any striking colours which is done to allow the emphasis of the costumes that the actors are wearing in the advert along with the props. Lighting within the video is not significant which allows a bigger impact from the costumes and props. 

5) Editing: pace, transitions and visual effects
- Throughout the advert, the pace differs and follows the pace of the music itself. This is clear at points in the music video in which slow motion is used at 0.24 which further creates rising tension for the audience who want to see whats in the golden suitcase. This allows the product being advertised to be the main focus of the advert etc. 

6) Graphics: text/graphics on screen
- The use of the big slogan is a contrast from the actual mascara, as it is shown to be more unprofessional and different colours, however the product is gold and different font, which could be more appealing to  audiences. Maybelline is across the screen throughout the clip, however it is very subtle, as you don't really notice when watching the advert. 

7) Sound: dialogue, music and sound effects
- The use of music is matched with the face paced editing. The background music is face paced and creates an upbeat mood for the audience. Depending on the specifics of the scene, the music constantly matches the scene such as when the golden suitcase is being opened for the first time with the music becoming slower to create tension. 

Maybelline 'That Boss Life': wider reading

Read the following articles on this campaign:

Glamour: Manny Gutierrez Is the First Man to Star in a Maybelline Campaign, and It’s a Huge Deal
Your Story: Cosmetics giant breaks gender stereotypes by choosing male model as a face of the brand
Adweek: Maybelline Recruits Manny Gutierrez as Its First Male Beauty Star

Complete the following questions/tasks:

1) Why was this campaign such a landmark for beauty product advertising?
- The campaign was a landmark as it was the first time a male character was used in an advert to advertise make up to audiences. This shows the diversity and acceptance of the appeal of make up men. This subverts gender stereotypes aswell as more men are used in the advert including the bell boy rather than just females being featured within the advert. Manny Gutierrez who is a digital influencer and gay man was used to allow men to feel comfortable wearing make up. 

2) What do the articles suggest regarding the changing representation of sexuality and masculinity?
- The articles suggest that masculinity is changing and there is less pressure on men to be a certain image or follow typical social conventions in society. The advert allows people both male and female alike to embrace their identities and feel comfortable and not have to worry what others think or feel, which shows the progress of the representation of masculinity and how men are not afraid to do adverts like these, or express what they feel without being  judged as they did previously.

3) Read this WWD article: Maybelline Taps Digital Makeup Influencers for New Mascara Campaign. Why might 'digital influencers' be so attractive to companies?
- Digital influencers are attractive to companies as technology is mainstream in the modern world and therefore using internet celebrities allows the brand more exposure as more people are using online and the internet. The exposure to wider audiences allows the brand to gain more customers and then sell more of their products etc. 

4) Why do you think Maybelline chose to use MannyMUA and MakeUpShayla in particular?
- Maybelline chose to use these two in particular because of their large fan base, and this will allow their brand to be more recognized due to two high status celebrities being used in the advert. A combined Instagram following of 5.1 million followers and a YouTube subscribership of 2.5 million allows the product to be seen by a larger amount of audiences and sell more. 

5) What does the WWD article suggest is the crucial factor for brands regardless of whether they use influencers or more traditional celebrities?
- They believe the target audience and the amount of followers celebrities have is the most crucial and important factor when selling products or gaining wider audiences. “The real power today is if you have somebody recognizable who is also socially effective, a celebrity that has credibility [on social media]. Celebrities who live in this new world can become hugely powerful.” This shows how brands believe that the popularity of a person is the most important factor. 
Media Magazine: The Changing Face of Masculinity

Now go to our Media Magazine archive and read the feature 'The Changing Face of Masculinity' in MM63 (page 15). This will allow us to compare our two advertising CSPs - the Score hair cream advert and the Maybelline digital campaign. Answer the following questions:

1) What message does the article suggest the Score hair cream advert is trying to communicate to the 1967 audience?
- The message the advert tries to create is the dominance of men and the submissiveness of women. The male character within the advert is portrayed in a superior manor as he is physically above the women aswell as in importance. Women are portrayed as inferior and slaves to men and are sexualised for the male gaze. 

2) How does the article suggest the Score hair cream advert uses narrative to sell the product?
- The advert uses the male character as the hero and the women as the damsel in distress. The male character is held aloft along with a weapon as a phallic symbol. The man is shown to be able to protect the women and is thereforth shown as a hero. 

3) What 1967 stereotypes does the article suggest the Score hair cream advert reinforces?
- The advert reinforces social stereotypes to do with men and women. Men are shown to be dominant and superior while females are shown to be inferior and submissive. Women are also shown to be sexualised as they lack clothing and are used for the male gaze. The females are directly below the male and are holding him up, which suggests that they are socially below males and are somewhat subordinate compared to men in 1960s society.

4) Applying Stuart Hall's reception theory, what does the article suggest the preferred and oppositional readings could be for the Score hair cream advert?
- The preferred reading for the Score hair cream advert is that if you use this hair cream girls will find you attractive, and therefore you will receive more female attention, if you use this hair cream. The oppositional reading of this advert is that it is trying to show how women have to be obedient towards men.

5) Moving on to the Maybelline advert, why is the background of Manny Gutierrez and Shayla Mitchell significant?
- The background of both of the YouTubers is important, because it helps to emphasise how much the advertising industry has changed and developed over time. The video ad touches on issues of gender
representation, ethnicity and lifestyle, which has been a major talking point in society.
6) What is the narrative of the Maybelline advert?
- The narrative of the advert demonstrates the empowerment of the prodcut. The golden suitcase being opened is a transition from the plain colours and boring environment originally being used. The use of mascara shows the transition into a luscious lifestyle for both the stars. 

7) What does the article suggest the Maybelline advert's message is?
- The article suggests the adverts message is to subvert social stereotypes and allow both men and women to be equal in society. The advert reinforces how they are happy in their own skin, confident in their bodies and their sexuality.

8) The final section of the article focuses on masculinity. What do the Score advert and the Maybelline advert suggest regarding the changes in society and media between 1967 and 2017?
- The difference between the two advertisements is that ‘Score’ is celebrating everything believed to be great about a patriarchal society, while Maybelline is applauding the breakdown of hyper-masculine culture. The Score advert reflects the old, traditional values and ideologies that are currently being deconstructed by advertisements such as the Boss Life beauty campaign, which indicates how society has evolved over the years.

Advertising: The representation of women in advertising

Academic reading: A Critical Analysis of Progressive Depictions of Gender in Advertising

Read these extracts from an academic essay on gender in advertising by Reena Mistry. This was originally published in full in David Gauntlett's book 'Media, Gender and Identity'. Then, answer the following questions:

1) How does Mistry suggest advertising has changed since the mid-1990s?

advertising has increasingly employed images in which the gender and sexual
orientation of the subject  are markedly  ambiguous.

2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?

'feminine mystique': the only real commitment for women lies in the fulfilment of their own femininity. The highest good is keeping house and raising children'. it was exploited and reinforced (and possibly created) as a result of the 1950s' boom in the economy - particularly in the production of domestic goods, such as washing machines and convenience foods. It was presupposed that women would be purchasing such goods for the household, thus advertising 'was calculated to focus attention on their domestic role, reinforce home values and perpetuate the belief that success as a woman, wife and mother could be purchased for the price of a jar of cold cream, a bottle of cough syrup, of a packet of instant cake-mix'

3) How did the increasing influence of clothes and make-up change representations of women in advertising?

clothes and make-up - which to women being increasingly portrayed as decorative objects . A poignant example of where this occurs is in perfume advertisements; according to Diane Barthel, one of the most common images here is that of the 'fair maiden'. as an example, the innocent female is equated with flowers and nature: 'what is communicated is the sense that any rude contact with reality might spoil the maiden's perfection. Though she is sensual, she 'is meant to live as in fairy-tale stupor. She waits to be awakened - sexually, emotionally, even intellectually - by her prince' Thus, the maiden is a day-dreamer, passive and sheltered from reality - leaving her in perfect condition for when "Mr. Right" comes along. Further, 'there is more to being a flower than being delicate... the whole colourful show of petals and fragrance is there simply to attract fertilization, nothing more. women are depersonalised and objectified because they are encouraged to 'use commodities to serve men; they use them on themselves to aid femininity; commodities replace them in their relation to men' This 'commodified' woman is also used to sell products to men: 'the purchase of a commodity delivers the simultaneous acquisition of a female body'. This communicates the idea that women are 'objects' that exist for the pleasure of men; for example, in Figure 3 the purchase of this Gucci perfume promises sex. It rarely follows, however, that male sexuality is used to sell products to women. what is implied is a lesson in narcissism as to what women must do to 'catch a man' - i.e. make themselves visually attractive and sexually available. 

4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?

Laura Mulvey's (1975) theory of the 'male gaze'; she contends that scopophilia (the basic human sexual drive to look at other human beings) has been 'organised' by society's patriarchal definition of looking as a male activity, and being looked at as a female 'passivity'. Male power means that any social representation of women is constructed as a spectacle for the purpose of male pleasure. Feminists who have taken up the male gaze framework, such as Mary Ann Doane, suggest that because of this organised way of looking (where women are accustomed to being looked at, thus conceiving themselves as objects), when women observe representations of other women it is not a form of straightforward identification. Rather, they engage in a form of 'psychic transvestism' whereby they identify with the male (gaze) that observes the woman. According to advertisers, the appeal in the use of female attractiveness and sexuality to sell products to women is its appeal to their exhibitionism.

5) How did the representation of women change in the 1970s?

From the mid-1970s there was a proliferation of distinct images that became labelled as the 'New
Woman', and that were seen as representative of the 'changing reality of women's social position
and of the influence of the women's movement'. The New Woman was supposed to be 'independent, confident and assertive, finding satisfaction in the world of work andrecreation, seeking excitement, adventure and fulfillment'

6) Why does van Zoonen suggest the 'new' representations of women in the 1970s and 1980s were only marginally different from the sexist representations of earlier years?

According to Liesbet van Zoonen, however, the ability of these images to undermine traditional female stereotypes is superficial. the roles that women take on in these advertisements appear to be progressive (the employee, the active woman); however, with a more semiological approach, van Zoonen asserts that the New Woman 'only departs marginally from her older, more traditional sisters.' Deconstructing an advertisement promoting the 'Jenni Barnes Working Style' range of clothing, van Zoonen points to its claim that: 'A woman should look forward to dressing for the office.' Having a job is seen merely to provide 'another happy occasion for women to dress up and present themselves.' Indeed, a woman 'is portrayed stepping confidently towards the camera in an office environment observed by a male colleague from behind; but she is not portrayed actually working' Gill says that these images lead us to believe that they incorporate feminist ideals, but are actually 'used in such a way as to empty them of their progressive meaning'

7) What does Barthel suggest regarding advertising and male power?

Barthel notes that 'today's young women can successfully storm the bastions of male power... without threatening their male counterparts' providing we can reassure them that, underneath the suit, we are still 'all woman', that 'no serious gender defection has.  there is no real threat to male power. Another dubious image of the New Woman is the 'dark lady': on the other side of innocence and romance, is the knowledge and sexuality of the daring femme fatale.  

8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?

Richard Dyer claims that such images are something of a misrepresentation of women's liberation: 'agencies trying to accommodate new attitudes in their campaigns, often miss the point and equate "liberation" with a type of aggressive sexuality and a very unliberated coy sexiness'. Thus, all we are really left with is a woman who continues to construct herself as a spectacle and, just like the innocent maiden, is presented as a willing co-conspirator of men's sexual advances  and believes she is 'liberated' in doing so.

Media Magazine: Beach Bodies v Real Women (MM54)

Now go to our Media Magazine archive and read the feature on Protein World's controversial 'Beach Bodies' marketing campaign in 2015. Read the feature and answer the questions below in the same blogpost as the questions above.

1) What was the Protein World 'Beach Bodies' campaign?

‘Are You Beach Body Ready?’ campaign launched by Protein World  in Spring 2015 on London Underground, the PR team were courting the female market into looking their best for the beach this summer. The advert – featured a tanned, blonde female in a full-frontal pose.

2) Why was it controversial?

‘Are you beach body ready?’ invited readers to think about their figures, =did not consider the image of the model would shame women who had different body shapes into believing they needed to take a slimming supplement to feel confident wearing swimwear in public.

3) What did the adverts suggest to audiences?

are you thin enough to hit the beach? The advert attracted much criticism for playing on female consumers’ insecurities. Its message is clear: if you use our weight loss supplements you too can look like this. 

4) How did some audiences react?

When people began to campaign against the poster’s sexist portrayal, a change.org petition signed by 71,000 urged the ASA to take the adverts down. Some protesters responded visually by posing next to the advert in their bikinis, to offer a more realistic depiction of women’s bodies. When angry consumers contacted Protein World, complaining about the campaign, the company’s Twitter response urged them to ‘grow some balls’ – an interesting response for a campaign supposedly directed at women. The men behind the campaign seemed to find all the media uproar bizarre and the insinuation was that the great British public couldn’t take a joke.

5) What was the Dove Real Beauty campaign?

Dove’s ‘Real Beauty Sketches’ had garnered more than 114m total YouTube views within one month of its release, making it the most viral ad of all time. The campaign employed an FBI-trained sketch artist to draw women twice – first based on their own self-perception, and then based on that of a stranger. The outcomes demonstrated that the strangers’ descriptions were both more attractive and more accurate than the women’s own perceptions, suggesting that women are often hyper-critical of their appearances, and unable to see their own beauty. The campaign resulted in upwards of four billion PR and blogger media hits, and was much praised.

6) How has social media changed the way audiences can interact with advertising campaigns?

Audiences are now able to voice their concerns over advertising campaigns directly to the company and to other people with social media. They are also now able to create petitions to get advertisements removed online so they reach a larger amount of people.

7) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?

8) Through studying the social and historical context of women in advertising, do you think representations of women in advertising have changed in the last 60 years?