1) How does Mistry suggest advertising has changed since the mid-1990s?
Since the mid-1990s, advertising has increasingly employed images in which the gender and sexual orientation of the subject(s) are markedly (and purposefully) ambiguous. As an ancillary to this, there are also a growing number of distinctly homosexual images - and these are far removed from depictions of the camp gay employed as the comic relief elsewhere in mainstream media. This essay is concerned with providing a critical analysis as to the potential of such depictions to undermine conventional gender role stereotypes and the norm of heterosexuality that dominate advertising and the media at large.
2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?
women were suffering their own identity crisis after the war. Prior to the war, feminists had been articulating the idea of women having their own plans and careers; but soon after 1945, women were made to feel guilty by warnings of the 'dangerous consequences to the home' that had begun to circulate (Millum, 1975:73). Looking at women's magazines in the 1950s, Betty Friedan (1963) claims this led to the creation of the 'feminine mystique': 'the highest value and the only real commitment for women lies in the fulfilment of their own femininity. The highest good is keeping house and raising children' (Millum, 1975:74).
3) How did the increasing influence of clothes and make-up change representations of women in advertising?
A major area of expansion in production/consumption - clothes and make-up - which led to women being increasingly portrayed as decorative (empty) objects (Winship, 1980:8; Busby & Leichty, 1993:258). 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'. Taking Figure 1 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.
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' is important here; 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 aspectacle for the purpose of male voyeuristic pleasure.
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' (van Zoonen, 1994:72). The New Woman was supposed to be 'independent, confident and assertive, finding satisfaction in the world of work and recreation, seeking excitement, adventure and fulfillment' (Cagan, 1978:8).
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. At the level of content analysis, 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' (1994:73).
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 occurred' (Barthel, 1988:124-125; Davis, 1992:50). In other words, that 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 (Barthel, 1988:76).
8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?
Richard Dyer however, claims that such images are something of a misrepresentation of women's liberation: '[advertising] agencies trying to accommodate new [feminist] attitudes in their campaigns, often miss the point and equal "liberation" with a type of aggressive sexuality and a very unliberated coy sexiness' (1982:186). 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 worse, 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?
The PR team intentions were portrayed with the display of beautiful teen models to entice women to live this lifestyle.
2) Why was it controversial and how did some audiences react?
The advertisement received a lot of back lash and criticism as it promotes a body image that may not suit others and make the viewers start to question there body. This does portray a image of taking skinny supplements to feel good about yourself and have a "beach body".
3) What was the Dove Real Beauty campaign?
Dove had a image in mind when portraying the Real Beauty campaign. Having the word real meaning realistic expectations of how body image should be portrayed. Showing off body's of all ages and types, they made it clear that everyone is different and shouldn't be shamed for what there body looks like.
4) How has social media changed the way audiences can interact with advertising campaigns?
Using Social Media as a platform, they using new technology to express their opinions and ideas.
5) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?
We can apply van zoonen's theory to the beach body campaign as the women is being objectified for the male gaze and the camera is directly sexualising the women and she also reinforces unrealistic but western beauty standards of thin and light.
6) 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?
I do think that representations of women in advertising have changed in the last 60 years because during the 1950s, women were perceived as obedient and innocent and also quite passive. However, as time has gone on, women are now able to challenge these traditional norms of women. Also there is an increasing tolerance of gender fluidity and non- binary gender in today's day and age.
