This is an article which discusses the role of women and how they are subordinated and degraded in lad's mags.
"...young women endorse (or else refuse to condemn) the ironic normalisation of pornography, where they indicate their approval of and desire to be pin up girls for the centrefolds of the soft porn “lad mags".
"...we are witness to a hyper-culture of commercial sexuality, one aspect of which is the repudiation of a feminism invoked only to be summarily dismissed (see also Rosalind Gill 2003)".
"As a mark of a post-feminist identity young women journalists refuse to condemn the enormous growth of lap dancing clubs despite the opportunities available for them to do so across the media".
"This advert appears to suggest that yes, this is a self-consciously “sexist ad,” feminist critiques of it are deliberately evoked".
"Feminism is “taken into account,” but only to be shown to be no longer necessary. Why? Because there is no exploitation here, there is nothing remotely naı¨ve about this striptease. She seems to be doing it out of choice, and for her own enjoyment..."
"the shadow of disapproval is introduced (the striptease as site of female exploitation),only instantly to be dismissed as belonging to the past, to a time when feminists used to object to such imagery. To make such an objection nowadays would run the risk of ridicule".
"The Wonderbra advert showing the model Eva Herzigova looking down admiringly at her substantial cleavage enhanced by the lacy pyrotechnics of the Wonderbra, was through the mid-1990s positioned in major high street locations in the UK on full size billboards".
"...composition of the image had such a textbook “sexist ad” dimension that one could be forgiven for supposing some familiarity with both cultural studies and with feminist critiques of advertising(Judith Williamson 1987)".
"...taking feminism into account by showing it to be a thing of the past, by provocatively “enacting sexism” while at the same time playing with those debates in film theory about women as the object of the gaze (Laura Mulvey 1975) and even with female desire (Rosalind Coward 1984; Teresa deLauretis 1988)."
"..she has benefited from those institutions (education) which have loosened the ties of tradition and community for women, making it possible for them to be disembedded and re-located to the city to earn an independent living without shame or danger".
"post-feminism positively draws on and invokes feminism as that which can be taken into account, to suggest that equality is achieved,in order to install a whole repertoire of new meanings which emphasise that it is no longer needed, it is a spent force."
".. gentle denunciations of feminism (as in the film Bridget Jones’s Diary) co-exists however with the shrill championing of young women as a “metaphor for social change” on the pages of the right wing press in the UK, in particular the Daily Mail."
In the article, this concept signifies how women have made progress in the gender war. This point supposedly diminishes post feminism, as it makes women feel unfeminine, unhappy, as they are made to look more aggressive.
A more positive look at feminism:
In society, the idea of feminism was opposed, though post feminism seemingly instills a more attentive and positive look on feminism, women have managed to gain some ground in the gender war, with more opportunities open for women and greater equality in society, e.g employment.
Post-feminism as a colloquialism:
This particular concept relates to the fact that feminism is still present in society, but is more modern, event though it is controversial or despised as being evil. Feminism is doing the role of post feminism, in that it revisits topics and has different goals to achieve.
The ambiguity of the prefix “post”:
In many ways, the prefix of post is more ambiguous, as it may have been concluded or have already started. Though it could relate to the fact that feminism may have ended or becoming to be more influential.
What are the different representations of women in adverts and how are they signified?
The representation of women can be positive: challenging the roles and expectations of women or negative: reinforcing a patriarchal society. This essay questions how and why these representations are constructed in an advert for Gucci Guilty Perfume and Stella Artois beer.
Firstly the Gucci advert is in widescreen which connotes a dramatic cinematic experience to engage its audience. More attention is gained by the female character first seen in the text and her protagonist is signified through this. The protagonist has female dominance which is signified through the use of colour- everything is in black and white while her hair is gold/blonde. This colour connotes gold, power and divinity signifying her importance in the text.
The use of intertextuality in this text will appeal to a particular audience. The film references a great deal to the neo film noir Sin City, with the use of colour and the female dominant femme fatale character. Sin City appeals to a male audience due to the action genre, this trailer could also appeal to the same audience due to the intertextuality. In terms of the Uses and Gratifications theory, a female audience might realise and accept the protagonist in the text is a form of escapism and also a male gaze, by theorist Mulvey, and therefore might aspire, from Young and Rubicam's 4Cs, to be the object of male gaze too.
Though the protagonist is an object of male gaze, it could be suggested that she sexually objectifies herself to tease the audience. The protagonist puts her leg into the frame of the shot. As she puts into the frame, it signifies self objectification, allowing the audience to fetishise her body. Another shot, a high angle, of their sexual activities signifies CCTV and spying which is voyeuristic. The fact she is on top signifies her control of the situation for both the male character and the audience.
Not only does the protagonist exert her feminity through self objectification she also presents herself as an anarchic character signified by adopting male stereotypes. The advert begins with a long shot of an unknown character speeding down the motorway, which stereotypically would be expected to be a male character. However, the audience's expectations are challenged when a medium shot of the driver shows to be a female.
In contrast, women are negatively represented in the Stella Artois text. The most obvious editing technique used in the advert is the split screen: one side shows the female getting dressed and the other side is of the beer getting "prepared". This use of split screen signifies that neither the beer nor the woman know they have been placed side by side. This puts the audience in position of control as they can voyeur the woman, in a socially acceptable way. Audiences may identify this control as patriarchy, and also identify with the unknown male character whose presence is felt within the text. This text then reinforces the idea of a patriarchal society and that women are subordinated by men.
Not only does the female share the screen with the beer, but the screen is split equally between the two "objects" which connotes the woman is equally objectified to the status of beer. It is suggested the audience is male due to the female and beer subject. Though the advert is targeted at men, it also negatively stereotypes men as people who have little respect for women which however is a dominant representation.
A range of close up shots of the female are used to fetishise her body. There is a close up shot of the female's leg slowly and elegantly rising from the bath tub. On one hand this could signify femininity and her control over it which is the oppositional reading. However, the more dominant reading is that her legs are an important part of the female body and connotes a male audience who can voyeur her body.
The text near the beginning of the trailer says "the preparation" which is an enigma code as the audience question "what event is the preparation for?". It is signified through the shots that the woman and beer preparation is for the male through the use of action codes. Action codes of both the preparation of the woman and the glass of beer are the same.
Women are represented as people who prioritise their looks and appearance, and this ad reinforces this ideology. Action codes including close ups of her: brushing her hair, doing her make up and putting on heels strongly represent women as image conscious. It could be said that the advert reinforces this representation, which is always seen in the media. Funnily enough, it could also be said that the media itself is the cause of this representation as this ideal, perfect woman is always represented in the media, and women feel they have to aspire to it.
In conclusion, both texts females are the protagonists and are sexually objectified for male audiences to fetishise and vouyer their bodies. However, while Gucci’s advert’s protagonist controls her sexuality through self objectification, the Stella Artois’ protagonist is objectified by an unknown but present male character.
In the Gucci’s ad, there are many examples in the text that signify the protagonist’s female dominance, but it is arguable whether this could be seen as a positive representation. The dominant reading is that the protagonist exerts her female dominance over the male challenging the historical patriarchal society and even subordinating males as easily manipulated and easily tempted by women and sex and this would favour feminism. However the oppositional reading which would favour the ideologies of the Stella Artois advert, might be that females can control their sexuality, but it is still for the male gaze and male dominant society.
Positive representation of women: Persil Laundry Detergent 1964
In this advertisement for Persil detergent in 1964, women are fairly represented, as the women in the advert is a mother who looks after her children. The use of the long shotconnotes how she is the stereotypical carer, as she drops her son to school. The use of the non diegitic sound of the voice oversignifies how she is more considerate, as her tone of voice connotes how she is more passive and calm. By using the tracking shot of the mother with her child, women are positively represented as being more attentive and protective of their children. In many ways, the female audience are voyeurs, as they see the linear narrative progressing and are able to identify with the mother on the way to school. As referred to by Gunter (1995) women are stereotyped as housewives who mostly appear in adverts around bathroom or kitchen products.
This advertisement for Persil laundry detergent maintains the status quo and gives women an accurate representation of housewives who are more concerned about cleanliness beauty, family and pleasing others. In the advert, the competitiveness of housewives to please is shown, as she shows her son's glistening white shirt to another women in an over the shoulder shot. The narrative seems to repeat, as the mother recommends the product to another housewife, as signified by the voiceover.
Negative Representation of women
1955 Joy Dish washing Liquid advert
Within this advert for Joy dish washing liquid, women are negatively represented, as they are stereotyped as being housewives. In the opening of the advert, the narrator in a medium shot signifies a binary opposition, as the man is at first signified in a medium shot, washing the dishes, though this challenging representation is removed, as the accurate representation of women as housewives is instilled. The advert seems to subordinate women as one dimensional, as the narrator says, 'Let your husband do the dishes... who am I kidding', the advert fades to give an accurate representation medium shot of the women in the kitchen. In many ways, the abnormality is removed, as women are in the home which reassures men, as they would not be expected to clean dishes.
Therefore, men are seemingly sexist, as they refuse to challenge stereotypes of men being carers at home. As evident in Gauntlett's article, content analysis signified how all adverts featuring women, three quarters were for kitchen and bathroom products. Women were twice as likely as men to be seen in the home. According to Schiebe (1979) most women in ads were more concerned about beauty, cleanliness , family and pleasing others. In this particular advert, women are negatively represented as the housewife, who has to perform crucial roles in the house such as cleaning and cooking. The constructed image of the smiling housewife is signified in this advert, as the medium shot of the housewife endorsing the product connotes that housewives are more passive and are under represented in the patriarchal society, due to thier lack of opportunities. The advert is seemingly self objectifying women, as they are constructed as being the doting housewife who is passive and has responsibilities in the home.
Interesting advert giving a positive representation of women
1960s Antler Luggage advert
In this early 1960s advert for Antler Luggage, women are positively represented, as they are signified as being more hard working and spontaneous. Interesetingly, women are represented as workers in factories, working alonside men which conntotes how women's emancipation in the 1960s paved way for women to be more decisive and able to find career opportunities, in contrast to being a houswife.
In contrast to previous advertisements, women were involved in production of products and were regarded as important members of the team, as signified with the non deigitic sound of the voice over, which praises women for thier detail, as they can be identified as being strong, diligent and precise. In many ways, the women in this advert for luggage are represented as being androgynous, as thier strength and intiative enables them to do the jobs which a man would normally do and can be indentifiable to many women in the 1960s. As well as this, the advert many have negotiated readings with feminism, as women seem to have equality to men and are signified as being powerful and strong, which could demean men in some ways.
According to Gunter, when women were seen in a paid environment, they were more often than not subservient to men. Therefore the audience could have oppositional readings to the advert, as they perform stereotypical tasks such as sewing and working with textiles, which seems to subordiante them, as seen in close up shot of the women sewing. In general, the advert reinforces the representation of women as being successful, optimistic and diligent in advertising.
Men in Advertising
Postive representation of men: 1963 Piels Beer Advert
In this 1963 advert for Piels Beer, men are positively represented as hard working, caring and family orientated, as the use of the montage allows the audience, consisting of males, to identify with the different types of men in the advert, as they themself are hard working. The use of the close up shot of the blacksmith working connotes how men are more dedicated and passionate in industry. By using continual fades, the audience are able to get a more accurate representation of men in different areas of work. The use of the voiceover in accordance to the advert is more sphisticated, as the narrator praises men in thier work. The use of a close up shot of the chief executve and builder shows the binary opposition of classes, with the chief executive and builder being more equal, as advertising promoted the idea of class. Though, the advert gives an accurate representation of men in the workplace.
The Piels beer relies on the positive values of hard work, as all of the men are stereotyped as being diligent and strong, which is fairly represented in this advert. The audience would have negotiated readings with the text, as they can be injected with a belief that hard work will result in rewards, therefore the beer promotes diligence as well as being pleasurable.
Advertisment depicting men as sex objects:
Diet Coke Lift Advert 2007
This advertisement for Diet Coke revolves around three women who take the lift for their Diet Coke break before pressing the alarm button to gain the attention of the constructed stereotype of men as being more muscular and attentive. Generally, this advertisement gives a negative representation of men as sex objects, as the women seem to cringe thier sexual desires, as signified with close up shot of the women stroking the top of the can, in this way the Diet Coke can acts as a phallic symbol, as the seductive movement of the fingers connotes sexual liberation and pleasures . As the women presses the button, the non deigtic sound of ' I just wanna make love to you', connotes sexual pleasures, as the close up shots of the women's faces connote seduction and provocativeness.
As the women look upwards, the use of the slow tilt signifies how the man is more heroic and masculine, as the close up shot of his belt and shoes connote how the man is adventurous and heroic, as he parasails down the lift at the call of a button, thus signifying women as the dominant sex. Interestingly, the women looks at the man's lower region which connotes sexual pleasures, as his toned body is fetishized by the women, which makes him the sex object, as the men is made the prey by the 3 women. In some ways, the Diet Coke advert could have negotiated readings with the women, as the men are subordianted, giving them a negative representation.
Negative Representation of Men
Lynx Chocolate Advert
Again, this 2007 advert for Lynx Chocolate self objectifies and under represents men as sex objects, as the protagonist sprays Lynx over his body and is transformed into a sexy man that is made out of chocolate. In many ways, the brand raises ideologies on chocolate , as it is one of women's main indulgences, therefore they would find it hard to resist a man made out of chocolate.
Therefore, the man is transformed into chocolate and is constantly dismembered by women, as signified in a medium close up shot in the cinema, where the women seem to lick the man's ears, this shows how his ears are fetishized as he is vulnerable to their temptation. Throughout the advert, the chocolate man's body is fetishized, with women waiting to grab some of him. Funnily enough, the facial expression of the man connotes how he is being pleased sexually and is relishing his dominant status, as women are seemingly subservient to his temptatious chocolate skin texture. Though, the man could be identified as being emasculated, as he is subordinated, with women overpowering him, by dismembering his body parts, as seen in a medium shot where his arm is snapped off. As well as this, the advert signifies women's sexual urges, as the medium shot of the women biting the man's ass connotes sexual pleasure ,where the man is irresistible, as signified in the tag line.
Post Feminism Advert
Littlewoods- Nice Boots Campaign
In this advertisement for Littlewoods, women are positively represented as being dominant and confident, as their boots seem to be fetishized, in order to signify their dominance over men. The close up shot of Coleen Rooney in the manor connotes how she is the Proppianhelper who orchestrates women on style and beauty. Though, the advert could represent Coleen as being a leader of women who dispatches women wearing glamorous clothing in order to compete with other women. By using a long shot, the audience can identify with the women, as they are given clothes and shoes in order to look confident and attractive. In contrast to this, the fade signifies women as subservient to Coleen , who may be represented as the dominatrix with a whip who commands the women under her control.
Consistently, the advert is accompanied by the non deigitic music which revolves around the boots and is more sassy. By using this parallel sound, the women are more concerned with finding a man and are seemingly ready for a war, as they are signified polishing their heels in a medium close up shot. Therefore, the audience can have negotiated readings with the advert, as it raises post feminist issues and constructs the image of women being more dominant. However, the women are seemingly more active, as the long shot of women running connotes how they are willing to be healthy in order to look appealing to men and have some right to be confident.
At one point, the audience are voyeurs, as they see women undressing, as signified with a close up of the women's lingerie . Therefore, a male audience may gain sexual gratifications out of watching the women reveal themselves. However, a femal audience may be injected with a belief that being attractive and healthy is crucial in life, therefore the Littlewoods brand raises more positive ideologies . As well as this , many women can gain gratifications out of watching this advert.Though they could also gain self belonging needs,as they gain fashion tips and techniques from wacthing this advert.
As a result, the advert gives an alternative representation of women as being androgynous, as they are being commanded by women in army uniforms and are seen running and marching, thus signifying women as passive, yet more dominant .
http://www.dailymail.co.uk/debate/article-1274095/JAN-MOIR-Lads-mags-toxic-culture-treats-women-like-meat.html
