Representation of women in advertising
1) How does Mistry suggest advertising has changed since the mid-1990s?
She suggests that gender roles in advertising aren't as fixed as they once were back in the day in advertising, as in todays day and age there are many different things to the traditional times and things such as homosexuality are not made as deliberately obvious in such a way that they are shown to be extremely camp deliberately and often show a range of how people actually are and no the stereotypes of people.
2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?
One of the main stereotypes in advertising in the 1940s and 1950s was the idea of masculinity being superior to femininity. This was seen as the norm for a very long time, of course there was eventually an uprising from women as they noticed this difference of gender roles in advertising.
The increasing influence of clothes and make up changed representations of women in advertising as they began to change the way they looked and almost created competitiveness between women and put social pressure on women to perhaps feel the need to dress up for male attention. Women were clearly objectified and shown to be the possessions of men and were therefore easily persuaded by social pressures to purchase these items.
4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?
Laura Mulvey, in her essay "Visual Pleasure and Narrative Cinema", introduced the concept of the male gaze as a symptom of power asymmetry, hypothesizing about what she called the "male gaze".
5) How did the representation of women change in the 1970s?
Women were shown to be much more independent even though they were shown to still be sexualised but not for others, however because they were proud of how they look and how confident they are in their bodies and they are doing it for their independence.
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?
In advertising women were shown in work clothes to represent that jobs were available for them and that equal jobs are available for them with equal pay, however this was a façade and a way for them to be looked at in advertising and in the work place. "A woman should look forward to dressing for the office2 which is the same as the male gaze as this means that they are dressing up for people and for men.
7) What does Barthel suggest regarding advertising and male power?
Young women in advertising now can defend the male power or keep them the way they are, posing no threat. But also with them gaining power a reassurance has to be made that no gender change has occurred.
8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?
2) Why was it controversial?
3) What did the adverts suggest to audiences?
4) How did some audiences react?
She suggests that gender roles in advertising aren't as fixed as they once were back in the day in advertising, as in todays day and age there are many different things to the traditional times and things such as homosexuality are not made as deliberately obvious in such a way that they are shown to be extremely camp deliberately and often show a range of how people actually are and no the stereotypes of people.
2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?
One of the main stereotypes in advertising in the 1940s and 1950s was the idea of masculinity being superior to femininity. This was seen as the norm for a very long time, of course there was eventually an uprising from women as they noticed this difference of gender roles in advertising.
The increasing influence of clothes and make up changed representations of women in advertising as they began to change the way they looked and almost created competitiveness between women and put social pressure on women to perhaps feel the need to dress up for male attention. Women were clearly objectified and shown to be the possessions of men and were therefore easily persuaded by social pressures to purchase these items.
4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?
Laura Mulvey, in her essay "Visual Pleasure and Narrative Cinema", introduced the concept of the male gaze as a symptom of power asymmetry, hypothesizing about what she called the "male gaze".
5) How did the representation of women change in the 1970s?
Women were shown to be much more independent even though they were shown to still be sexualised but not for others, however because they were proud of how they look and how confident they are in their bodies and they are doing it for their independence.
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?
In advertising women were shown in work clothes to represent that jobs were available for them and that equal jobs are available for them with equal pay, however this was a façade and a way for them to be looked at in advertising and in the work place. "A woman should look forward to dressing for the office2 which is the same as the male gaze as this means that they are dressing up for people and for men.
7) What does Barthel suggest regarding advertising and male power?
Young women in advertising now can defend the male power or keep them the way they are, posing no threat. But also with them gaining power a reassurance has to be made that no gender change has occurred.
8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?
There is a suggestion that the women in adverts such as the Christian Dior make up can make women more sexually attractive and suggests that they actually have to change themselves to become "perfect" as they are not perfect in the way they are.
1) What was the Protein World 'Beach Bodies' campaign?
It showed text which read "are you beach body ready?" which implies that people who are not slim and tanned like the model shown in the advert are not beach body ready and should not go to the beach in the body shape which they are in or if they are not perfectly tanned in the way she is.
2) Why was it controversial?
Some people took loads of offence to it because it was suggesting that unless you looked like that model - thin and tanned, then you couldn't wear a bikini. As their products were for slimming products it implies that people have to be slim to be accepted in society and go to the beach.
3) What did the adverts suggest to audiences?
The adverts suggest that you have to look like the model which is there to be accepted and to be seen as good looking and attractive to others and anything else would be frowned upon.
4) How did some audiences react?
They created an interactive ad makeover campaign that put women in a dominant position, where they would choose what they saw as beautiful, not the advertisers.
5) What was the Dove Real Beauty campaign?
Dove Real Beauty Sketches is a short film produced in 2013 as part of the Dove Campaign for Real Beauty marketing campaign.
6) How has social media changed the way audiences can interact with advertising campaigns?
Social media has changed the way audiences can react with advertising campaigns because it is a platform where people that can pass on their views and opinions, contradict the adverts. It also gives them a choice on what to do.
7) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?
5) What was the Dove Real Beauty campaign?
Dove Real Beauty Sketches is a short film produced in 2013 as part of the Dove Campaign for Real Beauty marketing campaign.
6) How has social media changed the way audiences can interact with advertising campaigns?
Social media has changed the way audiences can react with advertising campaigns because it is a platform where people that can pass on their views and opinions, contradict the adverts. It also gives them a choice on what to do.
7) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?
Comments
Post a Comment