Gender, identity and advertising: blog task

Gender, identity and advertising: blog task

Read this extract from Media, Gender and Identity by David Gauntlett. This is another university-level piece of academic writing so it will be challenging - but there are some fascinating ideas here regarding the changing representation of men and women in the media. If you can't access David Gauntlett's website, the text is also available here.

1) 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 examples Gaunlett talks about are Twenty or thirty years ago, analysis of popular media often told researchers that mainstream culture was a backwards-looking force, resistant to social change and trying to push people back into traditional categories. Today, it seems more appropriate to emphasise that, within limits, the mass media is a force for change. The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of the picture by the feisty, successful 'girl power' icons. This applies to our CSPs because it shows a popular traditional advert and the current present advert and the differences are significant. This is shown from the score advert being manly and showing off his masculinity while the maybelline advert Manny showing his version of masclunity in his own showing the decline of how masculinity used to be shown. 
2) How does Gauntlett suggest the media influences the way we construct our own identities?

He suggest this when he says he media disseminates a huge number of messages about identity and acceptable forms of self-expression, gender, sexuality, and lifestyle. At the same time, the public have their own even more robust set of diverse feelings on these issues. The media's suggestions may be seductive, but can never simply overpower contrary feelings in the audience.

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?

It shows the differences through both main characters's masculinity. Both of them display different kinds/types of masculinity and show it in their own way. While in the score advert masculinity is shown as macho and toughness, The maybelline advert masculinity is shown from Manny strength breaking through gender stereotypes.

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?

This is because both have a large following and both go against old stereotypes that was expected for them from people in the past. For Manny the general stereotype for guy is that they don't wear make up and are always sexulising women. But he goes against it with him wearing make-up and supporting women. As for Shayla she goes against stereotypes like women stay in the kitchen and stay pretty which she go against by showing the power she has over people. 

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 advert mainly does this due to the fact of over-sexulising women making them seem like objects and even the fact of the girls holding him up showing how he has the power over them. Lastly, the setting of the jungle making it seem almost like a male fantasy. All of these old views show how generations have changed over times which is what Gauntlett mentioned.

6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?

I believe that the maybelline advert does not suggest that maculinity is in crisis as the male role in this advert, the ambassador of the product and brand, is advertising this product, therefore he does have a vision and is not lost in where he fits in this contemporary socety,
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.

In a way, advertising does reinforce this ideology of a male, clearly diplayed by the Lynx adverts, which display the male lead impressing the ladies by applying his fragrance and impressing these ladies, which reinforces the male stereotypes in adverts that using the product will get you more girls because that is most definately what you want.

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?

Advertising does provide evidence for the idea of girl power still being alive due to many artit, idols and other social influencers who are empowering girls and women all over the world. An example is perfume adverts where the female lead seems to be in control of the male lead in making herself seem more desirable, alo in not needing said male.

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?

I believe that as young people, we are more open minded and accepting to new beliefs, as well as aren't threatened by traditional gender roles, the ame way previou generations are, sso much o that we could be at a point where we are seeing less and less myoginy in younger people in the news and the media in general.

10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?

The score hair cream advert doe not really display the diversity within genders due to the fact that they are displaying typical gener roles.
However, the maybelline advert does display diversity of sexualities as there is a male lead in what would normally be a females normal position, at leat for that product, being a cosmetic product.
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)?

CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders. Other ads include such as ones for Impulse deoderant and Kronenbourglager.
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...")

This is through the stereotype that males should be involved in typically masculine things, therefore the fact that a make-up and cosmetics advert stars a man subverts stereotypes and gender roles that we have come to know over the years

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?)

In the older advert, the score haircream advert, publihed in '67, clearly displays power being in the hands of the institutions which are publishing these adverts,due to the fact that the people starring in it are likley to be from a modelling agency and have no care in the world for what they were representing or doing. Therefore for a contemporary advert to tar people who have that pasion and interest in the field of the advert clearly displays how the power has shifted from institutions to audiences as bth Manny and Shayler have over 3 millioon fllowers on instagram, meaning that the audience of Maybelline have displayed a clear interest in thee people.

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?

Advertiing is a good example of the contradictory elemet due to the fact that is ha example of non binary gender, in being gender fluid, clearly being in ourCSP in the Maybelline advert, as well as being quite binary in the score haircream advert which ha examples of gender roles for both gender fduring thi period.

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 Maybelline advert has a lot gender fluid references as the main star is gay, meaning that Maybelline is clearly open to the idea of being LGBTQ, which displays respect and thoughfulness from the brand to do so, displaying the fact that we may be moving to more accepting gender fluid society, which new attidudes towards being gay, lesbian etc.

Blog task: Maybelline 'That Boss Life' case study and wider reading

1) Narrative & genre: narrative theory and sub-genre

Genre of Romance: When both characters jump on the bed, instead of each other providing pleasure, it is the make-up/product that is doing this.

Adventure/Fantasy as they are trasnported to a new place it seems to be when they put on the mascara.

2) Cinematography: camera shots and movement

Extreme Close Up of the eye as they are putting on the make up- convention of cosmetics adverts

Audiences of these influencers are used to these types of shots.

Twisted crane shot used to display glamour and their lifestyle, also gives a slow reveal of the room to make us feel impressed by the costumes, whilst they are impressed by the room.

3) Mise-en-scene: costume & props

Gold signifies value of the product

Gold of the mascara used to represent actual gold, further signifies money, value and worth.

4) Mise-en-scene: actors, setting, lighting and colour

Gold everywhere

makes the scene look valuable

Natural light at the beginning - minimal lighting used at the nighttime scenes to represent the glamour of New York at nighttime because of the city lights

Gold shines on them as they open the case

5) Editing: pace, transitions and visual effects

Quick paced editing

CGI sparkles

6) Graphics: text/graphics on screen

Glamorising their lives- uses "Maybeline Presents" as if it were a film.

Hashtag in bottom left, unconventional

Gold font,further glamorises the product and their lifetyle, making it look more appealing.

7) Sound: dialogue, music and sound effects

Backing track reflects the product

SOund effect on the chest suggets it' a prize

Sparkle sound effects suggest glamour and luxury

Music is upbeat and fast paced, mimicing a nightclub- as if you were a bos, which is the idea of this campaign

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?

This i due to the fact that the cometics brand have teamed up with influencers of similar product, as well as the fact that the main star of their campaign is a male.

2) What do the articles suggest regarding the changing representation of sexuality and masculinity?

It is suggesitng that we are taking step in the right direction as to the repreentation of make-up and that i is made "for everyone." This obviouly meaning that these cosmetic products are for both genders, instead of what people had normally thought it put to be as just for girls.

3) Read this WWD article: Maybelline Taps Digital Makeup Influencers for New Mascara Campaign. Why might 'digital influencers' be so attractive to companies?

This i because of their izable followings and the influences they have over said people. This would obviouly allow these influencers to sway the opinion of their audiences through promotion and sponsored adverts which can deliberately paint the product in a brighter light.

4) Why do you think Maybelline chose to use MannyMua and MakeUpShayla in particular?

Again, these influencers may have been chosen due to their following, as well as the fact that these people are the leader in term of what they are doing wth their audience, in terms of interactivity, and the influence that they have over them.

5) What does the WWD article suggest is the crucial factor for brands regardless of whether they use influencers or more traditional celebrities?

Their social media followings, which play a huge part of what makes a good brand embassador as that determines your influence. Also if they are well known in general, so overall the concensus is that if you are known, you have goo dchance of being one of these brand embassadors.

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?

It could be trying to communicate that not only does using this priduct make you 2100% straight, but it will also get you the gurls that are diplayed in the advert.

2) How does the article suggest the Score hair cream advert uses narrative to sell the product?

This advert uses narrative through the mise on scene of the man as he looks to be celebrated for killing what we can assume is some sort of cat animal as that is what his carriage is draped in. This could have been done to present thi idea of bravery and boldness, which is commonly linked with being masculine.

3) What 1967 stereotypes does the article suggest the Score hair cream advert reinforces?

Some of the stereotypes from 1967 which are presented in this advert include:

Women being clumsy, as portrayed by the state of their clothes as they are all torn up

Men being heros and being brave- he has the gun etc,

Heavy sexualisation of either gender, minimal clothing of the females, also it can be said that his rifle is a phallic object.

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?

Preferred Reading: It is a hair cream advert for men, designed by men

Oppositioal: It is a partially sexist advert- suggesting that only men can use the proudct- also objectifying women, also there is hypermasculinity eviden as it is suggesting that use of the product will make you straight.

5) Moving on to the Maybelline advert, why is the background of Manny Gutierrez and Shayla Mitchell significant?

The backgrounds of each of these people is evident as Manny is openly gay, meaning that the idea of maculinity is arguably reverted, going against what the designers of the Score hair cream advert's values of being a male.

6) What is the narrative of the Maybelline advert?

The narrative of this advert i that the pair of beauty influencer are in New York and are trying to get "Bossed Up," by using the Maybeine mascara. The narrative is that after using thi product they go from normal people to bosses who are very important, as the advert is trying to suggest through the heavy use of gold and such.

7) What does the article suggest the Maybelline advert's message is?

That if you use thi product, you will become bosses and that gender does't matter, as Maybelie go against the status quo by using a male a the star of the campaign, which had not been done before. They are trying to communicate the message that makeup is for both genders and such. Doing this was a bold move by the brand to try break down gender barrier.

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 score hair cream advert suggests that maculinity is being urrounded by beautiful female, killing a wild animal in the name of bravery and impressing women, wherea, Maybelline suggest that masculinity is being comfortable with your gender and exulity, enough to go against the statis quo and perform your gender role how you feel appropriate.

Blog task: Score advert and wider reading

Score hair cream advert

1) What year was the advert produced and why is the historical context important?

The advert was made in 1967 and a hair cream advert. The context is important because society was different from then to now. For example men was seen as dominant and superior to women and it was not diverse.

2) Analyse the mise-en-scene in the advert (CLAMPS): how is costume, make-up and placement of models constructed to show male dominance?

The costumes are made to be in the jungle and for the girls to be revealing so its promotes a male gaze but also diversion as it is almost like a male fantasy. The females make up in the ad was made for them to look almost unrealistic but again represents the male gaze as men would be attracted to that. Also setting unrealistic goals for women and men. For men it’s that if u but this product you will get all these girls in reality it won’t Be like that. And for women hey would want to look like the girls as they realise that’s what men like. Furthermore, the way the models are place is almost like they are looking up on the man. Worshipping him and even carrying him showing the doimence of men. Lastly the prop of the gun to make it look like he has power.

3) The main slogan is: 'Get what you've always wanted'. What does this suggest to the audience and how does it reflect the social and cultural context of 1967?

It reflects men as dominant as they can get what they want and because of the time period it saying they can choose any girl they want like it’s an object or a prized possession and not a human.

4) Why is it significant that the advert text says it is "made by men" and that it also contains "Score's famous masculine scent"?

Because of the time period men would feel more masculine and think they own the world so it gives them more confidents.

5) What representation of sexuality can be found in the advert?

It’s only aimed for straight people and no one else. This is due to the fact of the time it was made and what it is. The girls look over sexualised while the man looks covered meaning it only really appeals to guys and no one else.

6) How does the advert reflect representations of masculinity in advertising 50 years ago?

It represents it because of the man being worshiped and looking like as if he is he king is the jungl. And also the gun he is holding showing he is assuring his domince all things that would be present back then and accurately represented the male domince lifestyle. 

7) How much do you think things have changed with regards to representations of masculinity in advertising?

Because society is much more diverse and more equal women aren’t played down to look inferior and even could be argued more stronger so I would say it makes society more balanced.

The Drum: This Boy Can article

1) Why does the writer suggest that we may face a "growing 'boy crisis'"?

A growing global ‘boy crisis’ suggests that we could be, in fact, empowering the wrong sex. Of course, women are woefully under-represented in boardrooms and certain walks of life, with casual sexism and unconscious bias still endemic, but the difference is that we are all now familiar with the narrative around tackling these issues, thanks in no small part to groundbreaking campaigns such as ‘Like A Girl’ by Always, Sport England’s ‘This Girl Can’ and Dove’s ‘Real Beauty’. We are much less equipped to talk about the issues affecting boys. There’s an unconscious bias that males should simply ‘man up’ and deal with any crisis of confidence themselves. After all, men are better paid, have more opportunities and are not inhumanely oppressed in some parts of the world.
2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?

As Lynx/Axe found when it undertook a large-scale research project into modern male identity, men are craving a more diverse definition of what it means to be a ‘successful’ man in 2016, and to relieve the unrelenting pressure on them to conform to suffocating, old paradigms. This insight led to the step-change ‘Find Your Magic’ campaign from the former bad-boy brand. One of the sectors most impacted by this insight is FMCG because the weekly shop is one of the household traditions where gender roles are most challenged; the person who wins the bread and the person who buys the bread isn’t down to gender these days.

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?

Campaigner David Brockway, who manages the Great Initiative’s Great Men project, urges the industry to be “more revolutionary”, particularly when it comes to male body image, which he says is at risk of following the negative path trodden by its female counterpart. “We’re seeing a huge rise in eating and body image disorders among young men. We can’t isolate the cause. Advertising plays its part. A 13-year-old boy of average build in one class recently told me seeing an ad made him feel fat. He didn’t mean a bit out of shape. He meant everything that goes with that feeling such as seeing himself as lazy, unaccomplished and incapable.” In order to prevent a full blown crisis of self-worth, Brockway advocates that advertisers “totally reinvent gender constructs” and dare to paint a world where boys like pink, don’t like going out and getting dirty, or aren’t career ambitious, for example.
4) How have changes in family and society altered how brands are targeting their products? Miller says, the definition of “family” in places like Britain is profoundly changing – but advertising is not helping to normalise different scenarios by largely failing to portray this new normal. 
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?

As touched on already, Lynx/Axe has attempted to get the conversation rolling with its U-turn ‘Find Your Magic’ and, while admirable, it’s not the game-changing calibre of Always, Dove and Sport England. To be fair on Fernando Desouches, Axe global brand development director, he knows that. And, as he says, you’ve got to “set the platform” before you explode the myth. “This is just the beginning. The slap in the face to say ‘this is masculinity’. All these guys [in the ad] are attractive. Now we have our platform and our point of view, we can break the man-bullshit and show it doesn’t matter who you want to be, just express yourself and we will support that. “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.” The passion in the Argentinian’s voice is tangible; this is a man on a mission. He’s already forged partnerships with several NGOs, from calm to Promundo to The Representation Project, and says more developments are on the horizon. Campaign: Why brands need to change

Campaign: Why brands need to change



1) What are two ways advertising traditionally presented masculinity?

The past couple of years have seen a significant shift in the way marketing and advertising portray masculinity. Previously, masculinity was mostly presented in one of two ways: either a glamorous James Bond-style masculinity that attracted ‘the ladies’, or a buffoon-style masculinity that was firmly under the wifely thumb. But things have started to change.

2) What are the two reasons the writer Joseph Gelfer suggests for why this needs to change?

The two reasons the writer Joseph Gelfer suggests for why this needs to change is because brands need to reappraise masculinity for two equally important reasons: one altruistic, the other self-serving. The altruistic reason is that traditional masculinity causes problems, whether it be its impact on men’s well being or on women and their equal representation in society.
3) What are the five stages of masculinity?

The five stages of masculinity are:

Stage 1: "unconscious masculinity"= traditional view of men.

Stage 2: "conscious masculinity"= as above but deliberate
Stage 3: "critical masculinities"= feminist; socially constructed
Stage 4: "multiple masculinities"= anyone can be anything
Stage 5: " beyond masculinities"= it doesn't exist.
4) Take the Five Stages of Masculinity Personality Inventory test to see what stage of masculinity you are at. Where did it suggest your views are currently? Do you agree with its assessment? You can read more about the five stages of masculinity here.

In the test i got stage 2 which means Stage 2 is defined as “conscious masculinity” and has perhaps the most numerous permutations of all the stages. The common thread running through these different permutations is the awareness that there is a level of regulation that takes place around contemporary masculinity. The understanding of that regulation shifts depending on which form of conscious masculinity is embodied.

5) What stage of masculinity was the Score advert aiming at in 1967?

Most likely 1. Stage 1 is defined as “unconscious masculinity,” which means that the standard social construction of masculinity has been adopted by someone without them even thinking about it. More people inhabit Stage 1 than any other stage.

Blog tasks: Representation of women in advertising

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

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

She says 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.

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

The kind of sterotypes were wives or mothers that all needed to look after men in some way or another
3) How did the increasing influence of clothes and make-up change representations of women in advertising?

This made It look like women to be more decorative and because of this it made men treat them as objects and make sure they stay looking good.

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

Berger suggested that women see themselves through a male perspective in the media.
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 and recreation, seeking excitement, adventure and fulfilment'.

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?

The ability of these images to undermine traditional female stereotypes is superficial according to van Zoonen because it is suggested 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.'

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

Women can use Christian Dior make-up to make themselves sexually attractive - and that her sexuality is for her own enjoyment.

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?


The gender and sexual orientation of characters in advertising are now left to be vague. There are now more homosexual images in advertising that do not use over the top camp stereotypes that are used in the mainstream media.
2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?

After the war there was this society crash. After the war stereotypes were put in place to create rules or familiarity in society. Women were targeted to feel guilty if they didn't fulfil their role as a housewife and mother. Their purpose was kept and reinforced with the increase in domestic goods such as washing machines and convenience foods. The domestic role was reinforced by advertising these goods to make it easier for women to fulfil their role in their homes.

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

Women's femininity were seen to be created by acting passive and having their personalities created by commodities for male attraction. The female is meant to be controlled and awoken by men where they are sheltered from reality and were meant to be seen as 'perfect' and to remain this way until Mr. Right comes along. Women were objectified for men in advertising.
4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?


Laura Mulvery(1975) came up with the 'male gaze'. It was created as men were seen in patriarchal roles at the time and women were passive in advertising. Women in advertising at the time were there for men to see. It was also seen in movies like James Bond where the female were seen as the damsel (Propp character roles) and were only used in the story to be looked at, 'men act, women appear'.
5) How did the representation of women change in the 1970s?

Women were a lot more sexualised in advertising. Products were now created on how to attract males. But also women are seen as sex objects in advertising for male products. The Gucci advertisement shows that the female 'comes with' the product. The female is used for the male gaze and the product gives men the requirement to attract a female.

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?


Women in advertising were seen in work clothes and gave effort to presenting themselves in the workplace. However they were only there to be looked at, they never actually did any work to show that they now do have a meaning representation of themselves. It's no different from the male gaze in earlier years as they are seen to have no working role in a narrative apart to be looked or gazed upon by both sexes.

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?


Products are used to make women appear that they are reclaiming their sexuality and that them using make-up is for their own enjoyment. But it still doesn't change the fact that women are still used in advertising to be looked at. It is only giving in or reinforcing male's sexual advances for women to be gazed at. It is this false sense of feminism.