Gauntlett: Gender, Identity & advertising
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 traditional views of women as a housewife or 'low status' worker has been "kick boxed" out of the picture by successful 'girl power' icons and the masculine ideals of being tough, strong and void of emotion have been substituted for a more complex view with a focus on the problems of reinforcing the traditional perspective. This can be seen through the change in depictions of masculinity from the rugged, ladies man who holds all the power and dominates the score hair cream advert to the much more fluid and equal image of MannyMUA in the Maybelline advert. who subverts the traditional idea of the epitome of masculinity.
How does Gauntlett suggest the media influences the way we construct our own identities?
- We want to live our own lives but an 'experimental' version and since the contemporary audiences no longer find solace in tradition and strive to change or radicalise what once was into something much more appropriate to what we expect from today's values. The media acts as a guide and provides the tools needed to adhere to these changing lifestyles and ambitions.
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?
- The Score advert would be seen as a depiction of traditional views and older generations would recognise the ideologies as some that had prevalence during their youth etc. and be much less critical however they may view the maybelline advert through a much more critical perspective as they view the changing times as a feared 'new' and may struggle to replicate the views of the contemporary audiences since it juxtaposes their own personal views from the zeitgeist of their adolescence as the most valid. I think that it is a good thing that the media promotes liberal views as it encourages the older generation to partake in the discourses of society and form opinions and such regarding things that may contrast what they're used to in extreme ways.
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?
- They offer a realistic depiction of an unrealistic life and will influence people to aim for certain things but still be aware of the unattainablility of it. This has changed from the traditional role models who were seen to be an ambition into more of a guide for their viewers
Why does the Score hair cream advert provide such a good example of traditional masculinity?
- The Score hair cream advert depicts a heterosexual white male, who by looking good and conquering an unidentified other has been provided with power and is now desirable to women.
How can you link this to Gauntlett's discussion of whether masculinity is in crisis?
- In relation to Gauntlett's discussion about whether masculinity is in crisis, this advert was created in order to reinforce the traditional masculine values through a heterosexual lense, due to the changing times and decriminalisation of homosexuality, a lot of ideas surrounding gay men and stereotypes came to light so in order to preserve the idea that taking care of your appearance was not effeminate, this advert has a G.I Joe character, surrounded by women whilst still having a kept appearance. This subverts Gauntlett's argument as it's inferred that Score felt like 'masculinity' was in crisis however as times have changed this argument has become much more valid with depictions of masculinity being less constricted in mainstream advertising and suggesting that the Score advert was merely a sign of the times.
Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?
- I think the Maybelline advert can evidence Gauntlett's theory since it shows two depictions of men who although subvert the ideas of 'toxic' masculinity are still shown to have aspects of traditional men. This advert supplies an alternative appearance of what 'a man' looks like and behaves and instead of threatening tradition merely offers an option to a contemporary audience.
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.
- I think many adverts still focus on the conventional narratives, in reference to the reinforcement of the conventions adverts such as Perfume adverts - Gucci for example still focus on the idea of an independent and ruggedly handsome man, who is gifted with the power to attract and protect a woman however this is no longer the dominant or most circulated depiction of men, with adverts such as the Gilette 'The Best a Man Can Get' advert being both self critical and spreading awareness to the audiences of the toxicity of a simplistic and 2 dimensional depiction of men and subverted this ideal of a man by saying even if you're not independent or a 'mans man' you're still a man. Despite this, a lot of media texts and advertising do reinforce this representation since it will either be accepted or gain controversy, which will lead to significant changes in the market.
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 has definitely adapted to using the 'girl power' icons and narrative to empower women and challenge tradition. Adverts such as Dove's real beauty campaign or endorsements from celebrities such as Jennifer Lawrence or Anne Hathaway have allowed women to be marketed at from an empowering 'do it for you' perspective rather than 'do it for him' which although still exists in global advertising is much less prominent.
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 agree completely that younger generations have grown up surrounded by the changes in gender roles and society and have now become accustomed to tolerance - we are the audience of the revolution with adverts such as the Gilette one and the Maybelline CSP allowing us to engage with adverts that provide us with an open and diverse representation and reinforces the tolerance that new digital media has allowed the younger generations to adapt to and interact with the media to grow comfortable as we stray from tradition.
How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?
- The Score ad has a distinctly stereotypical and overwhelmingly heterosexual depiction of a man and appeals exclusively to a heterosexual male audience whereas in the Maybelline advert - although reinforcing stereotypes regarding the effeminate presentation of Gay men - has a much wider appeal and transcends the restrictions to suggest that sexuality - whether you're a heterosexual woman or a gay man can see yourself in mainstream advertising.
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, impulse deodorant and Kronenburg lager
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...")
- The roles and attributes we, as a society, have assigned to the binary genders become blurred in the TBL advert - the traditional male role of dominance is not clear and the use of makeup and focus on aesthetics applies to both genders as well as them both having the same ambitions, which in relation to the idea of multiple forms of identity you can argue that their personas are a transcendence of the gender roles and characteristics we associate with the traditional binary gender identities.
How can our two advertising CSPs be used to argue that power has shifted from media institutions to audiences?
- The Score advert was created by the media to reinforce ideologies that they felt may be at risk of replacement through revolutions and societal changes and reminded the audience of the traditions whereas in the TBL advert, they use youtubers and social media influencers, who have a large audience reach and by relying on the audience knowing who they are and supporting them this shifts the power from an in control media conglomerate to the audiences ability to interact and supply the power.
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 relies on using stereotypes in order to communicate roles and narratives to an audience quickly and seldom face retributions however by reinforcing some stereotypes, such as the effeminate gay man in the TBL advert but challenging others such as the 'men wearing makeup' role - it allows revolution and controversy to occur and gain publicity whilst simultaneously communicating that narrative and benefiting the brands - as by not subverting all stereotypes etc. allows this to happen.
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 demonstrates the acceptance of LGBT people and gender fludity in a modern society, whereas the Score advert was extremely traditional and heterosexual and perhaps a response to the decriminalisation of homosexuality and a need to reinstate how taking care of your appearance was not feminine but hugely beneficial, this would've been seen as the 'social norm' however nowadays, particularly post 90s advertising has allowed these boundaries to be pushed and played upon at such a high frequency that they no longer hold the shock factor or risk they once did.
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