Meida, gender
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 first example that he gave of the decline in tradition was of women. The traditional housewife view of a woman has been replaced with "feisty, successful 'girl power' icons."
In terms of the representation of men, he says that masculine traits such as "absolute toughness, stubborn self-reliance and emotional silence" have been replaced and challenged with new ideas of men needing advice and emphasising their emotions, along with the problems of masculinity. There's a very clear difference between these two CSPs - The 'Score' advert portrays a low-status, patriarchal message; whereas the 'Maybelline' advert empowers people, male or female.
2) How does Gauntlett suggest the media influences the way we construct our own identities?
He suggests that although we largely believe and are constructing our own identities however we want, we are also guided by everything around us - "Television programmes, pop songs, adverts, movies and the internet all provide numerous kinds of 'guidance' - not necessarily in the obvious form of advice-giving, but in the myriad suggestions of ways of living which they imply." The media is a tool that we use to help us form our identities.
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?
Gauntlett discusses how people aged 65 and over, or born in the first half of the twentieth century are less accepting of concepts such as homosexuality and living together before marriage. These traditional attitudes are seen less in under 30s.
The score advert explores these ideas as it's targeting men who are homosexual to be more masculine. 1967 was the year homosexuality was decriminalised so they're trying to suggest that masculinity is a good thing, and they're not expanding these ideas of masculinity. The maybelline advert has a much more enhanced view on masculinity and it isn't as structured as the score advert.
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?
Gauntlett defines a role model as someone who "serve as navigation points as individuals steer their own personal routes through life." Manny and Shayla are good examples of this because they don't tell people how to behave or what beliefs to have but they're good examples of someone other people may look up to or want to be. They're good role models because they portray modern beliefs and they challenge societies traditional beauty expectations.
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?
It provides a good example of traditional masculinity because it's all about being able to get pretty women and being in control. There's no element of exploration, all the things being shown are very typical.
6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?
The message of the maybelline advert is that it's okay to be and wear whatever you want. Wearing mascara or conforming to the "lash like a boss" statement doesn't make you any less of a man, Manny isn't claiming to be a woman, he's just saying it's okay for boys to wear make up and society need t be okay with it too.
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.
Advertising has typically shown men in a very independent and 'macho' way. Some people may argue that this and societies views have changed, but others would argue against this.
Traditionally, most adverts have depicted a stereotypical man in male adverts. They rarely ever go against societies expectations of masculinity, this may be because it was never explored and people thought there was only one concept and idea of it and because it was familiar to an audience. An example of an advert that portrays men like that would be a 'Gucci Guilty' perfume advert. In this advert we have both a topless man and woman but the woman is being held by the man and is looking up at him adoringly. The male model is looking into the camera with quite strong eyes, asserting his dominance and control. It's quite evident that the message behind this advert is that by wearing this perfume, you can get any girl you want. The guy doesn't look like he's in love with the woman, they don't look like a couple - this reinforces his independence and 'extra-strong macho-ness'.
However, more recently, some advertisers have been challenging this stereotype. They've used different conventions of masculinity and aren't really interested in this whole macho concept because they realise and understand that masculinity and societies views are changing. An example of this would be an old spice print advert that has a man with his top off, wearing is shirt around his neck, sitting on a horse in quite a tropical location. He's posing with his hands on his hips which makes him look quite camp, something that isn't really used in advertising.There has also been a rise in gender fluidity/neutrality, partly to do with social media and people's more accepting, ever changing views.
In my opinion, there are quite a few examples of a new masculinity in advertising, but I think that there should be more in order to challenge more of societies traditional and old-fashioned views.
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?
It'll take a while for every single advertising company or brand to support this 'Girl Power' movement, however, there are already a fair few behind it. Companies such as Dove present woman as together, with no reference to their husbands or male partners. Women are being more empowered within advertising, to go and find their own independence without having to rely on a man or someone else to do it for/with you.
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 do agree that younger generations aren't threatened by social changes. This is because they're exposed to it on social media, by seeing other peoples opinions they find it a lot easier to decipher between what's right or wrong. The maybelline CSP is an example of this, a lot of people were for the advert and happy because it was the first time that the brand had used a man to represent the brand.
10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?
In the score advert it doesn't explore the diversity of sexuality. Despite homosexuality being decriminalised in this year, it's not really embracing that, it's still suggesting that heterosexuality is the only type of sexuality. The maybelline advert features a gay man and they totally embrace the idea of diverse sexuality.
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)?
'Some advertising - such as the sexually charged but androgynous imagery promoting the CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deodorant and Kronenbourglager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities'
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...")
The advert targets the people that identify or accept the idea of non-binary gender roles. There is no direct boundary between the roles of Shayla and Manny as they both have individual identities and don't reflect a certain ideal- they show that you can be different from the norm of people and still be successful. The division between them is certainly 'shattered' as they both have the same profession and interests in life, yet there are multiple forms of identity as they identify as different types of people.
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 Shayla from the Maybelline advert first become famous?)
It's so easy for people to create a following now, people are recognised depending on how many followers they have rather than their talent. Because Manny is so different, it was easy for him to gain a following. He uses all platforms, YouTube, Instagram & twitter etc. This allows easy access for anyone to follow him , whether they know his from his videos or not. Also, an audience or fans can give their opinion on any topic or any person, which makes it easy for brands to follow trends.
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?
Brands who target an older audience tend to stick to traditional ways of advertising, by using celebrities (such as actors/actresses) because they think it's what their audience want. They're less likely to follow trends, especially those set by younger people. Brands that target a younger audience aren't afraid of doing that, because they know they're audience are going to appreciate it.
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 1967 score advert has a very traditional approach to advertising. For example, the very clear dominance of the man demonstrates the patriarchal society that there was then. The maybelline advert challenges peoples approach to masculinity and men wearing make up.
The first example that he gave of the decline in tradition was of women. The traditional housewife view of a woman has been replaced with "feisty, successful 'girl power' icons."
In terms of the representation of men, he says that masculine traits such as "absolute toughness, stubborn self-reliance and emotional silence" have been replaced and challenged with new ideas of men needing advice and emphasising their emotions, along with the problems of masculinity. There's a very clear difference between these two CSPs - The 'Score' advert portrays a low-status, patriarchal message; whereas the 'Maybelline' advert empowers people, male or female.
2) How does Gauntlett suggest the media influences the way we construct our own identities?
He suggests that although we largely believe and are constructing our own identities however we want, we are also guided by everything around us - "Television programmes, pop songs, adverts, movies and the internet all provide numerous kinds of 'guidance' - not necessarily in the obvious form of advice-giving, but in the myriad suggestions of ways of living which they imply." The media is a tool that we use to help us form our identities.
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?
Gauntlett discusses how people aged 65 and over, or born in the first half of the twentieth century are less accepting of concepts such as homosexuality and living together before marriage. These traditional attitudes are seen less in under 30s.
The score advert explores these ideas as it's targeting men who are homosexual to be more masculine. 1967 was the year homosexuality was decriminalised so they're trying to suggest that masculinity is a good thing, and they're not expanding these ideas of masculinity. The maybelline advert has a much more enhanced view on masculinity and it isn't as structured as the score advert.
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?
Gauntlett defines a role model as someone who "serve as navigation points as individuals steer their own personal routes through life." Manny and Shayla are good examples of this because they don't tell people how to behave or what beliefs to have but they're good examples of someone other people may look up to or want to be. They're good role models because they portray modern beliefs and they challenge societies traditional beauty expectations.
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?
It provides a good example of traditional masculinity because it's all about being able to get pretty women and being in control. There's no element of exploration, all the things being shown are very typical.
6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?
The message of the maybelline advert is that it's okay to be and wear whatever you want. Wearing mascara or conforming to the "lash like a boss" statement doesn't make you any less of a man, Manny isn't claiming to be a woman, he's just saying it's okay for boys to wear make up and society need t be okay with it too.
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.
Advertising has typically shown men in a very independent and 'macho' way. Some people may argue that this and societies views have changed, but others would argue against this.
Traditionally, most adverts have depicted a stereotypical man in male adverts. They rarely ever go against societies expectations of masculinity, this may be because it was never explored and people thought there was only one concept and idea of it and because it was familiar to an audience. An example of an advert that portrays men like that would be a 'Gucci Guilty' perfume advert. In this advert we have both a topless man and woman but the woman is being held by the man and is looking up at him adoringly. The male model is looking into the camera with quite strong eyes, asserting his dominance and control. It's quite evident that the message behind this advert is that by wearing this perfume, you can get any girl you want. The guy doesn't look like he's in love with the woman, they don't look like a couple - this reinforces his independence and 'extra-strong macho-ness'.
However, more recently, some advertisers have been challenging this stereotype. They've used different conventions of masculinity and aren't really interested in this whole macho concept because they realise and understand that masculinity and societies views are changing. An example of this would be an old spice print advert that has a man with his top off, wearing is shirt around his neck, sitting on a horse in quite a tropical location. He's posing with his hands on his hips which makes him look quite camp, something that isn't really used in advertising.There has also been a rise in gender fluidity/neutrality, partly to do with social media and people's more accepting, ever changing views.
In my opinion, there are quite a few examples of a new masculinity in advertising, but I think that there should be more in order to challenge more of societies traditional and old-fashioned views.
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?
It'll take a while for every single advertising company or brand to support this 'Girl Power' movement, however, there are already a fair few behind it. Companies such as Dove present woman as together, with no reference to their husbands or male partners. Women are being more empowered within advertising, to go and find their own independence without having to rely on a man or someone else to do it for/with you.
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 do agree that younger generations aren't threatened by social changes. This is because they're exposed to it on social media, by seeing other peoples opinions they find it a lot easier to decipher between what's right or wrong. The maybelline CSP is an example of this, a lot of people were for the advert and happy because it was the first time that the brand had used a man to represent the brand.
10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?
In the score advert it doesn't explore the diversity of sexuality. Despite homosexuality being decriminalised in this year, it's not really embracing that, it's still suggesting that heterosexuality is the only type of sexuality. The maybelline advert features a gay man and they totally embrace the idea of diverse sexuality.
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)?
'Some advertising - such as the sexually charged but androgynous imagery promoting the CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deodorant and Kronenbourglager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities'
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...")
The advert targets the people that identify or accept the idea of non-binary gender roles. There is no direct boundary between the roles of Shayla and Manny as they both have individual identities and don't reflect a certain ideal- they show that you can be different from the norm of people and still be successful. The division between them is certainly 'shattered' as they both have the same profession and interests in life, yet there are multiple forms of identity as they identify as different types of people.
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 Shayla from the Maybelline advert first become famous?)
It's so easy for people to create a following now, people are recognised depending on how many followers they have rather than their talent. Because Manny is so different, it was easy for him to gain a following. He uses all platforms, YouTube, Instagram & twitter etc. This allows easy access for anyone to follow him , whether they know his from his videos or not. Also, an audience or fans can give their opinion on any topic or any person, which makes it easy for brands to follow trends.
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?
Brands who target an older audience tend to stick to traditional ways of advertising, by using celebrities (such as actors/actresses) because they think it's what their audience want. They're less likely to follow trends, especially those set by younger people. Brands that target a younger audience aren't afraid of doing that, because they know they're audience are going to appreciate it.
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 1967 score advert has a very traditional approach to advertising. For example, the very clear dominance of the man demonstrates the patriarchal society that there was then. The maybelline advert challenges peoples approach to masculinity and men wearing make up.
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