Exam Q

How does the advert create desire for a product?


The advert creates a desire for the product based on what Laura Mulvey calls the "male gaze". The advert presents a woman as simply a pregnant mother, who is probably a housewife. This is what a woman would typically be seen as through the male gaze and helps reinforce a dominant patriarchy and a dominant way of living, which then creates a desire for the product as people want to be in the majority and have the dominant way of life. For example, the housewife is a celebrity, so it creates a desire in order to influence people that this lifestyle for women is desirable and they then want things that she wears, in this case the shoes. 

Butler's theory of gender being performative is relevant here, as women in this ad are being presented as a gender with a role that is looking after children. This helps reinforce the typical role hat women play in advertising, which is mothers, this is shown through the slogan "nothing compares to family". This shows that 

Exam Q

The relationship between producers and audiences has become more fluid since the introduction of digital media.
What is the impact this has had for Producers? Refer to your CSP’s  (12 Marks)

The changed relationship between producers and audiences has meant that producers have now had to adapt to their audiences being digital natives, as Prensky suggests. This means that producers have now had to create social media pages, interact with audiences more and have their content on an online streaming service.

One change in the relationship between producers and audiences is that audiences now consume their media on digital streaming sites. Presnky

Stuart Hall- reception theory

Reception theory

Dominant reading- reading that the producer intended

Negotiated reading

Resistant reading- reading that the producer did not intend

Teen Vogue YouTube video on reproductive rights:

Dominant reading: "The fact that some people insist on a woman potentially risking her life to have a child that may have to grow up in an orphanage as the woman wasn’t mentally/ physically ready to have a child upsets me. I don’t mind if people are personally not happy to have an abortion but everyone should have the right to choose"

Resistant reading: "Keep your legs closed and this wont be a problem"

Waves of feminism

1st wave- Early 20th century- suffragettes

 



2nd wave- 1960s-90s - abortion, reproductive rights









3rd wave- 1990s-present- empowerment, reclaiming of femininity






4th wave- 2010-present Use of new technology

SHOT	Audio	Video
Medium shot (5-6 seconds)	“Please leave me alone”	Angle; mid-shot, straight Movement Description; Teenage boy wants to be left alone during the summer, and makes it known
Long shot (2-3 seconds)	"we can do all sorts of stuff in the summer!"	Angle;- long-shot, face-up. Movement- still Description- Teenage boy is walking with his friends, talking about summer plans
Medium shots (5-7 seconds)	The sound of a ball being kicked, heavy breathing etc.  Music	Angle;- 1. Medium shot, tracking. 2. Still, medium, over the shoulder Movement- Shot 1. follows boy running with the ball shot 2. still shot of boy taking penalty  Description 1. Boy runs with ball 2. Boy takes penalty
Medium shot (3 seconds)	Chewing sounds Movie background sounds (?) Music	Angle; Full shot Movement Still Description Boy is with a friend in the cinema watching a film and eating popcorn
Close shot (4-5 seconds)	Arcade sounds Music	Angle; Still, camera at side of boy Movement Still  Description- Boy playing on an arcade machine
Medium shot (7-9 seconds)	"Your cousin is coming to stay, you will have to look after him. I have to work."	Angle;  Movement Camera moves from news-breaker to boy Description A parent tells the teenage boy that he has to look after his younger cousin
Close shot (3-5 seconds)	"Ahh"	Angle; Medium-close shot Movement Still Description Kid punches teenager in the face
Close shot (5-6 seconds)	Dialogue	Angle;Medum-close shot  Movement From little boy to tennager's reaction Description- Boy says that he wet himself
Medium shot (7-8 seconds)		Angle; Movement Description

Maybelline ad

Advertising: Maybelline case study and wider reading

Our second Advertising and Marketing CSP is the 2017 Maybelline 'That Boss Life Pt 1' mascara video advert.

This gives us an opportunity to explore the idea of gender fluidity in society and the media - plus compare the changing representation of masculinity in advertising. Notes from the lesson are here:

Gender fluidity

Gender fluidity is when gender expression shifts between masculine and feminine. Indeed, gender identity has become a major media and social issue in the last 10 years.

Young (and some older) people are increasingly identifying as gender fluid – and some have credited the internet for this change. They suggest that millennials grew up with the internet so can easily find information on topics like gender expression.

You can read more on this view and gender fluidity in this CNN article here.

Maybelline 'That Boss Life Pt 1'

The Maybelline ‘That Boss Life’ advert is part of a digital campaign for their ‘Big Shot Mascara’ product.

The campaign is significant as it is the first time Maybelline has used a male brand ambassador and digital influencers. The use of YouTube stars Manny Gutierrez and Shayla Mitchell means the brand can reach their combined 5.1 million Instagram followers and 2.5 million YouTube subscribers.

In addition, Gutierrez (‘MannyMua’) is Mexican-Spanish-American and openly gay, offering a very different representation of masculinity and sexuality to the 1967 Score hair cream advert.

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

Work through the following tasks to make sure you're an expert on the Maybelline CSP and particularly the wider social and cultural context.

'That Boss Life' close textual analysis

Use your notes from class to write about the connotations and representations created by the following technical and audio codes. Write at least a paragraph on each:

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

The narrative is that the product makes the people's life better. Their life becomes much more luxurious with the mascara than without it. It implies that there is two different worlds depending on whether you use the mascara or not.

2) Cinematography: camera shots and movement

The camera focuses solely on the people who are using the mascara, so it properly emphasises the narrative and the difference between the lives of the people with the mascara and the people without it.

3) Mise-en-scene: costume & props

There is a significant change between the costume of the people before they use the mascara, as they are wearing ordinary clothes and the costumes of the people after they use the mascara, where they are wearing lavish clothes. This again emphasises and separates the people who don't and do use the mascara.

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

5) Editing: pace, transitions and visual effects

6) Graphics: text/graphics on screen

7) Sound: dialogue, music and sound effects

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 Its 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?

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

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

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

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


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?

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

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

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?

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

6) What is the narrative of the Maybelline advert?

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

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?

Score ad

Advertising: Score case study and wider reading

We have already studied the changing representation of women in advertising but there is no doubt that the portrayal of men and masculinity has also changed significantly too.

Our first advertising CSP, the 1967 Score hair cream advert, provides a compelling case study for the representation of both men and women.

Notes from the lesson and the blog task are below.

Hypermasculinity in advertising

Hypermasculinity is defined as: a psychological term for the exaggeration of male stereotypical behaviour, such as an emphasis on physical strength, aggression, and sexuality.

Advertising in the 1950s-1980s often featured a hypermasculine representation of men – and some representations in the media today still continue this.

Gelfer: Changing masculinity in advertising

Joseph Gelfer, a director of masculinity research, suggests that the way masculinity is represented in advertising is changing. Looking at advertising over the last 20 years:

“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. 

Thankfully, and somewhat belatedly, things are beginning to change.” (Gelfer, 2017)

Gelfer: Five stages of Masculinity

Gelfer suggests there are five stages of masculinity – how people perceive and understand what it means to be a man.

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 

Gelfer says advertisers need to think about how their target audience views men and masculinity when creating campaigns.

Masculinity in crisis? David Gauntlett

Media theorist David Gauntlett has written extensively on gender and identity. He disagrees with the popular view that masculinity is ‘in crisis’:

“Contemporary masculinity is often said to be 'in crisis'; as women become increasingly assertive and successful… men are said to be anxious and confused about what their role is today.”

Instead, Gauntlett suggests that many modern representations of masculinity are “about men finding a place for themselves in the modern world.” He sees this as a positive thing. (Gauntlett, 2002)

Score hair cream advert: CSP context

The Score hair cream advert is an historical artefact from 1967. It should be examined by considering its historical, social and cultural contexts, particularly as it relates to gender roles, sexuality and the historical context of advertising techniques.

Context: 1967 can be seen as a period of change in the UK with legislation on (and changing attitudes to) the role of women – and men – in society. Produced in the year of decriminalisation of homosexuality and three years before the 1970 Equal Pay Act, the representation of gender could be read as signalling more anxiety than might first appear. The reference to colonialist values can also be linked to social and cultural contexts of the ending of Empire.

Blog task: Score advert and wider reading

Complete the following tasks and wider reading on the Score hair cream advert and masculinity in advertising.

Score hair cream advert

Answer the following questions to ensure you have a comprehensive textual analysis of the Score hair cream advert:

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

It was created in 1967, just as the feminist movement picking up steam. This may mean why hyper-masculinity was becoming more prominent, to counter the feminist movement. 

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

The man has army clothing on, which could show his strength. The placement of models is also beneath the man, which shows that the man is "above" the women, which shows that they are superior and therefore shows male dominance.

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 suggests to the audience that women are things to "get" and be sought after, which reflects the context of 1967 as women were seen as people to get and marry rather than independent.

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"?

It is significant because if it is made by men, then the ad suggests that it if it was made by women, it would be inferior and not get the job done properly. It suggests women are incompetent. "Masculine scent" also suggests that having a "feminine"

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

Women are carrying the man around, which suggests that they worship him in a way and want to have sex with him.

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

Masculinity in advertising suggested that men were superior, which is what is suggested in the ad as women are placed below the man and are carrying him around.

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

It has changed, there is no blatantly sexist ads like this anymore, but there is still elements of sexism in advertising.


The Drum: This Boy Can article

Read this article from The Drum magazine on gender and the new masculinity. If the Drum website is blocked, you can find the text of the article here. Think about how the issues raised in this article link to our Score hair cream advert CSP and then answer the following questions:

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

Because of the complete focus on the empowerment of women, we are not well-equipped to tackle issues affecting boys.

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?

They wanted to relieve the pressure of old paradigms while also re-defining what it means to be a successful man in modern times.

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

I.e paint a world where boys like pink, don't like going out and aren't career ambitious. Eliminate stereotypes.

4) How have changes in family and society altered how brands are targeting their products?
Men ae predominantly handling the household budget now, so advertising has within FMCG has changed to target men. 

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?

You have to set up a starting point to which you can then deliver a message.


Campaign: Why brands need to change

Read this Campaign article on Why brands need to change their approach to marketing masculinity. If the Campaign website is blocked, you can find the text of the article here. Think about how the article relates to our work on gender and advertising then answer the following questions:

1) What are two ways advertising traditionally presented masculinity?

"Either a glamorous
James Bond-style masculinity that attracted ‘the ladies’, or a buffoon-style masculinity that was
firmly under the wifely thumb."
2) What are the two reasons the writer Joseph Gelfer suggests for why this needs to change?
"The altruistic reason is that traditional masculinity causes problems, whether it be its
impact on men’s wellbeing or on women and their equal representation in society. All brands need
to do their part in making the world a better place, so looking at masculinity can really be seen as
part of corporate social responsibility efforts. The self-serving reason is that masculinity is constantly
shifting and brands need an equally agile response in order to engage with consumers and remain
relevant and competitive.

3) What are the five stages of masculinity?
Stage 1 is defined as "unconscious masculinity", which means that traditional masculinity has been
adopted by someone without them even thinking about it. People at Stage 1 are living their lives
according to what they perceive to be "common sense" or "intuition" and do not actively address
masculinity, perhaps because they are too busy surviving, or just don’t have the required critical
thinking skills.

Stage 2 is defined as "conscious masculinity", which means that traditional masculinity has been
consciously adopted by someone. People at Stage 2 look to various "proofs" of masculinity, such as
historical evidence, biological determinism or even holy books.
Stage 3 is defined as "critical masculinities" and is largely aligned with feminist thought. People at
Stage 3 are aware that society is often patriarchal and homophobic and want to counter these
problems. They also tend to believe that masculinity is not biologically determined, rather socially
constructed.
Stage 4 is defined as "multiple masculinities" and suggests that masculinity can mean anything to
anyone. People at Stage 4 share many of the concerns of those at Stage 3, but they are less
burdened by guilt from the problems caused by masculinity, and focus more on the freedom to be
who they want to be.
Stage 5 is defined as "beyond masculinities" and proposes the simple truth that masculinity does not
exist. People at Stage 5 understand how masculinity operates at the other stages, but ultimately
believe it to be an illusion that society has created to keep people in line.

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.

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

Stage 2.

6) Why are the stages of masculinity important for companies and advertisers when targeting an audience?

The Five Stages of Masculinity offers a more granular way of thinking about men as both individuals
and consumers. Masculinity is complex and continually evolving and we must have thinking tools
that reflect this complexity. We also need to stay humble and remember what is actually driving
change in this domain. In other words, advertising does not change masculinity; masculinity changes
advertising.

• What is the product being sold?

Hair cream 

How does this advert create desire for the product?

What is the idea being sold?

How does Score construct a narrative which appeals to its target audience?

How is this reinforced through Mise en Scene?

• Can you use semiotics to argue this?

How and why audience responses to the narrative of this advert may have changed over time?