Advertising: The representations of women in advertising

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

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?

Mistry points out that advertising has become much more aware of gender issues since the mid-1990s. Advertisers have started to reflect a broader range of female experiences, promoting female empowerment and depicting women as more active, independent, and assertive. The focus has shifted from just presenting idealized, stereotypical images to embracing diversity in body types, appearances, and lifestyles.

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

 In the 1940s and 1950s, advertising reinforced traditional ideas about women’s roles. Women were primarily depicted as caretakers, focused on household tasks like cooking, cleaning, and taking care of the children. They were often shown as passive figures whose primary role was to support their husbands and maintain a picture-perfect home.

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

As clothes and makeup became more central in advertising, women were increasingly shown as needing to enhance their beauty to meet societal standards. The focus shifted to physical appearance, and women were often portrayed as using beauty products to feel validated or to fit into an idealized version of femininity. The advertising industry pushed the idea that beauty was essential to a woman’s worth.

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

The concept of the "male gaze" was introduced by theorist Laura Mulvey. It refers to the way media, including advertising, often presents women as objects for male desire and pleasure. Essentially, women are depicted in a way that caters to the male viewer, reducing them to mere objects of visual attraction rather than full, autonomous individuals.

5) How did the representation of women change in the 1970s?

The 1970s saw a shift in how women were represented in advertising, largely influenced by the feminist movement. Women were depicted as more independent, active, and confident, breaking away from the stereotypical roles of being housewives or passive objects. Ads started to show women achieving success in the workplace and taking on roles that were previously dominated by men, demonstrating a societal change in how women were perceived.

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?

Van Zoonen argues that although advertising in the 1970s and 1980s began to show women in more empowered roles, these depictions were still often confined to traditional gender norms. Despite women being shown as more active, they were still frequently objectified and their worth was often tied to their beauty or sexuality, meaning the shift in representation was only marginal when compared to earlier, more overtly sexist ads.

7) What does Barthel suggest regarding advertising and male power?

 Barthel suggests that advertising plays a significant role in reinforcing male power. Ads often portray men as authoritative, strong, and dominant figures, while women are shown in more passive or dependent roles. This reflects and reinforces patriarchal power structures, where men are seen as the primary agents of action, and women are secondary or exist in relation to men’s power.

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

 Richard Dyer points out that the 'femme fatale' image in ads like Christian Dior’s makeup campaigns presents women as sexually alluring, powerful, and dangerous. This portrayal often suggests that women possess a form of power through their sexuality, capturing male attention but also creating a sense of threat. It reflects a complex mix of sexual empowerment and objectification.

Media Magazine: Beach Bodies v Real Women (MM54)

Now go to our Media Magazine archive and read the feature on Protein World's controversial 'Beach Bodies' marketing campaign in 2015. Read the feature and answer the questions below in the same blogpost as the questions above.

1) What was the Protein World 'Beach Bodies' campaign and why was it controversial?

 The Protein World 'Beach Bodies' campaign featured an image of a woman with an unrealistic body with the tagline “Are you beach body ready?” It sparked controversy because many felt it promoted an unrealistic beauty standard, implying that only women with a particular body type were worthy of enjoying the beach. Critics argued it contributed to body shaming and excluded women who didn’t fit that narrow ideal.

2) What was the Dove Real Beauty campaign?

The Dove Real Beauty campaign, launched in 2004, was a major departure from traditional beauty ads. It featured women of various ages, sizes, and ethnicities, challenging the conventional beauty standards seen in most ads. The campaign emphasized body positivity, self-esteem, and the idea that beauty is diverse and comes in many forms, encouraging women to embrace their natural beauty.

3) How has social media changed the way audiences can interact with advertising campaigns? 

Social media has drastically changed how audiences engage with advertising. It provides a space for users to voice their opinions, either supporting or criticizing campaigns. Brands are now more responsive to this feedback, sometimes adjusting their messaging in real-time based on what their audience is saying. This gives consumers more power in shaping the conversation around advertising.

4) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?

 Van Zoonen’s feminist theory suggests that media representations, including ads, often reinforce or challenge traditional gender norms. The Protein World campaign can be seen as reinforcing narrow beauty ideals, while the Dove campaign challenges those ideals by promoting diversity. Stuart Hall’s reception theory emphasizes that audiences interpret media in different ways based on their own cultural backgrounds and experiences. For example, some might see the Protein World campaign as empowering women to strive for fitness, while others might view it as promoting unhealthy beauty standards.

5) Through studying the social and historical context of women in advertising, do you think representations of women in advertising have changed in the last 60 years?

 Yes, there has been a noticeable change in how women are represented in advertising over the last six decades. While earlier ads mostly reinforced traditional gender roles, showing women as housewives or passive objects, today’s ads are more likely to feature women in a range of roles that are active, independent, and diverse. Though progress has been made, some traditional stereotypes still exist, but overall, there has been a shift towards more inclusive and varied representations of women in the media.