Advertising: The representations of women in advertising

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

Read the extracts 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?

Since the mid 1990s, Mistry argues that advertising has become more progressive in its representation of gender, with a noticeable shift towards depicting ambiguous gender identities and sexual orientations. These depictions challenge traditional gender role stereotypes and the dominant heterosexual norm. Increasingly, adverts portray homosexual themes, moving away from the previous camp, comic portrayals of gay individuals that were typical in mainstream media. This change aims to be more inclusive and to undermine conventional representations of gender.

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

In the 1940s and 1950s, female stereotypes in advertising were dominated by the image of the passive, domestic woman. Post World War 2, there was a return to traditional gender roles, with women depicted as primarily responsible for domestic duties such as housework and child-rearing. Betty Friedan's concept of the "feminine mystique" reflected this, where women were shown as fulfilled only through their roles as wives and mothers. Advertisements capitalised on this by reinforcing women's roles as consumers of household goods and beauty products, often portraying them as decorative objects designed to please men.

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

The growing influence of clothes and make up in advertising during the post war period reinforced the commodification of women. Ads increasingly depicted women as ornamental, with a focus on their physical appearance. Women were portrayed as decorative objects, especially in perfume advertisements, where the 'fair maiden' image was common. The portrayal of women in these ads often presented them as passive, waiting to be "awakened" by a man, thus reinforcing their role as objects for male sexual pleasure. This focus on appearance over substance objectified women, reducing their value to their ability to attract and serve men.

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 developed by feminist theorist Mulvey in her 1975 essay "Visual Pleasure and Narrative Cinema." The 'male gaze' refers to the way in which visual media is structured to cater to a male viewer's pleasure, positioning women as passive objects to be looked at. This concept asserts that in a patriarchal society, men are the active viewers who derive pleasure from looking at women, who, in contrast, are positioned as passive subjects being looked at. In advertising, this manifests in the objectification of women’s bodies for male consumption.

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

In the 1970s, the representation of women in advertising underwent a noticeable shift with the rise of the 'New Woman.' This image was associated with independence, confidence, and assertiveness, reflecting the growing influence of the women's liberation movement. The 'New Woman' was portrayed as active in the workforce, adventurous, and seeking fulfillment outside the domestic sphere. However, Mistry notes that while these images appeared progressive on the surface, they often still reinforced traditional stereotypes in subtle ways, such as portraying women’s achievements as secondary to their appearance and sexual allure

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?

Zoonen argues that although the 'New Woman' of the 1970s and 1980s appeared to challenge traditional gender roles, these representations were only marginally different from earlier sexist portrayals. According to  Zoonen, the 'New Woman' in advertising was often depicted as a confident, working woman, but the underlying message remained rooted in the idea that her work and success were merely a backdrop to her primary role as an object of male desire. For instance, in some ads, the independent woman is shown confidently stepping into an office, but she is never actually depicted working. This suggests that her independence is secondary to her ability to present herself attractively to men, a theme that undermines the feminist ideals these ads purport to promote.

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

Barthel suggests that advertising, even as it began to reflect changing societal attitudes, still fundamentally reinforced male power. She asserts that women can enter male dominated spheres, such as the workplace, without threatening male authority. This is because, even in these "new" representations, women are portrayed as sexually available and their empowerment is conditional upon maintaining their traditional roles as objects of male sexual desire. Women may appear to have achieved success and autonomy, but their sexuality remains central to their appeal, reinforcing male dominance and control.

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

Dyer critiques the 'femme fatale' imagery in advertising, such as those used in  Dior make-up ads, suggesting that these representations falsely equate sexual liberation with aggressive or "unliberated" sexuality. While the 'femme fatale' represents a powerful, confident woman, Dyer argues that this image ultimately serves to reinforce traditional gender roles. The femme fatale may appear sexually empowered, but her sexual allure is still presented as a spectacle for male enjoyment, not as a genuine expression of female autonomy. This suggests that even when advertising seems to portray liberated women, the underlying message is still one of submission to male sexual pleasure.


Media Magazine: Beach Bodies v Real Women (MM54)

Now to Media Magazine: Beach Bodies v Real Women (MM54)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?

Because it featured a slim, tanned female model in a bikini, the advert was criticised for promoting unrealistic body standards and implying that only certain body types were suitable for the beach. Critics argued that the ad shamed women who did not meet this ideal, promoting body insecurity. The campaign was a prime example of a brand using provocative messaging to stir discussion and controversy, which, despite the backlash, resulted in widespread attention for the brand. Some viewed it as a reflection of gendered marketing targeting women’s insecurities, while others believed it was a case of pushing boundaries for publicity.

2) What was the Dove Real Beauty campaign?

It was designed to challenge conventional beauty standards by featuring women of all shapes, sizes, and ages in its advertising. The campaign was celebrated for its inclusive approach and its message that beauty is diverse. Dove’s 2013 "Real Beauty Sketches" further reinforced this by showing how women often underestimate their own beauty, with the campaign going viral and receiving praise for promoting self-esteem and body positivity.

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

 Social media has fundamentally transformed how audiences interact with advertising. It allows consumers to engage directly with brands, sharing their opinions, creating memes, and even starting campaigns to protest ads. This has led to a shift in how campaigns are created and received. Brands now have to be more responsive to public opinion, as social media can amplify both support and criticism. The instant nature of feedback has made campaigns more interactive, and companies are increasingly using social media to engage their audiences in real-time, often through user-generated content.

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

 Zoonen’s feminist theory suggests that the media’s portrayal of women is a reflection of patriarchal values. Applying this to the Protein World campaign, we can see how the ad reflects societal pressures on women to conform to a narrow beauty ideal. On the other hand, Dove’s campaign can be seen as a challenge to these norms, promoting a more inclusive representation of beauty. Hall’s reception theory focuses on how audiences interpret media based on their cultural context and personal experiences. For both campaigns, audiences could interpret the messages in multiple ways, either reinforcing traditional beauty standards (as in Protein World) or challenging them (as in Dove).

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?

Over the past six decades, representations of women in advertising have evolved significantly. In the 1960s and 1970s, women were often depicted in limited roles, usually as homemakers or objects of desire. The 1980s and 1990s saw the rise of "empowered" women in advertisements, but these representations were still often tied to unrealistic beauty standards. In contrast, recent campaigns like Dove's Real Beauty and the criticism of Protein World's ad suggest that there is a growing awareness of body diversity and a push to reflect more authentic, varied images of women. However, the persistence of idealised beauty standards in some campaigns, like Protein World’s, shows that change is still ongoing, and advertising still plays a major role in shaping and reinforcing societal standards.