Advertising: Score hair cream CSP

Media Factsheet - Score hair cream

1) How did advertising techniques change in the 1960s and how does the Score advert reflect this change?

This shifted from traditional adverts towards creative campaigns. Advertisers began prioritising photography, humour and irony, influenced by television and poster culture, rather than relying solely on copy or expert authority.

2) What representations of women were found in post-war British advertising campaigns?

It represented women through traditional gender stereotypes, reinforcing a patriarchal ideology. Women were often portrayed as domestic housewives, responsible for cooking, cleaning and supporting their husbands, reflecting the clear division of labour between men and women.

3) Conduct your own semiotic analysis of the Score hair cream advert: What are the connotations of the mise-en-scene in the image? You may wish to link this to relevant contexts too.

The setting connotes adventure, danger and conquest, positioning the male figure as a powerful explorer or hunter. Props such as the gun and throne signify dominance, authority and control, reinforcing the man’s status as the central “hero”, but carries double meaning as it could symbolise a penis. The women’s revealing costumes signify sexual availability and function as visual markers of objectification, appealing to the male gaze. 

4) What does the factsheet suggest in terms of a narrative analysis of the Score hair cream advert?

constructs a simple narrative structure that aligns with Propp’s character theory, positioning the male figure as the hero. The visual narrative implies he is a powerful hunter or leader whose reward is the admiration and availability of multiple women. This narrative appeals to the target audience of young men by reinforcing hegemonic masculinity and male dominance. The women act as passive characters who validate the hero’s success, which reflects the patriarchal ideology embedded within the advert’s representation of gender.

5) How might an audience have responded to the advert in 1967? What about in the 2020s?

In 1967, a male audience may have produced a dominant reading, interpreting the advert as humorous or aspirational, while accepting the patriarchal gender roles as socially normal. Female audiences may have adopted a negotiated or oppositional reading, recognising the sexist representations but understanding them within the context of the time. However, in the 2020s are more likely to adopt an oppositional reading, criticising the advert for its overt sexism and objectification of women. This demonstrates how audience interpretations change depending on social and cultural context.

6) How does the Score hair cream advert use persuasive techniques (e.g. anchorage text, slogan, product information) to sell the product to an audience?

The brand name “Score” acts as anchorage, carrying connotations of sexual success and male achievement. The visual composition associates the product with power, attractiveness and dominance, creating an aspirational lifestyle for the consumer. Limited copy and product information reinforces the bold visual narrative, while the brand identity constructs a masculine brand personality aimed at young male consumers. These techniques work together to create a clear brand message linking grooming with masculinity and sexual success.

7) How might you apply feminist theory to the Score hair cream advert - such as van Zoonen, bell hooks or Judith Butler?

It reflects the patriarchal values of the 1960s by depicting women as passive sexual objects. bell hooks’ intersectional theory could critique the advert for reinforcing a “white supremacist capitalist patriarchy”,. Meanwhile, Judith Butler’s theory of gender performatative suggesting that both the man and the women are performing socially constructed gender roles, reinforcing the binary stereotypes of masculine dominance and feminine submission.

8) How could David Gauntlett's theory regarding gender identity be applied to the Score hair cream advert?

Gauntlett argues that media representations help audiences construct their own identities. The Score advert presents the male figure as confident, dominant and sexually successful. Male audiences may use these representations as symbolic resources when shaping their own gender identities. However, this also reinforces narrow expectations of masculinity based on power and sexual conquest, limiting alternative representations of male identity.

9) What representation of sexuality can be found in the advert and why might this link to the 1967 decriminalisation of homosexuality (historical and cultural context)?

The advert constructs an exaggerated display of heterosexual masculinity, with the male figure surrounded by sexually available women. This hyper heterosexual representation may reflect cultural anxieties around masculinity, particularly in the context of the 1967 partial decriminalisation of homosexuality in Britain. By emphasising dominance, strength and heterosexual desire, the advert reassures male audiences of their “real man” identity, reinforcing traditional gender norms during a period of social change

10) How does the advert reflect Britain's colonial past - another important historical and cultural context?

The jungle setting and imagery can be interpreted through postcolonial theory, particularly the ideas of cultural dominance. The white male figure is represented as a heroic hunter or leader in an exotic environment, reflecting colonial narratives where Western men conquer and control foreign landscapes. This reinforces the ideology of Western superiority and imperial power, suggesting that despite the decline of the British Empire, colonial values continued to be reproduced through media representations

Wider reading

The Drum: This Boy Can article

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

It is seen contemporary society has focused heavily on female empowerment, while issues affecting men are less openly discussed.

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

Shifted from the idea that men were portrayed as becoming irresistible to women through the “Lynx effect”. Instead, the “Find Your Magic” campaign repositions masculinity as diverse and individual, encouraging men to embrace different identities rather than conform to stereotypical ideals.

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

Brockway argues that advertisers should challenge traditional gender stereotypes by presenting alternative representations of masculinity. 

4) How have changes in family and society altered how brands are targeting their products?

Changing family structures and gender roles have altered how brands approach audience targeting and market segmentation. However, research now shows that men increasingly participate in activities such as supermarket shopping and managing household finances, meaning brands must reconsider outdated demographic assumptions.

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?

 This strategy helps audiences renegotiate their understanding of gender identity without immediately rejecting the message. In media terms, it allows producers to slowly shift the dominant discourse around masculinity, encouraging audiences to reconsider established gender norms while maintaining engagement with the brand.