Gender, identity and advertising: blog task

Gender, identity and advertising: blog task

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?

Decline of tradition is when newer things are coming into place and old beliefs aren't valued or put into practice anymore. We can see this when we compare the score hair cream ad; which is made for stereotypical, superior men whereas we have the Maybelline ad from the 21st Century featuring agay man promoting makeup.

2) How does Gauntlett suggest the media influences the way we construct our own 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?

Traditional attitudes may be scarce amongst the under-30s, but still thrive in the hearts of some over-65s. The two CSP's show the difference between the beliefs of masculinity and the pressure on men being reduced over the years.

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?

Manny and Shayla are good role models as they are both looked up at especially by teenagers and young adults and them promoting Maybelline's mascara as they are also carrying out a god message and being accepting of the gay society which is a rising trend. 

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 mainly because of the mise-en-scene in the advert. There is one strongly built man with a gun in his hands surrounded by women. 

6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?

Masculinity is not in crisis, it's just that social views are beginning to change and the pressure on men is decreasing as they are starting to be accepted for who they are and now have the freedom to express themselves which is being represented in the Maybelline ad how Manny is openly expressing his gayness.

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.

Some advertisements still stick to the traditional form of representation of men. However loads are starting to get out of that and adapting to changes in the upcoming years as it is okay for men to not be like how they were expected to be a few years back.

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?

Although loads of advertisements are beginning to try represent 'girl power' a lot of sexism and inequality is still present. An example would be when Shayla is playing the side role in the Maybelline ad whilst Manny is the main focus of the advert which could be to show male superiority. 

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?

Younger generations seem to be far more relaxed about gender equality as women are starting to get treated a lot more fairly these days. They are aware of the changes and they are also a lot more carefree about what society thinks as they feel free to do whatever they wish to do. 

10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?

The CSP's show 'diversity of sexualities' as the score hair cream shows a traditional man who is built and surrounded by women whereas the 21st Century Maybelline ad is based around a gay man.

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)?

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...")

Judith Butler suggested, and replaced with multiple forms of identity - not a new range of restrictive categories, but an abundance of modes of self-expression. 

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 Shayler from the Maybelline advert first become famous?)

They became famous through their audiences as they are social media influencers who first began as normal people and gained recognition through their viewers on social media promoting them rather than paid promos and known celebrities etc. 

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?

Although representations of gender roles and sexism is becoming less popular due to change in society, some stereotypes still exist and male superiority still mildly exists although it it beginning to reduce. 

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 two CSP's are in contrast as they both have different representations to suit the time period they were made in. The main difference is male superiority, gender roles, gender fluidity etc.