Read this extract from Media, Gender and Identity by David Gauntlett. This is another university-level piece of academic writing so it will be challenging - but there are some fascinating ideas here regarding the changing representation of men and women in the media. If you can't access David Gauntlett's website, the text is also available here.
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?
the typical role/representation of women has changed a lot in the last 50 years, as the media has focused on 'girl power', moving away from the traditional idea that women are just meant to be the housewives. Meanwhile the masculine ideals of absolute toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on men's emotions, need for advice, and the problems of masculinity. Although gender categories have not been shattered, these alternative ideas and images have at least created space for a greater diversity of identities.
2) How does Gauntlett suggest the media influences the way we construct our own identities?
Popular media fosters the desire to create new modes of life - within the context of
capitalism. Whether one is happy with capitalism, or seeks its demise, it must surely be considered
good if modern media is encouraging the overthrow of traditions which kept people within limiting
compartments.
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?
The two CSPs reflect generational differences as they both depict masculinity and what it means to be a man/typical male attributes in two very different ways. the score hair cream advert represents men as the dominant sex which can be seen through the image of weaponry as he is holding a gun in his hand whilst being surrounded by women who are looking and reaching up to him, ultimately showing that he is in a higher position, physically and contextually. this is in contrast to the maybelline advert where they portray an unconventional representation of men by using social influencer MannyMua - an openly gay man who expresses his interest in beauty. this acknowledges gender fluidity, steering away from the traditional view that mens masculinity is defined by strength or power.
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 opinion leaders meaning they make their own personal decisions and dont let others dictate what they do, which sets a good example for their audiences as they are often inspired to be like them as they are considered as role models. More of a representation of minority groups in the media has been seen in the past couple of years compared to times of a more traditional society - this agrees with Gauntlett's idea that identity is becoming more fluid and how more and more people are beginning to look up to people who are inclined to being their self.
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 is a good example of traditional masculinity as it was created during a time period where traditional views were widely spread in society and the score hair cream advert in particular portrays this as it shows how men were expected to be the dominant sex who hold majority of power and were the breadwinners, while women were there to sexually appeal to the man and satisfy there needs and desires by being a good housewife.
6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?
it can, as although it doesnt portray the traditional views of masculinity, it doesnt try to force viewers to completely change their views, and instead acknowledges and embraces the fact that masculinity doesnt come in one fixed form and recognises that gender fluidity is increasing and is not a negative thing in society.
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 portray this conventional representation of men, such as in perfume adverts, where men are often seen to be muscly, strong macho men who match the traditional ideas that were frequently seen around 50 years ago. on the other hand, although this is still often shown in advertising, new media is beginning to drift from this idea and acknowledging other genders and representing unconventional representations of men, such as big beauty companies like cover girl and maybelline who are using social influencers in their adverts, including the likes of MannyMua and James Charles, shedding a positive light on them that advertisments typcially wouldnt of done in the past.
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?
Twenty or thirty years ago, analysis of popular media often told researchers that mainstream culture was a backwards-looking force, resistant to social change and trying to push people back into traditional categories. Today, it seems more appropriate to emphasise that, within limits, the mass media is a force for change. The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of the picture by the feisty, successful 'girl power' icons. Meanwhile the masculine ideals of absolute toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on men's emotions, need for advice, and the problems of masculinity. Although gender categories have not been shattered, these alternative ideas and images have at least created space for a greater diversity of identities. Modern media has little time or respect for tradition. The whole idea of traditions comes to seem quite strange.
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?
I strongly agree with Gauntlett's argument where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes as these things are beginning to shape our new generation, helping to make younger generations feel more confident as individuals. The Maybelline 'That Boss Life' advertisement reinforces this idea through the use of MannyMua who although is gay and a male who wears makeup and still has a large fan base as well as being widely influential to his viewers which is evident as he has a large following who constantly show their support and admiration.
10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?
the Maybelline advert shows the changing 'diversity of sexualities' that Gauntlett suggests because it illustrates Manny as someone who goes against traditional male gender roles due to him being a gay male. In contrast, the Score hair cream was an advert from 1967 and in that time period the media reinforced traditional gender roles.
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)?
'Some advertising - such as the sexually charged but androgynous imagery promoting the CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deodorant and Kronenbourglager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities'
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...")
The Maybelline advert can be linked with Judith Butlers idea of gender being replaced with multiple forms of identity because in this advert we have Manny Gutierrez, a male who is gay and applies make up. This highlights how there can be a different construct of masculinity. These have created liminal spaces between the traditional gender constructs. Instead of the traditional roles of male and females in gender, Gutierrez' representation is a new form of gender is a new 'performance' that represents a large demographic that is otherwise alienated in mass advertising
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?)
The Maybelline 'that Boss Life' advert supports the argument that power has been shifted from media institutions to audiences as brands are starting to use influencers with large followings as their brand ambassadors, showing that audiences have more power than they used to.
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?
The mass media like magazines give a wide range of views from all types of individuals in the modern day. But these stars or role models tell us to 'be yourself', while the advertising is giving us a view of what we should aspire to be like.
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?
Brands who target an older audience tend to stick to traditional ways of advertising, by using celebrities (such as actors/actresses) because they think it's what their audience want. They're less likely to follow trends, especially those set by younger people. Brands that target a younger audience aren't afraid of doing that, because they know they're audience are going to appreciate it.
