David Gauntlett: Media, Gender and Identity
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 idea of 'role models', masculinity in (possible) crisis, 'girl power', popular feminism, diversity of sexualities, gender trouble, media power, contradictions and change. The example "masculinity in (possible) crisis, links to the maybelline 'That boss life' as it shows that masculinity is getting mocked and altered due to Manny demonstrating his non-binary views and language in the advert.
2) How does Gauntlett suggest the media influences the way we construct our own identities?
Identity is becoming more fluid and transformable than ever before. 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.
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 quote "there are generational differences, This links to the Maybelline 'That boss life' since old people would be very sensitive to the message the Maybelline advert is communicating. However, young teenagers will be influenced as it is a common thing now. Maybelline targets young audience as they are distributed on youtube; young teenagers are familiar with digital influences than the older generation.
Gauntlett discusses that we expect role models to have an impact on individuals. Manny and shayla would be good examples of the role models Gauntlett discusses since Manny is very open with is sexuality which may influence young audience to represent their true identity.
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?
The Score hair cream advert provides such a good example of traditional masculinity as in the advert you can clearly see the man is more superior and dominant over the women. This was traditional in 1960 where women are were used and described as kitchen wives whereas the man was controlling and authoritative over everything. Men are said to be anxious and confused about what their role is today.
6) Gauntlett consistently argues that masculinity is not in crisis. Can the Maybelline 'That Boss Life' advert be used as evidence of this?
Maybelline 'That Boss life' advert mainly focuses on Manny who is a male digital influence. He believes that he is not masculine nor feminine therefore states himself as non-binary. This shows that masculinity is not in crisis as it is not criticised. The bellboy in the advert shifts from masculinity to feminine, this suggests that masculinity is not fixated and it is more likely evolving.
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.
Masculinity till this day is being objectified.One could argue, that it still does reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses, as certain adverts are purposely shown the ideal man of being extra strong, which indicates how adverts are looking for a certain image of man, who have a lot of muscles and conventionally rugged.
On the other hand, it could be argue that adverts do not, reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses, as shown by the Maybelline advert, which the protagonist is a man, who trying on makeup, which reinforces how masculinity is not in crisis.
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?
Gauntlett believes magazines are promoting for young women to be who they want to be and to be as sexy as possible. This is shown through many examples as many media types in this era have featured lead female characters who are very intelligent and strong in many different ways. Similarly female talents in the music scene talk about and promote independence as times are changing.
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?
10) How do the two advertising CSPs show the changing 'diversity of sexualities' that Gauntlett suggests?L
Lesbian, gay, bisexual and transgendered people are still under-represented in much of the mainstream media, but things are slowly changing. In particular, television is offering prime-time audiences the chance to 'get to know' nice lesbian and gay characters in soap operas, drama series and sit-coms (see chapter four). Tolerance of sexual diversity is slowly growing in society (chapter one), and by bringing into people's homes images of sexual identities which they might not be familiar with, the media can play a role in making the
population more - or less - comfortable with
these ways of living.
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."-
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...")
Maybelline has done that by having a gay influencer in their very own advert and be their first male brand ambassador. This creating a new identity.
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?
Gaunlett says that contradictory elements are an inevitable by product of the drive for multiple points of excitement. These contradictions are important because the multiple messages contribute to the perception of an open realm of possibilities.
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 striking difference between the two advertisements is that ‘Score’ is celebrating everything believed to be great about a patriarchal society, while Maybelline is applauding the breakdown of hyper-masculine culture. The Score advert reflects the old, traditional values and ideologies that are currently being deconstructed by advertisements such as the Boss Life beauty campaign, which indicates how society has evolved over the years. David Gauntlett, believes that, Views of gender and sexuality, masculinity and femininity, identity and self hood, are all in slow but steady processes of change and transformation.
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