Search results for sex in advertising

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Columbia Pictures/Sony Pictures Animation

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The Smurfs, originating as they did in mid-century Europe, exhibit the quaint sexism in which boys or men are generic people – with their unique qualities and abilities – while girls and women are primarily identified by their femininity. The sequel doesn’t upend the premise of Smurfette.

In the original graphic novels, Smurfette (or La Schtroumpfette in French) was the creation of the evil Gargamel, who made her to sow chaos among the all-male Smurf society. His recipe for femininity included coquetry, crocodile tears, lies, gluttony, pride, envy, sentimentality, and cunning.

In the Smurfs 2, there are a lot of Smurfs. And they all have names based on their unique qualities. According to the cast list, the male ones are Papa, Grouchy, Clumsy, Vanity, Narrator, Brainy, Handy, Gutsy, Hefty, Panicky, Farmer, Greedy, Party Planner, Jokey, Smooth, Baker, Passive-Aggressive, Clueless, Social, and Crazy. And the female one is Smurfette–because being female is enough for her. There is no boy Smurf whose identifying quality is his gender, of course, because that would seem hopelessly limited and boring as a character.

Here are the Smurf characters McDonald’s is using for their Happy Meals:

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When you buy a Happy Meal at McDonald’s, the cashier asks if it’s for a boy or a girl. In my experience, which is admittedly limited to my daughters, girls get Smurfette. I guess boys get any of the others.

The Way It’s Never Been

Identifying male characters by their non-gender qualities and females by their femininity is just one part of the broader pattern of gender differentiation, or what you might call gendering.

There are two common misconceptions about gendering children. One is that it has always been this way – with boys and girls so different naturally that all products and parenting practices have always differentiated them. This is easily disproved in the history of clothing, which shows that American parents mostly dressed their boys and girls the same a century ago. In fact, boys and girls were often indistinguishable, as evident in this 1905 Ladies’ Home Journal contest in which readers were asked to guess the sex of the babies (no one got them all right):

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Source: Jo Paoletti, Pink and Blue: Telling the Boys from the Girls in America

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The other common perception is that our culture is actually eliminating gender distinctions, as feminism tears down the natural differences that make gender work. In the anti-feminist dystopian mind, this amounts to feminizing boys and men. This perspective gained momentum during the three decades after 1960, when women entered previously male-dominated occupations in large numbers (a movement that has largely stalled).

However, despite some barrier-crossing, we do more to gender-differentiate now than we did during the heyday of the 1970s unisex fashion craze (the subject of Jo Paoletti’s forthcoming book, Sex and Unisex). On her Tumblr, Paoletti has a great collection of unisex advertising, such as this 1975 Garanimals clothing ad, which would be unthinkable for a major clothier today:

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And these clothing catalog images from 1972 (left) and 1974 (right):

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Today, the genders are not so easily interchangeable. Quick check: Google image search for “girls clothes” (left) vs. “boys clothes” (right):

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Today, a blockbuster children’s movie can invoke 50-year-old gender stereotypes with little fear of a powerful feminist backlash. In fact, even the words “sexism” and “sexist,” which rose to prominence in the 1970s and peaked in the 1990s, have once again become less common than, say, the word “bacon”:

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And the gender differentiation of childhood is perhaps stronger than it has ever been. Not all differences are bad, of course. But what Katha Pollitt called “the Smurfette principle” — in which “boys are the norm, girls the variation” — is not a difference between equals.

Cross-posted at The Atlantic and Family Inequality

Philip N. Cohen is a professor of sociology at the University of Maryland, College Park, and writes the blog Family Inequality. You can follow him on Twitter or Facebook.

Cross-posted at Sociology Lens.

A number of researchers suggest that the marketing and advertising of Gardasil has been aimed at girls and women instead of boys and men. In this post I discuss two contradictory messages aimed at women through these advertisements.

The first type of ad focused around the protection of young girls. The makers of Gardasil imply that being a good parent means vaccinating your daughter and therefore protecting her from cervical cancer (an observation also made here at Sociological Images). For example, one advertisement read, “How do you help your daughter become one less life affected by cervical cancer?” Another advertisement had a similar sentiment, stating “Your daughter can’t possibly know the importance of the cervical cancer vaccine, but thankfully, she has her mother” (source).

This narrative of protectionism is not surprising. In other contexts, like sex education debates, the discourse about adolescent sexuality, and in particular, girls’ sexuality, reveals a desire to protect their “innocence.”

The other type of ad moves away from the narrative of protectionism and focuses on empowerment and choice. One ad stated, “I chose to get vaccinated after my doctor to me the facts” (source). Another ad read, “I chose to get vaccinated because my dreams don’t include cervical cancer” (source).

Instead of focusing on the ways in which girls and women can be protected, the ads suggest that girls and women need to protect themselves. It seems like the advertising department at Merck (the makers of Gardasil) recognize that they needed another strategy if they wanted to appeal to young women who feel empowered about their sex lives.

These two strategies are opposed to one another. One strategy suggests that girls and women need to be protected, while the other strategy relies on the ability of girls and women to be active and educated decision makers. Merck is tapping into two gendered narratives in order to sell to as many people as possible. This is, of course, the way that advertising works. But it does reveal the different, and sometimes contradictory, cultural ideas about women’s sexuality, ideas that advertisers will draw on in order to make a profit.

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Cheryl Llewellyn is a Ph.D. candidate in sociology at Stony Brook University.  She writes for Sociology Lens, where you can read her post about the feminization of the Gardasil.

This is the first part in a series about how girls and women can navigate a culture that treats them like sex objects. Cross-posted at Ms.,  BroadBlogs, and Caroline Heldman’s Blog.

Around since the 1970s and associated with curmudgeonly second-wave feminists, the phrase “sexual objectification” can inspire eye-rolling. The phenomenon, however, is more rampant than ever in popular culture.  Today women’s sexual objectification is celebrated as a form of female empowerment.  This has enabled a new era of sexual objectification, characterized by greater exposure to advertising in general, and increased sexual explicitness in advertisingmagazinestelevision showsmoviesvideo gamesmusic videostelevision news, and “reality” television.

What is sexual objectification?  If objectification is the process of representing or treating a person like an object (a non-thinking thing that can be used however one likes), then sexual objectification is the process of representing or treating a person like a sex object, one that serves another’s sexual pleasure.

How do we know sexual objectification when we see it?  Building on the work of Nussbaum and Langton, I’ve devised the Sex Object Test (SOT) to measure the presence of sexual objectification in images.  I proprose that sexual objectification is present if the answer to any of the following seven questions is “yes.”

1) Does the image show only part(s) of a sexualized person’s body?
Headless women, for example, make it easy to see her as only a body by erasing the individuality communicated through faces, eyes, and eye contact:
We get the same effect when we show women from behind, with an added layer of sexual violability. American Apparel seems to be a particular fan of this approach:

2) Does the image present a sexualized person as a stand-in for an object?

The breasts of the woman in this beer ad, for example, are conflated with the cans:

Likewise, the woman in this fashion spread in Details in which a woman becomes a table upon which things are perched. She is reduced to an inanimate object, a useful tool for the assumed heterosexual male viewer:
Or sometimes objects themselves are made to look like women, like this series of sinks and urinals shaped like women’s bodies and mouths and these everyday items, like pencil sharpeners.

3) Does the image show a sexualized person as interchangeable? 
Interchangeability is a common advertising theme that reinforces the idea that women, like objects, are fungible. And like objects, “more is better,” a market sentiment that erases the worth of individual women. The image below advertising Mercedes-Benz presents just part of a woman’s body (breasts) as interchangeable and additive:

This image of a set of Victoria’s Secret models, borrowed from a previous SocImages post, has a similar effect. Their hair and skin color varies slightly, but they are also presented as all of a kind:

4) Does the image affirm the idea of violating the bodily integrity of a sexualized person that can’t consent?

This ad, for example, shows an incapacitated woman in a sexualized positionwith a male protagonist holding her on a leash. It glamorizes the possibility that he has attacked and subdued her:

5) Does the image suggest that sexual availability is the defining characteristic of the person? 

This ad, with the copy “now open,” sends the message that this woman is for sex.  If she is open for business, then she presumably can be had by anyone.

6) Does the image show a sexualized person as a commodity (something that can be bought and sold)?

By definition, objects can be bought and sold, but some images portray women as everyday commodities.  Conflating women with food is a common sub-category.  As an example, Meredith Bean, Ph.D., sent in this photo of a Massive Melons “energy” drink sold in New Zealand:
In the ad below for Red Tape shoes, women are literally for sale:

7) Does the image treat a sexualized person’s body as a canvas?

In the two images below, women’s bodies are presented as a particular type of object: a canvas that is marked up or drawn upon.

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The damage caused by widespread female objectification in popular culture is not just theoretical.  We now have over ten years of research showing that living in an objectifying society is highly toxic for girls and women, as is described in Part 2 of this series.

Caroline Heldman is a professor of politics at Occidental College. You can follow her at her blog and on Twitter and Facebook.

In addition to selling stuff, advertising tell us something about what “normal” relationships between people look like, such as the case below, submitted by Kyra M.

What’s it saying? When a woman’s upset, you can fix it with flowers.

In equating “she’s upset” with “get her flowers,” we’re discouraged from considering whether she might have a good reason to be upset.

Women have long been considered irrational creatures (it’s one of the justifications for denying them the vote — they didn’t have sufficient reason to make good choices in government) — much like children. When a child’s upset, you don’t reason with them, or think about whether you need to change your behaviour, you assume it’s because the child is immature. This ad encourages us to treat women the same way, as if they’ve just had their feelings hurt and a little consideration and then everything will be fine.  This undermines women’s status in a variety of contexts, communicating that women’s complaints do not need to be taken seriously. This kind of attitude makes women less able to structure their social environments to meet their needs.

More, this trope suggest that whatever a woman’s concerns are, she’ll abandon those positions and principles if you spend enough money. This construes women as corruptible — another construction justifying the lack of women in positions of authority. After all, would you want someone’s who’s irrational, materialistic, and corruptible running your company? Or your government?

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Anastasia Kulpa teaches Sociology at Grant MacEwan University in Edmonton, Alberta, Canada. Her research interests include the sociology of post-secondary classrooms, and cultural vehicles for transmitting ideology (class, music, television, etc.).

Course Guide for
SEXUALITY AND SOCIETY
(last updated 01/2012)


Developed by Amanda M. Jungels
Georgia State University

 

Integrating/Interrogating Biological and Social Views of Sexuality

Challenging Evolutionary Perspectives on Sex/Sexuality

Social Construction of (Biological) Sex


Social Construction: Changing Views on Sexuality

 

Sexuality and Social Categories

Social Construction of Gender

Transgender/Third Gender/Gender Queer

Social Construction of Sexual Orientation

 

Learning about Sex/Sex Education           

Sex Education

Abstinence vs. Comprehensive Sex Ed

Sexual Practices

 

The Sexual Body

The Female Body

Menstruation

 

Presenting the Female Body as Unclean: Removing Body Hair

 

Presenting the Female Body as Unclean: Douching

Bodily Modification and Female Genital Cutting

 

Social Construction of the Male Body/Male Sexuality

Presenting the Penis as a Dangerous Weapon

 

Representing Sex

Sexualization of Children’s Products

Sex in the Media

Ejaculation and Phallic Imagery

Sex and Violence

Objectification

Infantilization of Women

Forced/Coerced Sex

Sexual Script

Rape Culture

Use of Alcohol as a Tool for Coercive Sex

Sexual Assault Prevention Campaigns

 

Commercial Sex

Pornography

Contemporary Views on Prostitution

Historical Perspectives on Prostitution

Sex Trafficking

Other Forms of Sex Work

Social Control of Sex Work

 

Reproduction/Abortion

Reproduction

Abortion

 

Sterilization

 

Contemporary GLBT Issues

Gay Rights Movement

GLBT Parenting

Same-Sex Marriage

GLBT-Related Legislation

I don’t know if “subliminal” is a real thing or just a layperson idea, but when I talk about media in Introduction to Sociology I show some images to show just how carefully advertisers are steeping their material in raw sex. I start with the image below.

I ask: Notice anything interesting about this image? Even in very large classes it usually takes a long time for anyone to see…

…that the shadow of the liquor bottle is pointing directly between her nearly bare breasts.

Here are some more:

This is a picture of an ad at the Burbank airport.  Notice the profoundly phallic shape of the foaming surf that happens to be pointing directly at the woman’s crotch.  The foam mimicks the crown printed at the top of the Budweiser bottle (in the upper left hand of the image in red).

And where is the rocket going?

This ejaculating bottle is in an ad for clothing in a magazine aimed at gay men:

What image accompanies the word “come”?

That’s Salma Hayak and Campari… or should I say Salma Hayak’s boobs and an ejaculation fantasy.

I love this one. Just underneath the banner you see two nuts, a thick pour and, let’s face it, a chocolate vaginal opening.

A vintage ad for Bright and Clear lipstick (found here):

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Finally, Chappell E. sent in this Brookstone cover featuring a woman an an, errrr… automatic wine bottle opener:

See also our posts on ejaculation imagery, booby products, “boobs” in ads, other subtle and not-so-subtle sexual imagery used in advertising, and using sex to sell the most unlikely things.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Every once in a while we here at SocImages pick a fight and a couple of years ago we sunk our teeth into satire and didn’t let go. Satirical humor is often used to expose prejudice and bigotry and it can be damn effective, as many viewers of The Colbert Report will testify.  But it’s also a risky strategy.  It makes fun of by doing; so, for example, it exposes racism by being extremely, over-the-top, no-one-will-ever-believe-we’re-serious racist. Except for… someone might think you’re being serious.  In fact, a significant proportion of political conservatives viewing The Colbert Report believe that he is conservative like them. They recognize that he’s trying to be funny, but they don’t think he’s joking.

In our effort to think more critically about satire, we covered Amy Sedaris’ hipster racism, Ellen DeGeneres’ CoverGirl commerciala New Yorker cover depicting Obama as a Muslim, covers of the National Review featuring Bill Clinton and Sonia Sotomayor, and board games.  We also featured Jay Smooth’s commentary on Asher Roth using the phrase “nappy headed hos.”

Now Anita Sarkeesian, of Feminist Frequency, offers another illustration of how satire doesn’t always work the way progressives would like it to.  She takes on TV commercials, arguing that ironic racism and sexism is still racism and sexism. Ironic advertising, she argues, allows marketers to “…use all the racist, sexist, misogynist imagery they want, and simultaneously distance themselves from it with a little wink and a nod.”  You be the judge:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Mandi B. sent in this straightforward example of the way that women are positioned as commodities in advertising.  The email ad for Spirit Airlines reads “Trade Up for a Better Flight Awards Card” and illustrates that trade with a new car, a younger look, and a lady in red.  What does the lady have to do with it? Absolutely nothing. But it works because we’re accustomed to thinking of sexy women as prizes for men’s success.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.