1. Introduce the overall aim and argument that you are going to make

Gender is fluid and changeable throughout life to ones preferences.

1. Establish your first main critical approach (I would suggest Gender as Performance by Butler, but you could start with feminist critical thinking, or . . . )

Many believe that gender is permanent from birth and unchangeable throughout life. However, Butler believes gender is a “performance” and we have fluidity of our gender identity – that “nobody is a gender from the start”. Put simply, she suggests that gender is fluid, changeable and plural – we have multiple identities we perform to different people in different settings.

1. Develop this approach by using key words, phrases and quotation (Mulvey, Kilbourne, Moi, Wander, Wollstonescraft, Woolf, de Beauvoir, Woolf)

“it turned out to be more about gender categories. For instance, what it means to be a woman does not remain the same from decade to decade. The category of woman can and does change, and we need it to be that way.” Gender does not remain the same throughout history so why does it have to stay the same throughout your life?

“When we are ‘girled’, we are entered into a realm of girldom that has been built up over a long time – a series of conventions, sometimes conflicting, that establish girlness within society.” Historically gender was binary, either you were male or female and there was nothing you could do to change it. This caused a buildup of characteristics that you had to abide by to stay in your gender.”We don’t just choose it. And it is not just imposed on us. ” You didn’t have a choice, you were born as a man or a woman and had to stick to it whether you wanted to or not. What Butler suggests is that not only can this change, it needs to change.

1. Apply your theoretical ideas to either or both of the set CSP’s

Score creates a clear narrative of all of the women almost idolising (for lack of a better word) the man showing their performances of their gender identities through this

1. Show some historical knowledge about societal changes – particularly to the historical context of post-war society ie 1950’s-1970’s see this link)

The Score hair cream advert is an historical artefact from 1967, as such it can be examined productively by considering its historical, social and cultural contexts, particularly as it relates to gender roles, sexuality and the historical context of advertising techniques. 1967 can be seen as a period of slow transformation in western cultures with legislation about and changing attitudes to the role of women – and men – in society, something that the advert can be seen to negotiate.

Similarly, feminist critical thought became much more prominent and pronounced during the counter cultural movements of the late 1960’s and early 1970’s, which heralded, among other changes a greater acceptance of birth control and divorce, abortion and homosexuality.

“However, the Score advert was produced in the year of decriminalisation of homosexuality“

1. Establish a secondary theme or idea that you wish to raise (eg 2nd wave feminism)

Queer Theory, the idea of gender being binary is too simple, not everyone is just a man or a woman. There is a spectrum, and everyone fits in in different places. This affects gender performances as not one person “performs” to be just a man or a woman, whether you know it or not you may consistently express feminine ideals as a man or the other way around – even if its just a small thing. ” For example, look at categories such as lipstick lesbian, butch and femme, girly girl and so on, which illustrate the multiple, plural nature of identity, representation and performance”. Whilst we may fit into categories based on our performances, we no longer fit into the historical binary opposites of man or woman. Transgender people are a great example of this, they may have been once a man and now they’re a woman – a clear example that you no longer have to stick with your biological gender whether you want to identify as something else or change your body to fit your identity. Another great example is non-binary people, they fit into neither gender, showing you don’t even have to be a man or a woman – historically they may have been the only choices but that’s no longer the case. You don’t have to fit into those binary categories anymore.

1. Develop this approach by using key words, phrases and quotation

Judith Butler, among others expressed doubt over the reductionist, essentialist, approach towards the binary oppositions presented in terms of: male/female; feminine/masculine, man/woman. Arguing that this is too simple.

1. Apply your theoretical ideas to either or both of the set CSP’s

Maybelline, MannyMUA and the butler who – whilst they are biologically male – express typically feminine ideals with wearing makeup. Creating a change in gender roles as it shows that makeup is no longer just for women, anyone can wear it. This creates a blur between man and woman, they are no longer binary opposites. Furthermore, the way that Manny acts and speaks is typically feminine compared to

1. Move forward to the present day to show some historical knowledge about societal changes – (ie non-binary world, intersectionality, use of new media etc)

‘In an attempt to understand what it means to be oppressed as ‘a woman’, some feminist scholars sought to isolate gender oppression from other forms of oppression’.

” It is from this that the development and articulation of intersectionality began to take shape.”

“you cannot ‘understand Black women’s experiences of discrimination by thinking separately about sex discrimination and race discrimination’ “

the idea that an approach such as feminism, is NOT UNIVERSAL, SINGULAR or HOMOGENEOUS 

Establish a contradictory argument that shows your ability to think and engage

1. Develop this approach by using key words, phrases and quotation (3rd wave feminism Butler, Levy, Dollimore, hooks, Van Zoonen, Raunch Culture, Queer Theory, Intersectionality etc)
2. Apply your theoretical ideas to either or both of the set CSP’s
3. Summarise your main arguments
4. Ensure you have a summative, final sentence / short paragraph

In this essay I will discuss the idea of gender fluidity and the ability to change your gender
identity throughout your life to your preferences.

Many people believe that gender is permanent and unchangeable from birth, you’re born as either
a man or a woman and that’s who you are forever. However, some people – like Judith Butler –
believe gender is a “perfomance” and that we have control over our gender identity, that “nobody
is a gender from the start”. Put simply, she suggests that gender is fluid and plural – instead
of the binary, two gendered world that we have lived in historically. She believes that we have
multiple identites that we perform to different people in different settings. Butler has said
that “what it means to be a woman does not remain the same from decade to decade”, what she
means by this is that gender does not remain the same throughout history – what it meant to be a
woman in the 1800’s is not the same as it means to be a woman now. Gender changes throughout history,
so why can’t it change throughout your life?

“When we are ‘girled’, we are entered into a realm of girldom that has been built up over
a long time – a series of conventions, sometimes conflicting, that establish girlness within
society.” The history of our binary world has caused a buidlup of characteristics that as a man
or a woman you had to abide by to stay in your gender, “We don’t just choose it. And it is not
just imposed on us.” You didn’t have a choice, you were born a man or a woman and you had to
stick to it whether you wanted to or not. What Butler suggests is that not only can this change,
it is changing.

Score shows the historical binary world that we lived in even in the 60’s, whilst the ad was
created in 1967 – during the rise of second wave feminism, and a greater acceptance of birth control;
divorce; abortion and the decriminalistation of homosexuality – there is a clear narrative in the ad
of heterosexuality, as if the ad is fighting against this social change. In the ad, there are five
women looking up towards a man – suggesting that men are higher up than women socially. Furthermore,
the women are holding the man up on a platform similar to how royalty would be held up – clearly
suggesting that man is royalty and women are peasants compared. Finally, in the ad the man is fully
clothed whereas the women are wearing little – creating a sexual dynamic in the ad which belittles
the women and further shows the mans power in the ad.

Maybelline is the polar opposite of Score. In the Maybelline ad, both the men and the woman are equal – they share
“center-stage” throughout the ad. In addition, towards the end of the ad when they change the scene – both the main
man and woman change into fancy and luxurious gold clothing, further showing their equality in that they both share
the change into the luxurious clothes instead of just the man. Unlike Score aswell, both of the models are fully
dressed, instead of sexualizing the woman and belittling her throughout the ad.

Queer Theory caused many to “express doubt over the reductionist, essentialist, approach towards the binary
oppositions presented in terms of: male/female; feminine/masculine, man/woman.” Not everybody is just a man or a
woman – there is a spectrum of gender ideals and everyone fits in to it in different places. This affects the idea
of gender performances as not one person “performs” to be just a man or a woman, whether intentionally or not
people express ideals of the other gender – even if it is just a small thing like how they sit or how they talk.
The consistent repitition of these stylized acts blur the line between what it is to be a man or a woman and caused
the idea of plurality through gender, thinking of gender as just male and female was too simple. “look at categories
such as lipstick lesbian, butch and femme, girly girl and so on, which illustrate the multiple, plural nature of
identity, representation and performance”. Whilst there may be categories that people can fit into based on their
identity, not everyone fits into the historical binary opposites of man or woman. The changes in our society,
including acceptance of different sexualities and preferences forced us to change our views on gender – transgender
people are a good example of this, they were born as a certain gender and their preference was to change. This is a
clear example that people don’t have to stick to their biological gender anymore as they did in the past if their
preferences don’t fit. Another great example of this is non-binary people, they fit into neither man or woman because
their ideals are different – historically the binary opposites of man or woman were the only choices, but this is no
longer the case. People don’t have to fit into these binary categories anymore.

In the Maybelline ad, both of the male models express typically feminine ideals in the sense that they both have an
interest in the makeup. This creates a change in gender roles as it shows that makeup is no longer just for women but
for anyone and everyone.

Judith Butler describes gender as “an identity instituted through a stylized repetition of acts”. In other words, it is something learnt through repeated performance. How useful is this idea in understanding gender is represented in both the Score and Maybelline advertising campaigns?

Judith Butler presents different ideas about gender, implying that it is “an identity instituted through a stylized repetition of acts”. In this essay I will be stating arguments about this idea and the waves of feminism.

Firstly Judith Butler discusses many ideas involved with gender representation such as gender fluidity and changeability. She states that gender is a “Social Construct” and that our gender identities aren’t established at birth, childhood or adolescence, but are formed through our consistent performances of gendered behaviour. She has stated that historically, gender has been viewed in a binary fashion which is divided into categories based on stereotypes and characteristics that can’t be changed. It basically means that gender is ever changing and never fixed based on society, and how it acts and changes. In the first wave of feminism Barry makes the point that although the women’s movement was not the start of feminism. In other words, the issue of women’s inequality has a history that pre-dates the 1960’s, for example Mary Wollstonecraft, (1792) A Vindication of the Rights of Women. In the 1960s sexism was referred to in a systematic way, like a patriarchal society where men were seen as most dominant and superior to women. For example Michelene Wandor stated that “sexism refers to the systematic ways in which men and women are brought up to view each other antagonistically, on the assumption that the male is always superior to the female”. Which also links to the male gaze, which is the representation of women in video games or any form of media, over sexualising them for the male attention presuming the viewer/player is a straight male. Laura Mulvey focused on the male gaze in films and how women were over sexualised for the visual pleasure for men. This also applies to the score CSP as it reveals much more women and shows more body parts. The advertisements implies that you would appear to have more women with you if they were to use your product.

Third wave feminism is different to the feminism of the 60s and it tries to encourage multiple plural identity’s called intersectionality. Barker and Jane wrote “rebellion of younger women against what was perceived as the prescriptive, pushy and ‘sex negative’ approach of older feminists.” They also said third wave feminism is regarded as having begun in the mid 90’s with characteristics such as the differences among women due to race, ethnicity, class, nationality, religion and fluid and multiple subject positions and identities. This can be seen in the Maybelline advert as the the main person in the advert is gender fluid.

1. Introduce the overall aim and argument that you are going to make
2. Establish your first main critical approach (I would suggest Gender as Performance by Butler, but you could start with feminist critical thinking, or . . . )
3. Develop this approach by using key words, phrases and quotation (Mulvey, Kilbourne, Moi, Wander, Wollstonescraft, Woolf, de Beauvoir, Woolf)
4. Apply your theoretical ideas to either or both of the set CSP’s
5. Show some historical knowledge about societal changes – particularly to the historical context of post-war society ie 1950’s-1970’s see this link)
6. Establish a secondary theme or idea that you wish to raise (eg 2nd wave feminism)
7. Develop this approach by using key words, phrases and quotation
8. Apply your theoretical ideas to either or both of the CSP’s
9. Move forward to the present day to show some historical knowledge about societal changes – (ie non-binary world, intersectionality, use of new media etc)
10. Establish a contradictory argument that shows your ability to think and engage
11. Develop this approach by using key words, phrases and quotation (3rd wave feminism Butler, Levy, Dollimore, hooks, Van Zoonen, Raunch Culture, Queer Theory, Intersectionality etc)
12. Apply your theoretical ideas to either or both of the set CSP’s
13. Apply your theoretical ideas to either or both of the set CSP’s
14. Summarise your main arguments
15. Ensure you have a summative, final sentence / short paragraph

Structure

In many ways Judith Butler counterpoints earlier ideas of gender representation, for example, some of the ideas presented by Laura Mulvey seem to suggest that gender is fixed – male/female – that it is structured by institutions and those powerful individuals who are able to exert power and control for example Weinstein. While still recognising those arguments presented by Mulvey, Jean Kilbourne, Butler suggests that gender is fluid and changeable and can be altered by anyone at any point in time depending on how they see fit.

Putting it another way , it suggests that we can have multiple identities that are presented to different people in different ways whilst under different social settings, and different social conditions. For example, looking at a category such as lipstick lesbian, butch and femme, girly girl and so on, which illustrate the multiple, plural nature of identity, representation and performance with feminist critical thinking. Which can be explored and mapped out into similar studies on male identity and example of this would be the work of Sinfield, Dollimore and others.

The idea of identity performance is explored further in another post: Representation, Identity and Self However, to understand the approach of gender as performative and how to recognise it as a ‘phenomenon that is being reproduced all the time‘, which perhaps suggests that ‘nobody is a gender from the start.’ The question for Butler (and for students of media and cultural studies) is therefore: how can gender get established and policed? Which, of course, is why we look at her ideas in subjects like Media Studies.

However Laura Mulvey developed the theory of the male gaze which refers to the sexual interpretation of women in advertising and media. This links to the theory of ‘Negotiated Identity’. You can link the score advert to this theory by looking at the positioning and female representation in the advert. All of the females that are in the advert are wearing minimal clothing and they are also positioned in a way that suggests they are praising or looking up to the main male character which indicates that their only purpose in the advert is to please the man. This representation also supports the theory that during the 1970’s gender roles were very fixed, as it is hinted at that the women in the advert where told how to act and that they couldn’t express themselves further. Jean Kilbourne also produced a book that looked into the institutional problem in media of women being sexualised in all forms of media. We can also link the score advert to this idea as the females in the advert are advertised in a very specific way the glamorises their femininity which is very similar to the idea that Jean Kilbourne presents in her book ‘Killing us Softly’. They do this by making females in the adverts look flawless and the societal norm of beautiful.

Additionally the Score hair cream advert is an historical artefact from 1967, as such it can be examined productively by considering its historical, social and cultural contexts, particularly as it relates to gender roles, sexuality and the historical context of advertising techniques. When the advert was made in 1967 it was a period of slow transformation in western cultures with legislation about and changing attitudes to the role of women – and men – in society, something that the advert can be seen to negotiate. Similarly, feminist critical thought became much more prominent and pronounced during the counter cultural movements of the late 1960’s and early 1970’s, which heralded, among other changes a greater acceptance of birth control and divorce, abortion and homosexuality. However, the Score advert was produced in the year of decriminalisation of homosexuality and as such, the representation of heterosexuality could be read as signalling more anxiety than might first appear.

However the idea of fluidity of identity is a far more new and modern concept Fluidity of Identity means that a persons identity is not set in stone and can be changed at anytime so you can identify as who you want to and you can display your beliefs. This backs Judith Butlers theory that quotes “Biological anatomies do not determine our gender”. This says that the idea of ‘Male’ and ‘Female’ are not actually not set genders but something that people represent on a daily basis. Meaning that nobody is born either male or female and that they can choose how they want to represent themselves throughout their day. She also hints that society’s thoughts and expectations of women are constantly changing.

This theory is defiantly not present in the score advert, however it is present in the far more modern Maybelline advert. This is shown in the fact that we can assume that the role of the female character has changed over time

Fluidity of Identity

Gauntlett commented on the changing representation of men and women in mainstream media. For example, the depiction of the passive housewife throughout the twentieth century was being increasingly replaced by images of assertive women taking control of their lives, epitomised by the “girl power” endorsed by the Spice Girls. The representation of men being active and confident was giving way to a more introspective and emotionally-aware version of masculinity. Despite the old binary representations still finding their way to the front covers of magazines and forming the narrative of most Hollywood blockbusters, there is now a “greater diversity of identities”.

Constructed Identity

This is when people build up their identity and it slightly changes, depending on their audiences. Now people can decide and create different genders and ideas and make it an identity, this generation allows for almost every idea and feeling to be dawned as a new identity. Different forms of media and influencers help us construct this reality.

Negotiated Identity

The media can help us establish our own identity – no matter what texts we choose to consume, there will certain representations of gender that will appeal to our own sensibilities. However, there might be some tension between this construct and how we present ourselves to the world. Whether it is our relationships, interests or careers, we want to engage with others but still retain some individuality. Therefore, as Goffman argued, we need to reach a “working consensus” or agreement regarding the roles each person will assume in any interaction. A negotiated identity is a balance between our own desires and meeting the expectations of others.

Collective Identity

In terms of media studies, collective identity refers to our sense of belonging to group, especially because there is shared interest or love for a media text. Fandoms are an excellent example of this cultural experience because they try to define and develop a way of life.

How useful is this idea in understanding gender is represented in both the Score and Maybelline advertising campaigns?

Structure

1. Introduce the overall aim and argument that you are going to make
2. Establish your first main critical approach (I would suggest Gender as Performance by Butler, but . . . )
3. Develop this approach by using key words, phrases and quotation (Mulvey, Kilbourne, Moi, Wander, Wollstonescraft, Woolf, de Beauvoir, Van Zoonen, Dollimore, Woolf, Levy)
4. Apply your theoretical ideas to either or both of the set CSP’s
5. Show some historical knowledge about societal changes
6. Establish a secondary theme or idea that you wish to raise (1st, 2nd, 3rd or 4th wave feminism, Raunch Culture, Queer Theory, Intersectionality)
7. Develop this approach by using key words, phrases and quotation
8. Apply your theoretical ideas to either or both of the set CSP’s
9. Show some historical knowledge about societal changes
10. Establish a contradictory argument that shows your ability to think and engage
11. Develop this approach by using key words, phrases and quotation
12. Apply your theoretical ideas to either or both of the set CSP’s
13. Apply your theoretical ideas to either or both of the set CSP’s
14. Summarise your main arguments
15. Ensure you have a summative, final sentence / short paragraph

Introduce the overall aim and argument that you are going to make

Establish your first main critical approach (I would suggest Gender as Performance by Butler, but . . . )

Develop this approach by using key words, phrases and quotation (Mulvey, Kilbourne, Moi, Wander, Wollstonescraft, Woolf, de Beauvoir, Van Zoonen, Dollimore, Woolf, Levy)

Laura Mulvey is a British feminist film theorist. She was educated at St Hilda’s College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London.

Laura Mulvey is a feminist film theorist from Britain, best known for her essay on Visual Pleasure and Narrative Cinema. Her theories are influenced by the likes of Sigmund Freud and Jacques Lacan whilst also including psychoanalysis and feminism in her works.

“It is said that analysing pleasure, or beauty, destroys it.”

Apply your theoretical ideas to either or both of the set CSP’s

Show some historical knowledge about societal changes

Establish a secondary theme or idea that you wish to raise (1st, 2nd, 3rd or 4th wave feminism, Raunch Culture, Queer Theory, Intersectionality)

“Male and female identities are not naturally configured” – You can choose who you want to be (butler).

“Popular culture within the process of constructing their sense of identity” – The general idea of genders is constructed by opinions and stereotypes.

“Audiences learn how to perform gender via the media.” – The media in today’s society constructs our own gender identity for us.

“Society constructs a binary view of gender” – A binary view is a social construct made up of two parts that are framed as complete opposites (e.g. male and female).

“Audiences realise they can change their identities”  – They can be whoever you want to be without being held back by society.

Develop this approach by using key words, phrases and quotation

Apply your theoretical ideas to either or both of the set CSP’s

Show some historical knowledge about societal changes

Similarly, feminist critical thought became much more prominent and pronounced during the counter cultural movements of the late 1960’s and early 1970’s, which heralded, among other changes a greater acceptance of birth control and divorce, abortion and homosexuality.

There was also the abolition of hanging and theatre censorship, and the Obscene Publications Act (1959) which led to the Chatterly trial. Nevertheless, as Johnathon Dollimore wrote: ‘all this should not be seen as a straightforward displacement of dominant conservative attitudes‘ (1983:59).

However, the Score advert was produced in the year of decriminalisation of homosexuality and as such, the representation of heterosexuality could be read as signaling more anxiety than might first appear. The reference to colonialist values can also be linked to social and cultural contexts of the ending of Empire.

Establish a contradictory argument that shows your ability to think and engage

Develop this approach by using key words, phrases and quotation

Apply your theoretical ideas to either or both of the set CSP’s

Summarise your main arguments

Ensure you have a summative, final sentence / short paragraph

Judith Butler describes gender as “an identity instituted through a stylized repetition of acts”. How useful is this idea in understanding how gender is represented in both the Score and Maybelline advertising campaigns

Judith Butler a gender theorist stated within her book gender trouble where she said that gender is a performance where everyone is performing their own gender and that its a fluidity of identity which gauntlet coined for his own and that the use of identity isn’t based upon the gender and the score advert is the male gaze view of advertisement where the male stereotypical ideals of male ideals the male gaze was brought up by Laura Mulvey and that the male gaze the hyper sexualisation of women within advertisements and the heterosexual male point of view it also highlights the time the advertisement was made and that the advert was made in 1967

The Score hair cream advert is an historical artefact from 1967, as such it can be examined productively by considering its historical, social and cultural contexts, particularly as it relates to gender roles, sexuality and the historical context of advertising techniques. 1967 can be seen as a period of slow transformation in western cultures with legislation about and changing attitudes to the role of women – and men – in society, something that the advert can be seen to negotiate.

In many ways Judith Butler counterpoints earlier ideas of gender representation, for example, some of the ideas presented by Laura Mulvey seem to suggest that gender is fixed – male/female – that it is structured by institutions and those powerful individuals who are able to exert power and control – Weinstein. While still recognising those arguments presented by Mulvey, Jean Kilbourne, Sut Jhally and others, Butler suggests that gender is fluid, changeable, plural a set of categories to be played out and performed by individual subjects in individual moments in time and space.

Put another, it suggests that we have multiple identities that are performed to different people, in different social settings, under different social conditions. For example, look at categories such as lipstick lesbian, butch and femme, girly girl and so on, which illustrate the multiple, plural nature of identity, representation and performance with feminist critical thinking. Which can be explored and mapped out into similar studies on male identity.

Feminist = a political position

Female = a matter of biology

Feminine = a set of culturally defined characteristics

1st Wave Feminism

‘sexism was coined by analogy with the term racism in the American civil rights movement in the early 1960s. Defined simply, sexism refers to the systematic ways in which men and women are brought up to view each other antagonistically, on the assumption that the male is always superior to the female‘

Barry makes the point that although the women’s movement was not the start of feminism. In other words, the issue of women’s inequality has a history that pre-dates the 1960’s, see for examples: Mary Wollstonecraft, (1792) A Vindication of the Rights of Women; Virginia Woolf(1929) A room of one’s own; Simone de Beauvoir(1949) The Second Sex.

2nd Wave Feminism

‘the feminist literary criticism of today is the product of the women’s movement of the 1960’s’

Indeed feminist critical thought became much more prominent and pronounced during the counter cultural movements of the late 1960’s and early 1970’s, which heralded, among other changes: the facilitation of of birth control and divorce, the acceptance of abortion and homosexuality, the abolition of hanging and theatre censorship, and the Obscene Publications Act (1959) – which led to the Chatterley trial. Nevertheless,

3rd Wave Feminism -Raunch Culture

‘rebellion of younger women against what was perceived as the prescriptive, pushy and ‘sex negative’ approach of older feminists.’

Barker and Jane (2016)

Third-wave feminism began in the early 1990s, coined by Naomi Wolf, it was a response to the generation gap between the feminist movement of the 1960’s and ’70’s, challenging and re-contextualising some of the definitions of femininity that grew out of that earlier period. In particular, the third-wave sees women’s lives as intersectional, demonstrating a pluralism towards race, ethnicity, class, religion, gender and nationality when discussing feminism.

Ariel Levy, in her book Female Chauvinist Pigs raunch culture is on the one hand, the idea of liberation involves new freedoms for sexual exhibition, experimentation and presentation, and on the other, it may well be playing out the same old patterns of exploitation, objectification and misogyny?

“Raunch” culture, also called the “sexualization” of culture, describes a hypersexualized climate that oversexualizes women while encouraging women to sexualize other women and themselves

3rd to 4th wave feminist critical thinking

The shift in critical feminist studies that reconciles exploitation against empowerment illustrates the shift in feminist thinking towards the 3rd Wave of feminist thought, see for example, groups such as Third Wave Foundation.

However, a 4th wave feminism also looked to explore these contradictory arguments and further sought to recognise and use the emancipatory tools of new social platforms to connect, share and develop new perspectives, experiences and responses to oppression, ‘tools that are allowing women to build a strong, popular, reactive movement online‘ (Cochrane, 2013). As such, from the radical stance of #MeToo to the Free the Nipple campaign, which Miley Cyrus endorsed and supported the use of new media technologies through her music video wreaking ball where she’s nude on top of a wreaking ball this has evidence of voyeurism and has been a clear demarcation for broadening out the discussion and arguments that are played out in this line of critical thinking.

Intersectionality:

‘In an attempt to understand what it means to be oppressed as ‘a woman’, some feminist scholars sought to isolate gender oppression from other forms of oppression’. Put another way, there was a tendency to be either ‘preoccupied with the experiences of white middle-class women or to ignore completely the experiences other women’ (Sigle-Rushton & Lindström, 2013,) It is from this that the development and articulation of intersectionality began to take shape. The early ideas around intersectionality can be traced to theoretical developments from the 1980’s, see for example, the work by Kimberlé Crenshaw (1989) or some of the propositions asserted around Queer Theory that brings together a set of complex ideas around the ‘multidimensionality of subjectivity and social stratification’. in other words you cannot ‘understand Black women’s experiences of discrimination by thinking separately about sex discrimination and race discrimination

the history of the male being above females is seen throughout the score advertisement the women are holding the man on a sedan mainly used by those of power or royalty suggesting the man is above the females and the females are wearing very little to no clothing going with Mulvey’s point of the male gaze as well as voyeurism the sexual pleasure of seeing someone naked or near naked. the levels within the score photo were the man is higher than the women also contributes to Laura Mulvey’s theory of male gaze as well as male patriarchal society where men were deemed better and stronger where women were seen as inferiors and treated as objects.

in the Maybelline advertisement the advert includes a male and female where they both put on make up on where is goes against the stereotype that men aren’t allowed to wear make up otherwise its seen as frowned upon although the advertisement has gone against the stereotypical trope of that only women are only allowed to wear make up the theory of that gender is performed helps support this as well as the use of fluid identity that gauntlet talks about and that the identity and gender of a person changes overtime as well as the fact that it performed as you get older or the situation changes depending on who you are talking to

Van Zoonen talks about how gender is not a homogenous group but sub groups under the name gender where gender isn’t a defining quality of what you are this can be related to the Maybelline advert where the inclusivity of class and gender where males and females are wearing make up and the bell boy wears the eyeliner and gets “Bossed Up” and everything turns gold representing power and wealth and royalty on the other hand the score advert is bland and has some green foliage with the man being held up. the man has a gun in his hand as to say he’s hunting for women and the green foliage is meant to be a jungle where he is “hunting” and he’s wearing the hair cream making woman want him.

harry styles said that “The mission of this venture is to bring joyful experiences and products that excite the senses and blur the boundaries” this is proof of gender being a performance and that has constructing a identity by blurring the lines of constructed Gender which gauntlet was saying as well as the thought of fluidity of identity there are many things that support this idea but there is many that go against this ideal.

the score advert brings a negative stereotype that men are all hunters and that they are all looking for women and that they are above men and that it highlights the patriarchal society that the score advert was made in where men are above women and that women are only objects and there is highlight of voyeurism that women are only good when they are wearing skimpy clothes there are two girls that stand out one is reaching out for the man and one girl has her had on his calf the man is sitting upon a sedan that is mostly used by those of power and royalty. with in the text on the score advert it talks about all the positives of the product and it doesn’t highlight any allergens there is a huge presence of the male gaze and raunch culture within this CSP. the Maybelline adverts product is coated in gold with purple writing which is a symbolism of royalty and richness and the purple colour is a big significance in the 1800s where purple is the most rich/wealthy colour. the text on the mascara says ‘BIG SHOT Mascara’ suggesting its the best mascara the bell boy at the start is dressed within old dull grey clothes with a gold suitcase bringing our attention to the suitcase. once the suit case was opened the two main characters throw the make up on the bed and jump into the make up as if it was money suggesting the worth of the make up. the two characters who get ‘Bossed UP’ have a gold glint within their eyes after applying the mascara suggesting a change they end up dressed up in gold and the rom changes from dull white to a exuberant gold hue and the bell boy at the start even gets bossed up and dons a gold suit which suggest that the make up is for everyone and the mascara is for all classes and there is no exclusion within the advert. the advert procures a positive stereotype that all people can wear make up black white rich or poor no discrimination the three characters are all different in some way the woman is black and the most discriminated against of all of the characters and the male is white and the bell boy is working in a low paid job suggesting poverty the reason why I highlighted the white male is that there is a Negative representation of white males where the have to a straight hetero sexual male but the advert pushes this stereotype away by creating a new label where the male is gay and he wears make up and he is white. there is a second advert where there is the two main characters and this one lonely girl who seems upset and she is by herself within a cab then the two characters act like two hero’s and ‘Swoop in’ they end up giving her mascara and the lonely girl becomes a model with perfect lashes and is happy this suggest that make up heals anything they end up all in gold suggesting importance and wealth. they end up going to a club and get accepted due to the mascara and then a lady with a silver platter holding a triangle formation of this ‘BIG SHOT Mascara‘ the triangle is the strongest shape and is the most stable. the lady that is holding is of oriental heritage this shows the inclusivity of class, gender and ethnicity creating a big label for them selves . the Maybelline SCP has many features of gauntlets theory of fluidity of identity as well as Judith Butlers theory of performative gender and the perceiving your own identity of who you are which relates back to gauntlets theory.