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?
Both advertising campaigns use stereotypical representations of gender as well as both archaic and modern views. They both also display representation of femininity, masculinity, and sexuality. Butler’s ideology “an identity instituted through a stylized repetition of acts,” communicates that gender is not fixed, it is a fluid identity that changes based off how we act and what we do. Stereotypical gender traits such as the clothes we wear and if we wear makeup are connected to the traditional binary: male or female, creating the impression that we have a “seamless and permanent” gender identity. These “rituals” display our identity to ourselves and society. Society has often blurred the distinction between someone’s sex and their gender. Sex being the biological category assigned at birth (male or female), while gender being the social construct which encapsulates the idea that everything, from careers to clothing fit into a set category, either (boy or girl). Butler believes that no one is born with a gender, it is an identity which develops as we develop and experience new things, meet new people and form personality. Toril Moi distinguishes these definitions which have often been misused in society “feminist = a political position, female = a matter of biology, feminine = a set of culturally defined characteristics.” Butler theorises that there is a difference between how gender is performative (it is defined by the ‘performative’ speech acts, mannerisms and even clothing, for example) and how it is a performance (it is an identity that we ‘put on’ to meet the expectations of others).
The Maybelline advertising campaign: ‘That Boss Life,’ is a counter-typical representation of gender and truly encapsulates Butler’s idea that gender is non-linear. The advertisement also has links to sexuality and how expression of sexuality (especially in media productions) is attached to stereotypes. Manny Gutierrez (MUA), featured in the video advert, is a gay male and the first, male makeup artist to be the face of the brand – “a gay YouTube star has become the first male model for international cosmetic giant Maybelline.” As well as this, Shayla Mitchell is a black woman, and her representation is majorly important to move forward with diversity and to move away from productions that only include white, heterosexual males. Immediately, Manny creates a new representation of what ‘being a man’ looks like. His portrayal de-constructs the traditional binary which suggests that men should be toxically masculine. His representation is ‘typically’ feminine and being connected to a makeup brand juxtaposes archaic ideas that only girls can utilise and seek a sense self-expression through makeup and fashion etc. Relating to David Gauntlett’s theories on identity, the advert shows that each of us have a fluidity in our identity, it is everchanging, especially as we are influenced, as we adapt. Judith Butler said that “Media presentations of homosexuality often use exaggerate masculine or feminine behaviours in a comedic way;” linking to Manny, his persona in the advert is majorly over-exaggerated, a performance far from reality, which matches to the cliched collective identity attached to homosexuality, which is seldom a-likened to real life. Gauntlett’s ‘collective identity’ theory encompasses the idea that people who share a similar interest or personality are often stereotyped together and are categorized and defined by this typecast. His presentation becomes ‘comedic’ and ‘cringy,’ through use of colloquial language surrounding the gay community such as “mama” and “extra.” In spite of this, his involvement is a step in a positive direction to “suppress heteronormativity.” Iconic signifier’s such as the gold, sparkly packaging on the product and the shimmery outfits worn, alongside the iconic sound effect of a ‘magic wand’ says that using the product can transform your appearance, give confidence, and make you look like ‘a boss.’ All connoting to the idea of displaying a production, a show, to meet the expectations of others.
On the other hand, the Score print advertisement opposes the freedom and diversity seen in the Maybelline advert. The advert echoes anti-feminist societal views, the patriarchy and misogyny seen in and around the 1970’s. The male character is at a higher physical position to the female characters looking up at him (one of them reaching, trying to touch him), connoting to the superior, authoritarian position he holds; reflected through the characters use of a shotgun and masculine features such as body hair. Men were supposed to be earning money whilst their wife would support him by completing the housework. This dominant ideology in 1960’s society, sparked the second wave of feminism. In the advert, this is displayed whilst the female’s carry him on a pedestal and support his weight. The second wave saw feminist critical thinking take a new stance with feminists advocating for acceptance of abortion, divorce, and homosexuality. Contrastingly, in the first wave period, feminist groups such as ‘The Suffragettes’ revolted against having a lack of basic human rights such as being allowed to vote. The female characters are over-sexualised through their ‘revealing’ clothing, body language/position, and excessive makeup. This reflects the gender stereotype that women were objects of male pleasure and proves Laura Mulvey’s second wave feminist theory on ‘The Male Gaze,’ which says that female characters in visual arts and literature are often presented as sexual objects for heterosexual male gratification, and the theory of voyeurism; being that sex and sexualisation of femininity is “one of the most obvious persuaders in advertising.”
At the start of the end of the 20th century, Naomi Wolf kickstarted the third wave of feminism and encouraged ‘pluralism,’ meaning that the term ‘feminism’ would advocate for diversity in other areas as well as gender. Butler’s theories suggest that this contrast between gender expression only promoted patriarchy and the objectification of women being used only as a means of sexualisation. This representation of manipulated femininity skewed into over-sexualisation is unnecessary with no link to the Score product. Modern campaigns such as the #MeToo movement encourage victims of sexual assault to share their experiences and take ownership of their own expression of sexuality.
In conclusion, both CSP’s display gender and sexuality stereotypes as well as linking to Butler’s theory and representing gender as an identity formed through stylistic acts.