CSP 3 AND 4: ESSAY

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 displays the idea that “an identity instituted through a stylized repetition of acts”. This idea has been represented and utilised within adverts and media ever since media was created and products were being advertised. For example the idea that football is for men and netball is for woman, however Judith argues that “Stereotypes and opinions do not decide who you are.” but also publicises her idea because she believes that “Even though its all a lie, the stereotypes have a big effect on people.” which displays the idea that the repeated acts and stereotypes do have an affect on almost everyone and not many people actually accept who they are and change themselves, however when those people do they are looked down upon and seen as different. We can see this within the “First and Second wave of feminism”, after woman spoke out for the first time in 1792 with a book called “A vindication of woman’s rights” by Mary Wollstonecraft, they still didn’t get the vote until The British Suffragettes started to make statements and bringing attention to their points and ideas. In 1913 a woman under the name Emily Wilding Davison took it upon herself to break into the track of a horse race and being trampled/hit by King George V’s horse “Anmer” to make a point and publicise the suffragettes movement. As well as this the suffragettes supporter, “Miss Nell” chained herself to the railing of Buckingham palace to make a point about woman requiring a vote.

We can see this idea being represented through the “Score liquid hair groom” advert made in 1967 where we can see 5 woman carrying a man who has recently shaven using the product advertised, making him seem like a king. The company is advertising the product within the ideal male world and within the male gaze by including the five woman worshipping the man. The male gaze is the idea of woman being oversexualised within media and advertisements for male attention. However it can be noted that shaving cream is not only for men, this is because woman also shave, and they also use shaving cream. This is an example of Judith Butlers idea of repeated acts making us our gender, we can see that the idea of men using shaving cream is a stereotypical, repeated action by men, therefore this company advertises it for men and it is seen as an action performed solely by men. As we can see with products like “Veet Shaving cream for woman” are being made and shaving cream is not only for men and shaving cream is a unisex product.

In addition to this we can see the strap line “get what you’ve always wanted” paired with the advert, this line gives the idea that men’s ideal situation is one with many woman, using a typical stereotype of men always wanting the sexual attention and company of woman, and utilising a stereotype of woman being submissive to men who are attractive and doing anything they say. The idea of the woman in the advert being submissive goes with the idea of the “damsel in distress” by Anita Sarkeesian on her YouTube channel “Feminist frequency” where woman are seen to be useless and require saving by a man, in this case the man is saving the women from non-shaven men who aren’t using the product, I know this because the woman in the back right of the advert is reaching out to the man, giving the idea that she is desperately reaching for him to bring her in and save her. Accordingly this supports the work and research of Laura Mulvey who researched the idea of male drive within films and adverts. The score adverts fits within Laura Mulvey’s research as it utilises the idea of a man with multiple woman being “what you’ve always wanted” and having the attention of attractive woman being the main incentive to buy the product. The woman here are being used as a selling point, implying that when you use the product you will be worshipped by woman and many will all of a sudden become interested in you, this further proves the advert is targeted towards men and it can be described by one of Mulvey’s quotes, ‘Woman as image, man as bearer of the look’ .

Furthermore we can see in Maybelline’s large scale adverts since 1999, they’ve used curvy, oversexualised and glamourous woman to advertise their products. Resulting from this, Maybelline goes against Judith Butlers work and conjoins the stereotypes of genders to their products to increase sales and interest, they have done this by making it seem like woman are the only people to use makeup, however this isn’t true men have been starting to use makeup and expressing themselves through it, for example bands like Fall out boy, and celebrities like Johnny Depp have used and continue to use eyeliner when turning up to social events and shows. However as Judith Butler comments “gender is not a identity instituted through a stylized repetition of acts” and Maybelline is ignoring the idea of men using their products and wasn’t advertising them towards other genders until 2017 after they realised other genders had started to wear and buy makeup more regularly and it becoming more normal. Most importantly after they hired Manny Gutierrez to advertise their products for all genders it displayed that Maybelline was able to change their adverts and give the idea to their customers that they can display who they are and who they want to be through Maybelline’s products.

Lastly, as Maybelline has expanded their adverts and company, they made a product called “Big shot like a boss” in May 2017. Within this product they released adverts where the newly recruited Manny Gutierrez put on the make up and got “bossed up” which supports the idea of gender fluid representation by showing that males can use makeup and it be supported by the company and it is part of their advertising. This is because later within the part 2 of the “Big shot like a boss” adverts it shows a woman getting “bossed up”, this shows Maybelline’s support of Judith Butlers idea of genders being fluid and only being up to the biological way you were born, instead of the way you act and what you do.

In conclusion I believe both Maybelline and Score have gone against Judith Butlers idea of the fluidity of identity, however Maybelline has caught up and changed their style and changed their adverts to fit more with the current state of society and people choices on gender.

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 how gender is represented in both the Score and Maybelline advertising campaigns?

In this essay I will be constructing an argument based on the principles of Judith Butler’s theory of gender performativity, which will evaluate the foundations of gender and identity and how they are represented throughout media. To do this I will analyse the gender representations in a print advert for Score, from the 1960s, and a video advert for Maybelline, made in 2017.

Judith Butler, in 1988, theorises that ‘rituals and performative actions constantly reinforce our identities’ which implies that it is your behaviour that fabricate your gender and identity, most significantly your repeated behaviour. In saying that, she highlights that no one is just born with an identity but as people grow up and as people are exposed to new knowledge and experiences and hardships; that is when one’s identity is formed. This approach is extremely subjective as just because a certain practice may be typically performed by a girl, such as painting your nails, does not mean that it cannot be performed by a male or any other gender. Therefore, because we the ones that control our performative actions, we have the ability to control and re-shape our identities, linking to David Gauntlett’s theory of fluid identity, which tells us that in reality gender is a social construction and is completely subjective. She states the issues with maintaining an identity which ‘falls outside of heterosexual norm in our society’ as it tends to be ‘a subversive act that takes a great deal of effort to maintain’. This is likely due to institutions, such as the advertising industry, who have constructed an ‘ideal’ identity whereby  women have to be submissive and sexy whereas men had to be dominant and emotionless therefore under representing non-heterosexual identities and causing people to believe certain identities are more valid than others – which of course, is not the case. Her theory may have been the catalyst for the third wave of feminism at the beginning of the 1990s as it was solely focused on pluralism towards  race, ethnicity, class, religion, gender and nationality when discussing feminism, rather than just the role of women in society.

Score’s hair cream advert was made in 1967 and is a reactionary representation of men and women, highlighting the objective views people had of gender identity during this time. This is stereotypical of the advertising industry as these representations were very much reflect the dominating ideology at the time due to the fact it is portraying the white male as the dominant figure, which contrasts the females who are portrayed as submissive. Therefore, these gender representations support Butlers idea of gender performativity as according to society at the time, it is the male’s active dominance which makes him a man, and the females’ active submission which makes them women. The advert highly sexualises women by using conventionally attractive women and exposing their bodies by dressing them in little to no clothing, which seems ironic considering the product is to be used by men, reflecting upon Laura Mulvey’s notion of the Male Gaze as they are characters whose “appearance [is] coded for [a] strong visual and erotic impact” (“Visual and Other Pleasures”, 1989). This illustrates the role of women in society at the time, as they are only there to look attractive in order to feed the voyeuristic tendencies of the patriarchy and therefore are not serving any practical purpose other than to make the product sell – they are being used for their bodies. In saying that, it is very clear that the advert was produced before any real progress was made with regards to the role of women in society as although it was made after the first and second wave of feminism, it was not until the third wave of feminism in the 1990s that people began focusing on the representation of women and how they are treated throughout media, which was a lot more broad compared to previous waves, and therefore Score’s degrading representations of women would not have been affected by this movement.

Maybelline’s big shot mascara campaign was made in 2017 and portrays a radical representation of men and women as it ‘marks Maybelline’s first-ever partnership with a man as the star of a campaign’ (Glamour Magazine, 2017). This can be seen as revolutionary, or as Manny states ‘breaking boundaries,’ as is it contrasts the dominant ideology that men typically don’t wear makeup and especially because there is a lack of representation of men in the cosmetics industry. This reflects upon David Gauntlett’s theory of fluidity of identity as Maybelline are advertising the product is being advertised to both men and women. Manny, despite being male, appears to have more feminine mannerisms, such as the way he dresses and speaks, which is typical of someone in the LGBTQ+ community, like himself, and corresponds with Toril Moi’s distinctions  between being female, feminine and a feminist as he illustrates that it is possible to be feminine without being a female. Therefore his repeated performance of feminine acts is the foundation of his identity and what signifies to others how he identifies, supporting Butler’s theory that ‘identity is instituted through a stylised repetition of acts’. The advert perfectly illustrates a shift of certain social conventions in the sense that it highlights the growing acceptance of gender identities that aren’t just male or female. Despite the possession of such identities tends to be, in the words of Butler, ‘a subversive act that takes a great deal of effort to maintain’, the advert highlights how as a society we have grown to be more acceptive of them and the performative acts that come with them. This may have derived from the third wave of feminism at the beginning of the 1990s as it was solely focused on pluralism towards  race, ethnicity, class, religion, gender and nationality when discussing feminism, rather than just the role of women in society.

To conclude, both the Score hair cream advert and the Maybelline big shot advert support Judith Butler’s theory that  gender is ‘an identity instituted through a stylised repetition of acts’ and help us understand the representation of gender . In terms of Score, each characters identity is made very clear due to the traditional  conventions portrayed, for example the women portray a submissive persona which was a stereotypical female performative act at the time. In terms of Maybelline, the protagonists repetition of feminine performative acts, is what illustrates to others how he identifies as they are typical of homosexual conventions.

essay

Question: 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?

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 . . . )

In this essay I am going to make a few arguments based on Butlers idea of gender by linking to ideas such as gender as performance and waves of feminism. Also, in this essay I am going to be using Score and Maybelline to help defend my argument.

Judith Butler presents gender with many different ideas, claiming that it is “an identity instituted through a stylized repetition of acts”.

Butler suggests that gender is not fixed and presented through a stylized repetition of acts. “An identity instituted through a stylized repetition of acts”. For example a woman sitting in a certain way that makes her a woman.

Judith Butler is known as a 3rd wave feminist 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.

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

On the other hand,, Laura Mulvey is seen as a 2nd wave feminist engaged in film theory 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.

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 Chatterly trial. Nevertheless,

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 and wrote:

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

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

The quote from Mulvey can be applied to Maybelline because Maybelline is a makeup company which people use to make themselves better looking and to show beauty

Show some historical knowledge about societal changes

Maybelline was made in a time that is different from when Score was made. The Maybelline advert was their first advert that introduced a male actor to promote make up.

The score advert was made in a time when men were seen as more powerful and better than woman.

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

It is interesting to note the differences between 2nd and 3rd wave feminism as in 3rd wave feminism characterised by Butler,
“Male and female identities are not naturally configured”
– in other words, you can choose who you want to be.

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 divorceabortion 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

revision notes

“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.

feminism

  • Feminist = a political position
  • Female = a matter of biology
  • Feminine = a set of culturally defined characteristics

Naomi Wolf:

Naomi Rebekah Wolf is an American feminist author and journalist. Following her first book The Beauty Myth, she became a leading spokeswoman of what has been described as the third wave of the feminist movement. 

First-wave Feminism:

First-wave feminism was a period of feminist activity and thought that occurred during the 19th and early 20th century throughout the Western world. It focused on legal issues, primarily on securing women’s right to vote. The goal of this wave was to open up opportunities for women, with a focus on suffrage.

Second-wave Feminism:

The second wave feminism movement took place in the 1960s and 1970s and focused on issues of equality and discrimination. Starting initially in the United States with American women, the feminist liberation movement soon spread to other Western countries. American feminist writer Betty Friedan helped ignite the second feminist wave with her book “The Feminine Mystique.” Released in 1963, Friedan builds on the foundation of Simone de Beauvoir’s work.

Third-wave Feminism:

The Third Wave of feminism was greatly focused on reproductive rights for women. Feminists advocated for a woman’s right to make her own choices about her body and stated that it was a basic right to have access to birth control and abortion. Influenced by the postmodernist movement in the academy, third-wave feminists sought to question, reclaim, and redefine the ideas, words, and media that have transmitted ideas about womanhood, gender, beauty, sexuality, femininity, and masculinity, among other things.

Fourth-wave Feminism:

Fourth-wave feminism is a feminist movement that began around 2012 and is characterized by a focus on the empowerment of women, the use of internet tools, and intersectionality. The fourth wave seeks greater gender equality by focusing on gendered norms and marginalization of women in society. Its main focus’ was on sexual harassment, body shaming, and rape culture, among other issues. A key component was the use of social media to highlight and address these concerns.

csp score

In this scene I can see that there is a man sitting down on a platform dressed in safari clothes with a shotgun in his arms, he is well groomed and smiling and looking pleased with himself. In addition there are five ladies wearing safari clothing too but they are less covered up than the man, their chests, midriffs, arms and necks are on display and they have big hair styles and makeup. The ladies are looking up to the man, as if they are admiring and worshipping him, they are holding some kind of cheetah or leopard skin and one of the ladies is reaching up as if to stroke the man and another is holding onto his cowboy boot. The women are at a lower level than the man. There also some plants in the background to create the illusion that the people in the advert are in the jungle.

The dominant signifier is the man, as he is the ‘masculine’ person and he is showing what effect the liquid hair product will have on women. There is anchorage where there is an image of the product and a description of what it will do for the potential customer. There is a strapline ‘Get what you’ve always wanted’ to show to the customers that by purchasing this product the consumer can get what they have always desired.

In this advert there is no representation, as there are only white males and females. The idea being represented is that by purchasing this product men will be superior to women, that is to state thut women will admire and worship the man that is using the product to amplify his hair.. At the era when this advert was created, women’s rights were given more rights such as a right to birth control and there was the decriminalisation of abortion (in some countries) so why are they still stooping down to what could be seen as following patriarchy?

maybelline

Manny Gutirrez is a very well known youtuber as a popular makeup artist and beauty blogger, and more specifically he was the first man Maybelline had posted.

“Unveil the hidden motives and persuaders rooted in the mind of a consumer”

Elizaveta Baryshnikova 2017

Persuasion is used by exaggerating the place the apartment is shot at ‘This place is everything!’ And the Bell Boy being dressed up in what would would typically be seen as someone who one would see in a 5 star hotel, it makes the audience believe that anyone can attain that, and so anyone can attain luxury by purchasing this makeup product.

stats

statement of intent – advert

I intend to create a print advert that is both historical and radical, for the purposes of advertising a brand of mascara. My focus is to create one radical and one reactionary product to display different representation. I intend to use iconic signifiers of the products and a dominant signifier of the model’s face, in addition to indexical signs and a strapline to emphasise the product.

The radical advert is set in the 1950s era. My style model is a Maybelline advert from the 1950s, which I aim to replicate. The strapline is ‘Eye makeup smart women prefer’ which is an entirely different and commendable attitude toward how woman were usually perceived in the 1950s. Women’s occupations were to be housewives and stay at home cleaning and cooking for their husbands’ and looking after their children. However, this particular advert has a very different approach, it is a counterstereotype of the typical 1950s women, it presents as women who are intelligent and the model on the advert is dressed as though she works at an office with her neat hair and polished makeup. This shows that the model is not adhering to this negative stereotype and is opposing to the patriarchy as it implies that she goes to work, creating a more positive stereotype for women of that era.

The model in the advert I replicated for the radical advert is wearing a dark coloured outfit to exude an air of sophistication and place emphasis on the strapline that states “the intelligent way to make up your future” to imply to the wider audience that the model and user of this particular brand of mascara are of an ‘upper class society’, have an excellent educational background and an individual that is highly sought after in the employment market. The name of the product is ‘Infinite mascara’ as it indicates that women are capable and intelligent enough to achieve an infinite amount of things.

The type of audience that would be drawn to this advert are women who work in an office between the ages of (approximately) 30-45 years, as they would have most likely been to university and attained their qualifications and have had experience at work so they would be able to relate to the strapline and the dominant signifier of the advert.

The kind of company that would make my product would be a kind of brand that is timeless and classy, for instance Chanel, that women who work in an office would be able to afford.

For the contemporary advert a reactionary approach is used. I use a female model as the dominant signifier whose photo displays someone who is happy and gregarious and who is not afraid to show their fun side modelling with a blow up ‘hot pink’ flamingo, sporting a flower garland as indexical signs and wearing her hair in a plait style. This contrasts the former advert as it shows femininity can be fun and expressive too. The strapline ‘Fantastically fun lashes!’ reinforces this idea.

The style model for this advert was an advert for a makeup brand called Too Faced, which I took inspiration from for my contemporary advert as it shows a girl who appears to be very carefree and fun loving as she is posing smiling and and is in a relaxed as well as being on the telephone and has her hair down.

This advert represents itself as a reactionary advert as it it follows how females would be typically as happy go lucky and expressive. At the same time, it is a positive stereotype of femininity as it is a counter stereotype of how many females are portrayed in adverts such as mascara, mainly to appeal to the male gaze and that is what is considered feminine. Although in this advert, it does not. It depicts that whilst still being feminine, though self expression and being fun loving it does not need to follow this negative stereotype of makeup being worn to please men but that women can wear makeup for themselves to make them happy and express their individuality whilst doing so without trying to impress anyone else.

The kind of audience that would consume this product would be a younger age group of 19-30 year olds who are able to afford this product which can be purchased from a number of high street beauty stores, which would be in the category of ‘The Mainstreamer’.

The type of company that would produce this product would be a high street brand such as Revlon or Maybelline as their adverts tend to be expressive and their price range would appeal to a younger audience as well.

REVISION NOTES – GAUNTLET & BUTLER

David Gauntlet:

“Far reaching social changes current affecting western society”

The ideology behind this is that the opinion of all individuals, irrespective of their gender, race, culture or upbringing, have had a significant affect on individuals throughout the world.

“Front covers of magazines scubas Vogue and Men’s health are shop windows to amore sexier more successful future self for their readerships”

the ideology behind this translates to what has been portrayed within the media rather than individuals.

“Linked to family expectations and right social codes”

The ideology relates to ones gender/sexuality and to abide by the correct acceptance of conformity by society in general.

Judith Butler:

“Our bodies or sex do to define our gendered identities”

There is no need to conform to what is expected from the demands of today’s society – it is for the individual to decide.

“Our genders are culturally rather naturally formed”

Is depended on the societal influences in which an individual is raised from birth and are perhaps bodied when mixing with individuals from other cultures over a period of time.

“30 second glimpses of who we might become”

The ideology indicates that our identities could modify over a period of time.

“Myths reinforce male power as the norm because males are the more naturally dominant gender”

The idea is that a male is the dominant sex compared to a female.

CSP – SCORE AND MAYBELLINE ESSAY

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.