Representations of women in advertising

The following tasks are challenging - some of the reading is university-level but this will be great preparation for the next stage in your education after leaving Greenford. Create a new blogpost called 'Representations of women in advertising' and work through the following tasks.

Academic reading: A Critical Analysis of Progressive Depictions of Gender in Advertising

Read these extracts from an academic essay on gender in advertising by Reena Mistry. This was originally published in full in David Gauntlett's book 'Media, Gender and Identity'. Then, answer the following questions:

1) How does Mistry suggest advertising has changed since the mid-1990s?

Mistry argues that since the mid-1990s, advertising has increasingly featured subjects whose gender and sexual orientation are intentionally ambiguous. Alongside this, there has been a rise in distinctly homosexual representations that differ from the stereotypical ‘camp’ gay figure often used as comic relief in mainstream media.

2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?

In the 1940s and 1950s, advertising heavily promoted the idea that a woman’s primary role was in the home. After World War II, women were made to feel guilty for pursuing careers or independence. This period saw the rise of the ‘feminine mystique,’ where women’s greatest value was seen in embracing traditional femininity, focusing on family life and domestic duties.

3) How did the increasing influence of clothes and make-up change representations of women in advertising?

The growing emphasis on fashion and beauty products led to women being portrayed as decorative objects. Perfume advertisements, for example, often presented women as the ‘fair maiden,’ reinforcing this objectified image.

4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?

Laura Mulvey introduced the concept of the ‘male gaze’ in 1975. Her theory suggests that visual culture, especially in media, tends to depict women as passive objects of male desire, reinforcing patriarchal power structures. The ‘male gaze’ positions men as active viewers and women as subjects to be looked at.

5) How did the representation of women change in the 1970s?

By the mid-1970s, a new portrayal of women emerged — the ‘New Woman.’ This figure was seen as independent, confident, and assertive, reflecting the social shifts influenced by the women’s movement. The New Woman was portrayed as seeking excitement, adventure, and fulfillment in both work and leisure.

6) Why does van Zoonen suggest the 'new' representations of women in the 1970s and 1980s were only marginally different from the sexist representations of earlier years?

Liesbet van Zoonen argues that despite appearing progressive, these ‘New Woman’ representations remained limited. While women were shown in more active roles, a deeper analysis reveals they were still largely objectified and portrayed in ways that upheld traditional stereotypes.

7) What does Barthel suggest regarding advertising and male power?

Barthel asserts that while modern advertisements may show women achieving success in male-dominated spaces, this success is often framed in a way that reassures men their dominance remains secure. Women are encouraged to maintain traditional femininity to avoid appearing as a threat to male power.

8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?

Dyer suggests that the ‘femme fatale’ representation promotes the idea that women can use products like Christian Dior make-up to enhance their sexual appeal — and that this power is presented as something for their own enjoyment and control.

Media Magazine: Beach Bodies v Real Women (MM54)

Now go to our Media Magazine archive and read the feature on Protein World's controversial 'Beach Bodies' marketing campaign in 2015. Read the feature and answer the questions below in the same blogpost as the questions above.

1) What was the Protein World 'Beach Bodies' campaign and why was it controversial?

The Protein World ‘Beach Bodies’ campaign featured a slim woman in a bikini alongside the text: “Are you beach body ready?” The campaign promoted weight loss supplements and was controversial because it implied that those who didn’t resemble the model were not ‘ready’ to show their bodies, reinforcing damaging body image standards.

2) What was the Dove Real Beauty campaign?

The Dove Real Beauty campaign featured a range of women of different body types, ethnicities, and ages. It aimed to challenge narrow beauty standards and promote body positivity by celebrating diverse representations of women.

3) How has social media changed the way audiences can interact with advertising campaigns? 

Social media has empowered audiences to challenge and critique controversial advertisements. Platforms like Twitter and Instagram enable public discourse, often forcing brands to respond and encouraging more inclusive and positive representations in advertising.

4) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?

Van Zoonen’s feminist theory highlights that the Protein World campaign aligns with the ‘male gaze,’ as it reinforces traditional beauty standards that cater to male desire. Meanwhile, Stuart Hall’s reception theory suggests that audiences interpret advertisements in different ways — some may accept the message, while others may reject or challenge it, as seen in the backlash against Protein World.

5) Through studying the social and historical context of women in advertising, do you think representations of women in advertising have changed in the last 60 years?

While the context of female representation has evolved — with campaigns like Dove Real Beauty promoting inclusivity — elements of the ‘male gaze’ still persist. Women are often still presented in ways that emphasize beauty, body image, and sexual appeal, suggesting that while progress has been made, some traditional stereotypes remain embedded in advertising.