Media Factsheet - Score hair cream
Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #188: Close Study Product - Advertising - Score. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets. If you need to access this from home you can download it here if you use your Greenford login details to access Google Drive.
Read the factsheet and answer the following questions:
1) How did advertising techniques change in the 1960s and how does the Score advert reflect this change?
Advertising in the 1960s shifted towards a more visually striking and minimalist style, taking inspiration from TV and poster design. Instead of heavy text, ads relied on powerful images, often using photography over illustration for a more realistic feel. TV commercials also became more sophisticated with improved editing techniques.
The Score advert embodies this change perfectly; it’s bold, eye-catching, and relies heavily on imagery rather than text. It grabs attention with its dramatic setup, reinforcing traditional ideas about masculinity in a way that feels larger than life.
2) What representations of women were found in post-war British advertising campaigns?
After World War II, advertising played a huge role in shaping the idea that a woman’s place was in the home. During the war, propaganda encouraged women to take on factory and farm work while men were away fighting. But once the war ended, they were expected to return to domestic roles, and advertising reinforced this shift. Campaigns promoted women as housewives, caregivers, and consumers of household products, subtly (or not so subtly) pushing the idea that their value was tied to their roles at home.
3) Conduct your own semiotic analysis of the Score hair cream advert: What are the connotations of the mise-en-scene in the image? You may wish to link this to relevant contexts too.
Costume: The man’s outfit nods to Britain’s colonial past and is also revealing, reinforcing a rugged, hyper-masculine image. Laura Mulvey’s concept of the male gaze applies here, as the women are positioned for the pleasure of male viewers. Liesbet van Zoonen’s ideas on gender roles suggest that women in media are often reduced to spectacle rather than subjects with agency.
Actors: The male model’s smug expression reinforces traditional masculinity, exuding confidence and dominance. His direct eye contact with the male audience suggests a sense of aspiration; this could be you. Meanwhile, the women are quite literally beneath him, reaching for him, reinforcing the idea that men are superior and desirable leaders.
Props: The gun is an obvious phallic symbol, representing male power and dominance. It reinforces the hierarchical structure where masculinity is equated with control.
Setting: The jungle backdrop alludes to Britain’s colonial past, evoking ideas of conquest and power. It could also reflect a deeper anxiety among men in the 1960s about losing dominance, as social structures began to shift.
4) What does the factsheet suggest in terms of a narrative analysis of the Score hair cream advert?
The ad positions the man as the hero, using Vladimir Propp’s narrative theory. He’s portrayed as a protector and leader, and the women are his reward. This taps into the traditional ‘sex sells’ approach, making it clear that using Score hair cream will supposedly elevate a man’s status and desirability. The ad creates a fantasy where masculinity equals power, admiration, and control.
5) How might an audience have responded to the advert in 1967? What about in the 2020s?
In 1967, men likely found the advert humorous and aspirational, while women may have accepted its gender stereotypes as normal. In the 2020s, modern audiences would find the advert outdated and sexist, though some younger male viewers may not challenge its message.
6) How does the Score hair cream advert use persuasive techniques (e.g. anchorage text, slogan, product information) to sell the product to an audience?
Anchorage text & slogan: The language in the ad is aggressively heterosexual, reinforcing traditional masculinity. This is significant considering the social changes of the time; 1967 was the year homosexuality was partially decriminalised in the UK, and second-wave feminism was gaining traction. The advert may reflect anxieties about these shifts, reassuring men about their masculinity.
Product design: The blue packaging leans into classic masculine colour connotations. At the time, there may have been reluctance among men to use grooming products, so the branding needed to feel unmistakably ‘manly.’
7) How might you apply feminist theory to the Score hair cream advert - such as van Zoonen, bell hooks or Judith Butler?
Van Zoonen: The advert objectifies women, positioning them as passive figures meant to please men. In mainstream media, visual and narrative codes often reduce women to objects rather than active participants, which is clear in this ad.
bell hooks: Her concept of white supremacist, capitalist patriarchy is relevant here. The ad reinforces male dominance, colonial undertones, and a hierarchy where white men are at the top. It reflects broader systems of oppression that hooks critiques.
Judith Butler: Butler argues that gender is socially constructed and performed. The Score advert enforces rigid gender roles; men as dominant, strong, and in control, and women as submissive and decorative. It reinforces the binary view of masculinity and femininity as fixed categories.
8) How could David Gauntlett's theory regarding gender identity be applied to the Score hair cream advert?
David Gauntlett suggests that both media producers and audiences contribute to shaping identities. The Score advert is a prime example of how masculinity was being constructed in the 1960s. Advertisers weren’t just selling a product; they were selling an ideal of what it meant to be a ‘real man.’ This kind of messaging influenced how men saw themselves and their roles in society, just as media does today.
9) What representation of sexuality can be found in the advert and why might this link to the 1967 decriminalisation of homosexuality (historical and cultural context)?
The advert is overwhelmingly heteronormative, almost overcompensating with its exaggerated masculinity. This could be linked to the cultural anxieties around the 1967 decriminalisation of homosexuality. At the time, being labelled ‘queer’ was seen as a threat to a man’s masculinity. The Score advert reassures men that using grooming products doesn’t make them less manly; it makes them more of a man, reinforcing traditional heterosexual norms. During the 1970s and 1980s, male grooming ads continued this trend, ensuring the ‘real man’ image remained intact.
10) How does the advert reflect Britain's colonial past - another important historical and cultural context?
The jungle setting, the gun, and the throne all play into Britain’s colonial history. The advert positions the white male as a victorious conqueror, implying he has tamed the wilderness and claimed his ‘tribe’ (the women) as his reward. This reflects Britain’s historical narratives of power and dominance over ‘exotic’ lands and people, subtly reinforcing colonial ideologies.
The writer suggests that society is empowering women but neglecting the struggles of boys. There’s a belief that men should ‘man up’ and deal with their problems alone, which has led to serious issues—higher male suicide rates, more young men dropping out of education, and increased involvement in crime, drugs, and binge-drinking. Many men feel disempowered, which is fuelling these social problems.
2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?
Lynx realised that modern men don’t want to conform to outdated ideas of masculinity. Through research, they found that men crave a broader, more flexible identity. This led to their ‘Find Your Magic’ campaign, which encourages men to embrace individuality rather than outdated macho stereotypes.
3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?
Brockway argues that advertising needs to be revolutionary when it comes to male body image. He points out that eating disorders and body insecurities are rising among young men, yet advertising still promotes rigid ideals of masculinity. He calls for a total reinvention—challenging stereotypes and allowing men to express themselves freely, even if that means embracing traits traditionally seen as ‘feminine.’
4) How have changes in family and society altered how brands are targeting their products?
Brands now focus on understanding their consumers beyond just age or job titles. They look at values, aspirations, and lifestyles, reflecting a shift away from traditional gender roles.
5) Why does Fernando Desouches, Axe/Lynx global brand development director, say you've got to "set the platform" before you explode the myth of masculinity?
Desouches believes that before brands can fully challenge masculinity myths, they need to lay the groundwork. Lynx’s Find Your Magic campaign was just the start—over time, they hope to break down restrictive ideas about what it means to be a man.
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