Nima Shiralizadeh - 17.04.22
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 marketing and
advertising products? Refer in detail to the Close Study Products Maybelline ‘That Boss
Life part 1’ and the Score hair cream advert. (20 marks)
Judith Butler’s ideas on gender being established through repeated performance is an arguably
useful idea to aid our understanding of how gender is represented in marketing and advertising
products. This is exemplified by the Score hair cream advert through socially and culturally
adherent representations of gender; supporting Butler’s notion. However, her ideas are deficient
in understanding representations of gender in the ‘That Boss Life part 1’ campaign by
Maybelline, which can be countered with Gauntlett’s theory on the ‘fluidity of identity’.
The Score hair cream advert was developed in 1967; a period rife with patriarchal attitudes and
inequality amongst genders. It serves as a profound epitome of how gender is represented in
marketing and advertising products because it is a strong reflection of verisimilitude - men were
viewed as the superior gender, whereas women were inferior.
A mid-shot captures a male figure painted as the ‘hero’ of Propp’s character types possessing a
firearm, in conjunction with smiling valiantly signifying his pride and power. Barthes’ second-order
signification of myth would dictate he is violent and brave, exploiting his firearm to subdue the
world and women with his charm (the hair cream). This representation of gender was traditional
during the 60s because men were viewed as powerful and ‘breadwinners’. In addition, the idea of
men possessing power can be profoundly supported by the ‘litter’ of women who are carrying
and revering him, as if he is an idol and they are idolaters. Moreover, the advert’s use of lexical
codes, “get what you always wanted” communicates the message that pursuing ‘action’ (AIDA)
will achieve this lifestyle and obeisance. Linking back to the question, Butler’s ideas can be
supported through the representation of the male gender because the male is conforming to his
“stylized repetition of acts”, ultimately constructing him as a powerful, hypermasculinised figure.
Additionally, the female figures reinforce Butler’s ideas through their displayed performance. Clad
in revealing and sexualised attire, in conjunction with dark eyeliners, they conform to Mulvey’s
‘male gaze’ theory. In addition, one of the women is seen reaching out to the man - Barthes
would describe this as a ‘semantic’ code for the female's promiscuity and lust. This supports their
sexualised demeanour which constructs them as subservient and submissive to the male figure.
Consequently, this raunchy representation of the female gender was typical during the 60s period
because feminist values (despite the active waves of feminism) hadn’t become entrenched in
society, thus lipstick feminism and raunch culture became the cultural norm. As a result, this
supports Butler's ideas and their usefulness in understanding gender in marketing and
advertising products.
On the other hand, Butler’s ideas on gender being a set of repeated acts isn’t as useful in
understanding how gender is represented in marketing and advertising within a contemporary
landscape, instead Gauntlett’s ideas on the ‘fluidity of identity’ are more suitable. This is evident
in the ‘That Boss Life Part 1’ advert which was a marketing campaign by Maybelline to market a
new mascara. As a huge corporation aiming to ‘minimise risk and maximise
profits’ (Hesmondhalgh), the Two-Step flow paradigm was employed through the use of ‘opinion
leaders’ such as ‘Manny MUA’ and ‘MakeupShayla’ to intensify audience interest. Manny serves
as the first male ambassador for Maybelline, inevitably subverting his role as a male gender
(stereotypically) and Butler's ideas. This can be dictated by some factors: Manny’s non-verbal
AQA A-Level Media Studies - Paper 1 2019 Q4 Word Count: 782
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 marketing and
advertising products? Refer in detail to the Close Study Products Maybelline ‘That Boss
Life part 1’ and the Score hair cream advert. (20 marks)
Judith Butler’s ideas on gender being established through repeated performance is an arguably
useful idea to aid our understanding of how gender is represented in marketing and advertising
products. This is exemplified by the Score hair cream advert through socially and culturally
adherent representations of gender; supporting Butler’s notion. However, her ideas are deficient
in understanding representations of gender in the ‘That Boss Life part 1’ campaign by
Maybelline, which can be countered with Gauntlett’s theory on the ‘fluidity of identity’.
The Score hair cream advert was developed in 1967; a period rife with patriarchal attitudes and
inequality amongst genders. It serves as a profound epitome of how gender is represented in
marketing and advertising products because it is a strong reflection of verisimilitude - men were
viewed as the superior gender, whereas women were inferior.
A mid-shot captures a male figure painted as the ‘hero’ of Propp’s character types possessing a
firearm, in conjunction with smiling valiantly signifying his pride and power. Barthes’ second-order
signification of myth would dictate he is violent and brave, exploiting his firearm to subdue the
world and women with his charm (the hair cream). This representation of gender was traditional
during the 60s because men were viewed as powerful and ‘breadwinners’. In addition, the idea of
men possessing power can be profoundly supported by the ‘litter’ of women who are carrying
and revering him, as if he is an idol and they are idolaters. Moreover, the advert’s use of lexical
codes, “get what you always wanted” communicates the message that pursuing ‘action’ (AIDA)
will achieve this lifestyle and obeisance. Linking back to the question, Butler’s ideas can be
supported through the representation of the male gender because the male is conforming to his
“stylized repetition of acts”, ultimately constructing him as a powerful, hypermasculinised figure.
Additionally, the female figures reinforce Butler’s ideas through their displayed performance. Clad
in revealing and sexualised attire, in conjunction with dark eyeliners, they conform to Mulvey’s
‘male gaze’ theory. In addition, one of the women is seen reaching out to the man - Barthes
would describe this as a ‘semantic’ code for the female's promiscuity and lust. This supports their
sexualised demeanour which constructs them as subservient and submissive to the male figure.
Consequently, this raunchy representation of the female gender was typical during the 60s period
because feminist values (despite the active waves of feminism) hadn’t become entrenched in
society, thus lipstick feminism and raunch culture became the cultural norm. As a result, this
supports Butler's ideas and their usefulness in understanding gender in marketing and
advertising products.
On the other hand, Butler’s ideas on gender being a set of repeated acts isn’t as useful in
understanding how gender is represented in marketing and advertising within a contemporary
landscape, instead Gauntlett’s ideas on the ‘fluidity of identity’ are more suitable. This is evident
in the ‘That Boss Life Part 1’ advert which was a marketing campaign by Maybelline to market a
new mascara. As a huge corporation aiming to ‘minimise risk and maximise
profits’ (Hesmondhalgh), the Two-Step flow paradigm was employed through the use of ‘opinion
leaders’ such as ‘Manny MUA’ and ‘MakeupShayla’ to intensify audience interest. Manny serves
as the first male ambassador for Maybelline, inevitably subverting his role as a male gender
(stereotypically) and Butler's ideas. This can be dictated by some factors: Manny’s non-verbal
AQA A-Level Media Studies - Paper 1 2019 Q4 Word Count: 782
