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Launch! Advertising and Promotion in Real Time, 2009a

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appreciate how much “postproduction edit<strong>in</strong>g” goes <strong>in</strong>to the fashion bus<strong>in</strong>ess), see how experts morph an<br />

average woman <strong>in</strong>to a billboard beauty on this Dove Web<br />

site:http://www.boardsmag.com/screen<strong>in</strong>groom/commercials/3421.<br />

Perhaps because of the success of the Dove campaign, other companies also are turn<strong>in</strong>g to ord<strong>in</strong>ary<br />

people <strong>in</strong>stead of professional models when they advertise. As an extension of its “I’m lov<strong>in</strong>’ it” campaign,<br />

McDonald’s held a cast<strong>in</strong>g call for consumers (as opposed to professional models) who will appear on its<br />

world cup <strong>and</strong> bag packag<strong>in</strong>g. Nike <strong>and</strong> Wal-Mart also have run advertisements with average-look<strong>in</strong>g<br />

employees. [6]<br />

Will this emphasis on “keep<strong>in</strong>g it real” cont<strong>in</strong>ue, or will it give way to consumers’ desires to aspire to<br />

perfection (<strong>and</strong> buy the products they th<strong>in</strong>k will help them get there)?<br />

So, which way is it? Is advertis<strong>in</strong>g a mirror or an idealized picture? It’s likely that advertis<strong>in</strong>g both reflects<br />

<strong>and</strong> affects gender roles <strong>in</strong> our daily lives. S<strong>in</strong>ce the 1970s, researchers have <strong>in</strong>vestigated the extent to<br />

which American advertis<strong>in</strong>g portrays women <strong>in</strong> stereotypical roles. Most report that ads do tend to<br />

portray women as subservient to men, as preoccupied with physical attractiveness, <strong>and</strong> as sex objects who<br />

are preoccupied with their appearance, <strong>and</strong> they tend to m<strong>in</strong>imize depictions of women <strong>in</strong> positions of<br />

authority. To rub salt <strong>in</strong>to the wound, this media exposure can <strong>in</strong>deed <strong>in</strong>fluence real women’s selfconcepts<br />

<strong>and</strong> aspirations. [7]<br />

James Twitchell, <strong>in</strong> his book Twenty Ads that Shook the World, takes a more positive view. Us<strong>in</strong>g the<br />

example of the ads for Charlie perfume <strong>in</strong> the 1970s <strong>and</strong> 1980s, he shows how this advertis<strong>in</strong>g provided<br />

the imagery of the new woman <strong>in</strong> the workplace: striv<strong>in</strong>g, not strident, proud of her accomplishments <strong>and</strong><br />

not afraid to say so, but not the dour “make room for me or else” fem<strong>in</strong>ist that the press portrayed at the<br />

time. Twitchell’s view is that Madison Avenue is not immoral <strong>in</strong> impos<strong>in</strong>g stereotypes but amoral <strong>in</strong><br />

reflect<strong>in</strong>g prevail<strong>in</strong>g roles; that is, advertis<strong>in</strong>g follows whichever way the w<strong>in</strong>d is blow<strong>in</strong>g. The po<strong>in</strong>t is that<br />

if stereotyped roles didn’t sell products, advertisers would gladly use different imagery. [8]<br />

One celebrated ad campaign—Nike’s “If You Let Me Play”—challenged stereotypes about women while at<br />

the same time achiev<strong>in</strong>g Nike’s advertis<strong>in</strong>g objective of entic<strong>in</strong>g more women to buy its shoes. This effort<br />

successfully blended statistics with a powerful story that showed how exclusion <strong>and</strong> outdated norms<br />

concern<strong>in</strong>g girls’ participation <strong>in</strong> school sports hurt their self-esteem <strong>and</strong> even their health. The campaign<br />

<strong>in</strong>cluded l<strong>in</strong>es like these:<br />

Saylor URL: http://www.saylor.org/books<br />

Saylor.org<br />

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