The commercialisation of television broadcasting in the UK since the 1980’s (Calvert et al. 2007) has arguably led to the advertising industry becoming a prominent medium of disseminating dominant hegemonic and ideological views. In this essay I intend to discuss the issues of ideology and hegemony, with particular reference to ‘typical’ gender representations. Designer beauty brand ‘Dior’ recently released two advertisements featuring Hollywood actors Jennifer Lawrence and Johnny Depp. This essay will explore how these media texts depict ideological views of femininity and masculinity through analysis of their meaning and content. In turn, the hegemonic ideals of what beauty is and what people should aspire to look like will be discussed. Research conducted by Manwaring (2011) discovered a correlation between television viewership and negative body image in young girls; this highlights the significance of this ever evolving social issue. Additionally, I will argue how the role of the celebrity widens this gap between expectation and reality of physical appearance.
The concepts of ideology and hegemony have long been intertwined. Hegemony, in its most basic form, refers to the limited worldview that favours powerful groups and ideals (Rosamond 2006). Italian philosopher Antonio Gramsci, whose work has been explored by O’Conner and Downing 1995, furthered this argument to place greater focus on how the transmission of hegemonic ideals is achieved. Dominant institutions, such as the media, transmit these ideas to the masses as ‘common sense’ knowledge In turn, certain world views are constructed and legitimised, usually without public awareness or consent. The definition of ideology falls closely in line with this, as the success of hegemony relies on ideologies encouraging consent towards this powerful group and ideals. As noted by O’Conner and Downing (1995), it can be described as a set of beliefs and values about individuals and wider society. These vary between cultures and can outline a particular perspective on how that society should function, often encouraging certain ways for individuals to act and behave. The media regularly promotes certain ideologies regarding gender representation through advertisements. Through this transmission, the masses are then led to a particular way of thinking that maintains hegemonic ideals about typical masculinity and femininity.
The construction of gender stereotypes is heavily influenced by the media, as claimed by Calvert et al. (2007: 131). Their suggestion that the media presents a “gender-skewed” view of the world is exemplified in Dior’s advert featuring Jennifer Lawrence. The Hollywood actress can be seen applying a pink lipstick, while her blonde hair is sleeked back. She is also wearing a short pink dress with dark high heels. The colour pink is generically associated with, elegance and seduction while blonde hair has historically been linked to an attractive physical appearance. This is supported by Rich and Cash’s claim that princesses usually have “golden hair” (1993: 114). Though it could be claimed this source is outdated, the association of a princess with conventional femininity is still in existence today; the media continue to play on this representation in their construction of ‘beauty’. Lawrence’s flawless, highlighted complexion creates an unrealistic expectation for viewers that feminine beauty is epitomised by fresh faced, tall, physically attractive blonde women. In this way, the advertisers support the hegemonic ideals of what femininity is expected to be by reinforcing dominant stereotypes that are unattainable for most in society. This representation of beauty also coincides with the ideological view that ‘sex sells’ in the advertising industry, seemingly evoking certain emotions that allow the audience to connect with the product. A sense of allure is created by the focal points of Lawrence’s lips and eyes. Some traditional feminists would suggest the emphasis on these conventionally sexualised physical features reinforces a traditional ideological view of a woman being a sexual object (Calvert et al. 2007). To further this, it could be viewed that the focus on Lawrence’s body and facial features- and the associations between this and idealised femininity- sell the product, rather than the product selling itself.
This is, however, only reflective of one particular ideology. While presenting conventional feminine stereotypes, the notion of female gender roles are also referenced in this advert. The slogan “don’t be shy, shine”, as spoken by Lawrence, uses the imperative “don’t” to encourage women to break away from the submissive gender role they have often been associated with. The lipstick is used as a device to metaphorically represent a transition from the traditional female role to a more modern and progressive model that exists today. This concept mirrors the findings of Psychologist Edward Bernays (The Century of the Self 2002). In investigating the psychology techniques behind advertising, he was challenged to encourage women of the time to smoke. He achieved this by attaching the physical entity of a cigarette to the suffragette movement, and the idea that smoking could be a symbol of defiance and female superiority. This suggests that irrational thoughts can be linked to irrelevant objects and, in turn, be made into powerful symbols. Jennifer Lawrence’s Dior advert encourages women to embrace individuality within this forward- looking gender role through attaching ideals of power to the product of the lipstick. This is further reinforced by the cross legged position Lawrence assumes while sitting at a desk chair. Connotations of authority and power could be drawn, representing a more dominant position of women particularly in the business world. The use of this ideology allows the advert to communicate with a broader audience; both women who are already in this progressive position and those who can aspire to it are the target audience.
Though arguably more positive in its ideology regarding gender roles, this aspect of the advert is hegemonic in its values. The advertisers are enforcing dominant views onto the audience in a way that they may be unaware of. Gramsci (Calvert et al. 2007) would argue a key reason for this would be for the economic benefit of the government, maintaining their power in an ideological way. It is in their interests for women to be earning money; conformity to a particular construction of femininity also encourages financial investment in the beauty industry, reinforcing the government’s power. These points do, however, assume the passive role of audiences in merely accepting the information that if relayed to them.
This concept of ‘reproducing’ a particular ideology for the government’s benefit mirrors Althusser’s theory of ‘Ideological State Apparatus’ (Althusser 2008). Althusser proposed that the working class accept their place in society as the ruling class maintained their positions through transmitting their ideals ideologically through the media. In this way, particular constructions of gender (based on governmental hegemonic ideals) can be internalised and accepted through institutional transmission. This can be shown in the ‘Dior Sauvage’ advert featuring actor Johnny Depp where masculinity is associated with the bachelor lifestyle and escapism. The advertisers use a dark, sweeping shot of a skyline followed by Depp playing heavy metal music on the guitar in a small low lighted room. The presentation of Depp’s character as a ‘rebel’ juxtaposes the business-like connotations associated with a skyline; this is reinforced by the obscured, upside down camera angle. Depp’s character is then seen driving a fast car through the city out into the desert. To the audience, this represents an idealised form of masculinity which plays on the ideological view that freedom is desirable. The advertisers present the aftershave as a device to be used for obtaining this particular lifestyle that may otherwise be inaccessible for them. In turn, this creates a stereotype of only men who act and look this particular way can fulfil such ideals; this advertising device targets male insecurities of being ‘tied down’ as a form of persuasion. With regards to hegemony, the advertisement works by conveying a media skewed view of what masculinity should be. The contrast between the negative presentation of the business world and the freedom the aftershave can offer them reinforces these hegemonic ideals. It is in the consumerist interests of the media (and so, the government) to convey this construction of masculinity as superior, as emphasis on the gap between consumer expectation and reality is economically beneficial to them.
The hegemonic ideals of conventional masculinity continue to be found in the use of imagery and spoken language. Rows of heavy machinery running parallel to the road on which Depp is journeying are symbolic of power and strength. Similarly, the bull, eagle and wolf which he encounters are all associated with being authoritative and dominant creatures within the animal kingdom. To the consumer, the use of such imagery represents the qualities which the aftershave claim to offer them. This visual manipulation by the advertisers reinforces the ideological view that such power and freedom is desirable and integral to masculinity, as “masculinity has been seen as less restricted and more often associated with power…” (Calvert et al. 2007: 132). Additionally, the use of the animals coincides with the product name. ‘Sauvage’, when translated from French, means ‘wild’. This in itself is reflective of advertisers encouraging consumers to embrace their ‘wild’ side and conform to the masculine stereotype that has been constructed; their product is a means of doing this. Hegemonic ideals of male superiority over females is also referenced when comparing the two adverts. While the Jennifer Lawrence advert uses the imperative “don’t be shy, shine”, this advert instead uses declaratives such as “I gotta get out of here” and the rhetorical question “What am I looking for?”. While both encourage conformity to a particular stereotype, this is arguably done in a less forceful way in the Johnny Depp advert. The greater focus is on self-discovery and opportunity that can be accessed through the product as opposed to career-focused benefits of the Lawrence advert. This reinforces dominant ideology by internalising hegemonic ideals of female inferiority in society.
As I have outlined, the role of the celebrity is integral to advertisements. Couldry and Markham (2007: 405) discovered in their research “celebrity culture in a broad sense was central to the media they (young girls) followed and to which they felt connected”. This reinforces the fact it has become engrained that within society celebrities hold a superior position over the masses. In turn, the use of this social group has become integral to advertisers regarding their ability to successfully transmit dominant ideologies. They can arguably give advertisements a perceived sense of credibility that encourages conformity to both the product being sold and the associated messages. As a result, the gap between the social expectations the consumers are being encouraged to strive for and their reality is widened; yet, their desire to reach it is furthered as a rapport is built between consumer and celebrity. In the case of Dior, Jennifer Lawrence and Johnny Depp are both highly idealised and established actors. The use of these two celebrities in conveying particular hegemonic constructions of gender and beauty is significant; it masks the reality of these being governmentally lead and media saturated ideals. Thus, it can be suggested that the role of the celebrity is powerful in enabling advertisers to transmit certain ideological views, though it cannot be assumed the audience accepts these ideals. This is reflected in the ‘Desensitisation Mode’ that suggests constant exposure to media messages will, in time, leave the audience immune to what is being transmitted (Edwards 2003). While there is no explicit way to measure this, Dior’s 58% net profit rise (Fashion United 2015) from 2014 could challenge this theory and suggest a correlation between powerful celebrity advertisements and product sales (and so, the conveyance of associated ideologies).
In closing, it can be suggested that the advertising industry is intrinsic in disseminating dominant ideological and hegemonic values. As exemplified by luxury brand ‘Dior’, the message behind the advertisement typically takes precedence over the central product itself. Instead, hegemonic constructions of gender and beauty should be are transmitted to the consumer; this is primarily in the interests of the government and media for both economic and ideological purposes. This is aided by the ever-growing ‘celebrity culture’ that forms a fundamental part of our society, masking the true intentions of advertisers. As the global commercialisation of broadcasting continued to develop, it could become a near- impossible task to avoid the powers of the advertising industry in terms of their ability to transfer dominant ideological and hegemonic ideals.