From magazines to advertisements, women are constantly being exposed to beauty ideals - many of which are unattainable. This results in women falling victim to the manipulations and lures of the marketing industry. Since its establishment in 1886, Cosmopolitan has been a popular source for women to turn to for advice on relationships, sexual activity and popular culture. During its inception, the magazine was published as a women's fashion magazine initially depicting articles on families, home decorating, and the progress of science and technology. However, while Cosmopolitan is still viewed as a magazine targeted towards women, the methods in which the magazine attracts women have dramatically evolved. At first, Cosmopolitan focused on releasing …show more content…
Figure 1 displays a simplistic background with minimal cover lines and the central focus of a woman who is depicted as being passive and docile. This is evident in the way she shies away from the camera by creating a sophisticated ambience about her. The costuming shows a limited amount of skin, allowing the face to become the focus of the cover. The long sleeves and the high neck collar connotes a conservatism - something which women were expected to follow due to the male perception of an ideal wife. This enforces the targeted audience during the timeframe to use the magazine as the main beauty standard. The model highlights the beauty in her looks, placement and positioning of her body in a suppressive manner. This emphasizes the manner women were to portray, due to male authority over women. This shows that the value of the magazine as it encourages the reader to look at the beauty standard as the social norm. Furthermore, the background vs foreground background flowers evokes a sense of purity, innocence and grace emphasising how women were expected to display conservative and high standards of morality. For example, a guide written in 1955 called ‘The good wife's guide.’ The guide exhibits the idea of women being financially dependent on men due to their employment and constructed gender norms such as …show more content…
Figure 2 and 3 exemplify women presented in a submissive and docile image. In figure 2, there is a direct eye contact to the camera which conveys a personal address to the reader. It allows the audience to be captivated in the seductive qualities of her body. However, the use of black around her eye helps to accentuate salacious look upon her face. Furthermore, white fur and jewelry in her costuming portrays this ideal of wealth and affluence that women should be aspiring for to attract the ‘right man’. As time evolves, commercialism and its impacts on women’s magazines have become increasingly prevalent over time. This meant that goals such as the empowerment of women are often sacrificed to please advertisers as Cosmopolitan continues to portray consumption as a gateway to femininity. Moreover, in the coverlines the friendly tone adapted in the language of magazines intends to create a sense of intimacy, trust and confidence within the
Society's woman is a marketing tool: it is seen as an object, used to sell a myriad of products. Advertisements never seem to associate women’s bodies with intelligence. This is perhaps why it is extremely easy to see women simply as objects. Atwood demonstrates her disappointment in society by saying, “Money flows into this country or that country, flies in, practically crawls in … lured by all those hairless pre-teen legs” (212). She recognizes that not only
Consequently, she would likely challenge Cox’s description of the role that women played as the subject of advertisements in the 1920s as nothing more than objects whose sole purpose is to be beautiful. She would be more prone to state that instead of this harsh and objectifying image set forth in Cox’s narrative, women as subjects in advertisements during this time period were “the visual representation of a modern cultural consciousness that defined the 1920s” (Rabinovitch-Fox, 374). This is a very drastic contrast to what has been the narrative thus far regarding women’s status in society through the lens of the advertising companies. These companies have either been demeaning them as nothing more than housewives by pandering to that notion in their radio programming or outright objectifying women completely when they make them the subject of an
Now, not only have women in the work place been subjected to unfair conditions, we also have an impossible look to achieve. Jean killbourne, now a speaker, once a model was destroyed by societies standards on what women are to look like. When we watch television and we see a simple shampoo commercial we do not realize it at the time, but if we stop and look at the bigger picture we realize that the “girl next door” who is just washing her hair like every young lady does is anatomically perfect. Killbourne in her speech shows the audience a picture of a young woman that has been photoshopped to the point of distortion; it shows that young lady’s hips are smaller than her shoulders, and her waist no bigger than a child’s. We know that as women it is hard enough to focus on our careers, but now we must look like barbie’s as well?
Luce begins with a lighter and subtle tone, calling the women, “Sisters” and presenting on how women “still have lipsticks, and even silk stockings… [and] have gone into uniforms… [that] are made of good cloth and are well cut”. By providing examples of women’s lavish outlook, Luce defines women’s lifestyle as “glamorous”, expressing how fortunate the women are.
Jane Martin’s play “Beauty” shows us two different versions of the problems women are facing current while living in today’s world and taking a walk in
The novel Looking for Alibrandi by Melina Marchetta and the magazine article, The Good Wife’s Guide, originally published in ‘Housekeeping Monthly’ in 1955, explore the gender roles of the stereotypical 1950’s housewife and how they should behave. These texts also investigate the idea that women are treated differently from men and some impacts that growing up in a sexist and single minded society can have on the youth of the community. Gender stereotyping someone is to discriminate them because of their gender, making the assumption that they obtain a certain characteristic or trait because of their gender. The Goods House Wife’s Guide is an eighteen point list that depicts how a wife in 1955 should act and all of the things she needs to
Piercy’s “Barbie Doll” takes a sarcastic approach to backlash at society and send the reader a message about what beauty really is. In “Barbie Doll”, A Barbie doll is used to show and symbolize what society views as what a female should aspire to become “perfect”. “Barbie's unrealistic body type…busty with a tiny waist, thin thighs and long legs…is reflective of our culture's feminine ideal. Yet less than two percent of American women can ever hope to achieve such dreamy measurements.”
They both critique our culture’s misogyny and rigid standards of beauty. In “Losing Bodies”, Susie Orbach argues that modern Western beauty standards have a profoundly negative impact on women, encouraging women to take drastic measures to conform to the mainstream ideal of beauty. Duhamel refers to this in her poem, “The Limited Edition Platinum Barbie”. Orbach also claims that gender roles dictate what behavior is acceptable for women (248), as does Duhamel in her poem, “One Afternoon When Barbie Wanted to Join the Military”. Although these works express similar concerns, they are presented very differently.
Marissa Miranda Professor Bronstein English 1A 9:15 am -11:20 am Beauty In “Beauty,” Alice Walker discusses the differences and perceptions of beauty and how beauty is valued. Walker uses her article -her life journey as an example of how beauty changes based on how it is perceived. She talks about her child image, the accident, her and her family’s reactions, the desert she was able to see, and how her daughter freed her. She uses the metaphor of the world in her eye in order to redefine what society sees as beautiful in her article.
As well as feeding off of the sources and material presented earlier in this paper, the analysis to come will also use Erving Goffman 's categorisation of gender to analyse how the women (and some men) are depicted on the front covers of Playboy and Good Housekeeping within said timeframe. In his study Gender Advertisements (Goffman, 1985), Goffman gathered hundreds of advertisements from magazines in various positions and poses and analysed poses and how they portrayed masculinity versus femininity. His way of analysing advertisement differentiates itself and makes a broader distinction of what is considered sexist or not, by showing much like the Heterosexual Script earlier on in the paper, what was considered appropriate roles for men and women. In Goffman 's ' analysis of advertisements, he suggests several variables used when analysing a depiction of both men and women.
This then energizes and excites vulnerable woman, throwing them into the advertisers trap. “I can do this. I can be this pretty!” Is all that’s going through their
“The valuation of women in pornography is a secondary theme in that the degradation of women exists in order to postulate, exercise, and celebrate male power”, (Dworkin, 1979). This is just one of the many statements she makes against pornography and the theme of male power as the driving force. Throughout her argument, she goes on to state that male power is not only the force behind pornography, but is also the controlling factor when it comes to the distribution of roles, economic control and the ways in which the models are used. Dworkin (1979) uses an image in Hustler magazine in order to illustrate her argument of male power as the major theme for pornography. The analysis of this photograph is very detailed and includes translations of what each item and act found on the image support her argument.
Advertisers are constantly trying new ways to catch the consumers eyes such as using signs, advertising strategies, advertising formats, exemplifying the product being used, modes of address, and using their brand, all of which are strategically executed to make you want to purchase their products. Seventeen Magazine is a magazine that targets teenagers and young adults (mainly female). This magazine focuses
One of the categories in being the ideal woman is being conventionally beautiful because, according to the media, a significant portion of a woman’s self-worth rests in appearance. This can be seen through women’s magazines in particular, which promote altering one’s appearance leads to the significant improvement of one’s “love life and relationships, and ultimately, life in general” (Bazzini 199). Therefore, the media presents a direct relationship with beauty and success: the more attractive a woman is, the better her life will be. Thus, a woman must the take initiative to look beautiful in order to be successful. Through the repetitive exposure of the same type of image in the media, what society considers beautiful often resembles a definitive checklist.
Beautiful, skinny size 6 celebrities such as Keira Knightley are a prime example of this. The article headings are vitally important too. Beauty and sex tips seem to be the popular sellers. Liz Jones, the former editor of the Marie Claire said 'Nowadays, when the average time spent choosing a magazine and lifting it off the shelf is about three seconds, the covers make or break a magazine. You need lots of cover lines [– the phrases like 'Great sex today!' promoting articles in the magazine], and they all have to be compelling' (Jones,