Introduction
The
“alienated spectator” is now a driving force for the way in which ads are
constructed and the meanings that are ascribed to them and inherent in them
(Goldman & Papson, 1996, p. 83). One
of the ways in which marketers have attempted to regain the attention and focus
of viewers in today’s saturated markets is through ads that utilize, reinforce,
and glamorize patriarchal norms of violence targeted at women. Given the universal scale of the issue of
violence against women, these aggressive and sexist images of gender relations in
advertising has the potential to set the stage, promote and naturalize all
forms of abuses including physical, and sexual.
This paper will provide an in-depth analysis of the approaches and
ramifications of four print ads that illustrate violent images and vocabulary
in order to market to consumers and sell products. These include ads from: Louis Vuitton, Dolce
& Gabbana, Redwall, and Gold Disk.
The
effectiveness of these ads is primarily due to their shock value. Shock value is a technique “of grabbing the
spectator’s attention that turns alienation into both the subject and the
framework of discourse” (Goldman & Papson, 1996, p. 88). I aim to show how these advertisement
campaigns also use shocking material as a “creative” way, through their
references to physical and sexual abuse against women, as a means to invite and
direct the interest of the cynical audience member. In the first part of the paper, a brief
background on the global issue of violence against women will be provided followed
by an analysis of the ads and the techniques they employ to normalize
aggression and ferocious attitudes towards women as an acceptable form of
male-female interaction.
Violence against Women: A Global Issue
Violence
against women has and continues to be a global crisis with severe consequences.
Violence targeted at women is defined as
anything that “may result in death, injury or permanent disability, unwanted
pregnancy, sexually-transmitted diseases, and/or emotional trauma” (“Violence
Against Women & Children”, n.d., p. 2.)
Continued and repeated exposure to violence could also lead to many
other forms of chronic illnesses. For
all women around the world between ages 14 to 44, violence is now the second
cause of injury (Woodruff, 1996). Between
1998 and 2002, in Canada alone, spousal violence constituted the most
significant category of civil matters in adult courts. In more than 90% of these cases, the
offenders were men and in particular men that were known associates to the
women (“Violence Against Women & Children”, n.d.). Furthermore, approximately 51% of Canadian
women “have been victims of at least one act of physical
or sexual violence” with the most prominent age group being 25 to 34 year-olds (“Violence
Against Women & Children”, n.d., p. 6-7). Although these statistics allude to the
severity of the problem that exists, many corporations still try to cash in on
this sinister phenomenon by portraying women in ways and positions that make
references to them as being victims of violent acts which reinforces dominant
patriarchal ideologies that views women as weak and inferior to men.
Two
factors have been identified as unique to the belief system of men who are
perpetrators of violence against women.
These include: 1. “the belief that violence is a legitimate way of
solving problems and 2. a belief that it is okay for a man to control women” (Woodruff,
1996, p. 331). If these are some of the
underlying attitudes of male batterers, then it is of no doubt that cultural
and social vehicles contribute to laying the grounds for promoting and influencing
these types of aggressive behaviours.
For instance, from childhood, men are taught to be strong, tough, and in
charge, especially in respect to women.
Furthermore, they are socialized to believe that violence and aggression
are the correct answers to all of life’s barriers, circumstances and
frustrations (Woodruff, 1996). Thus,
violence is not only tolerated, in today’s society, but it is also sometimes
even propagated, encouraged and glamorized through various service sectors such
as the mass media and advertising.
The Ads: Louis Vuitton, Dolce & Gabbana, Redwall, &
Gold Disk
Here
are four examples of ads that are shocking due to their glorified depictions of
violence against women.
The
first is a poster by Louis Vuitton which shows a woman’s hands, legs and feet
wearing a pair of multicoloured Louis Vuitton heels, standing firmly against an
oversized, red and pink dartboard (Gender Ads.acom, n.d.). In addition, four knives (signifiers) which
are there to represent darts (signified) are resting on the dartboard inches
away from the woman’s bare, tanned legs.
The faceless female as well as her willingness to be used and positioned
in a demeaning and dangerous manner advocate the powerlessness of women and
justify their treatments as objects. By situating the woman alongside the game
of darts, which tends to be a male-oriented activity, this ad aims to serve to
a male audience in more than one way. The
woman is being equated to an inanimate object while serving as another source
of entertainment. By changing darts to
knives and adding a woman to the picture, it appears that Louis Vuitton is
trying to transform an otherwise boring sport into a thrilling, violent and
sexually fuelled game. Unfortunately, this
glamorization of violence does injustice to women and their worth and dignity.
Secondly,
at first glance, an ad for Dolce & Gabbana clothing and shoes illustrates a
woman being restrained on the ground by a shirtless man while being watched and
surrounded by an additional four half-clothed males (signified) (National
Organization for Women Foundation, 2008). What this ad portrays are the asymmetrical
power relations that exist between genders in today’s society. The positioning, angles and the arrangement
of the woman’s body versus the men’s, in this picture, reinforces power
differences amongst men and women where women are submissive and inferior to
their male counterparts. The male
figures are communicated to be powerful and in charge through the way they are
standing above the woman and looking on.
The way the woman is being surrounded and outnumbered by men, further
alludes to a romanticized gang rape (signifier). The man holding down the young woman appears
to be the first of many perpetrators of sexual violence. Other clues are also used to illustrate a
woman who is being attacked and dominated against her will. These include: her
turned head, closed eyes, arched back and upward pointing knees and hips which signal
a lack of interest and fear. By
combining sexuality and violence, this ad’s message is both inappropriate and
disturbing.
Redwall,
an Italian handbag brand, shows a woman cornered, wearing a see through,
plastic mini-dress and heels holding a red leather purse in-front of her face
while a semi visible man, wearing all black, aims a gun at her head (Gender
Ads.com, n.d.). Clearly, the audiences’ attention
and focus is supposed to be directed at the only colourful and normal thing
about this ad which is the bag; however, one cannot and should not ignore all
the other elements apparent in this picture.
The Italian slogan below the image reads: “La Borsa è la Vita” which
when translated means “your money or your life” (Revers, n.d.). In other words, the woman in this picture is
being robbed at gunpoint by a man; either known or anonymous to her. The purse (signified), in this image, is
being used as a shield (signifier) for the woman. In other words, what the brand is trying to
communicate is that this bag is strong enough to protect even a woman from strong,
tough men. Thus, women are left to their
imagination as they ponder all other forms of violence and abuse they can be
saved from if they purchase this durable purse which seems to be the only
answer to unwanted aggression towards them.
Essentially, enormous power is accorded to an accessory to make it seem
more appealing and desirable to female consumers.
Finally,
Gold Disk’s VideoDirector ad offers “alienated spectators” a different, yet
equally similar celebratory perspective on violence against women. At the top of this poster, a heading
(signified) in an extra large font reads: “Cut your wife’s head off? Not a
problem” (signifier) and right below this obscure and allegedly “humorous”
statement, is a picture of the packaged product which displays a grinning and
smirking middle-aged man (Gender Ads.com, n.d.). The use of humour is further distasteful and
insulting as it desensitizes the seriousness of the issue of spousal
violence. It appears that VideoDirector
is a video editing program that allows one to cut, delete, and rearrange
captured footages. Apparently, the only
thing approach this brand could take in order to differentiate itself in today’s
“promotional culture”, as termed by Andrew Wernick (1991), was to offer their
male buyers a quick and easy way to behead their spouses, even if it is just in
their subconscious (p. 182).
Dehumanization of Women and Glamorization/Rationalization of
Violence
Additionally,
all the ads listed above support wide-held ideas of women as objects that can
be subdued, which gives an indicator in the direction of violence towards
women. By minimizing the humane side of women and/or portraying them in
inferior ways, these ads justify acts of aggression against women. Shock or cognitive dissonances are two
responses a viewer can have when first exposed to these ads. For those who are shocked, the advertisers’
goal has been met. As mentioned
previously, “shock value” has become a prevalent marketing strategy in “hailing
the alienated spectator” (Goldman & Papson, 1996, p. 83). Whether one’s offended or taken aback by these
vulgar images and words, their attention has been grabbed and redirected
towards the ad. On the other hand, those who experience
cognitive dissonance, which occurs when a person simultaneously holds two
conflicting ideas, may feel uncomfortable until one or both of those cognitions
are rationalized (Aronson & Pratkanis, 2002). This is where dehumanization plays a role. By depicting women as objects, weak, faceless,
it becomes easier for audiences to tolerate these depictions and also convinces
them that somehow these women “deserved” the treatments they received (Aronson
& Pratkanis, 2002, p. 47). Dehumanization, through the use of innovative
images and vocabulary, is seen in the Louis Vuitton, Dolce & Gabbana and
Redwall ads, where women are either sex objects, disfigured or are subjective
to violence.
Another
problematic message these ads send is that “they grant permission” for everyday
household products to be used for an execution of “a range of abusive
behaviors” or to “protect” one from these acts of aggression (Woodruff, 1996,
p. 333). This is most evident in the
Gold Disk poster where it is suggested that a video editing program can
effectively enable men to “cut their [wives’] heads off” which supports and reinforces
beliefs that violence is an acceptable form of interaction between spouses. In addition, in the Redwall ad, a red shiny
purse is presented to as the best weapon a woman can have with her at all times
as it can provide effective protection against even the most deadliest
weapons.
Lastly,
Henry Giroux (1996) argues that violence in the mass media today is
“stereotypically masculine” (p.19). One
genre of violence that has become commonplace in advertising is what he terms
“ritualistic violence” which “is racy, sensationalist, and testosterone laden”
(p. 19). Ritualistic violence appears
in most ad campaigns discussed above with the exception of the Gold Disk poster. Within “ritualistic” violent ads,
pornographic references are adopted in order to make violence against women
appear tasteful, sexy and pleasurable. The
most prominent example of this is the ad discussed above for Dolce &
Gabbana, which presents a fantasy world of “gang bang.” These allusions to multiple rapes are vulgar,
hostile and aimed at shocking consumers.
Louis Vuitton and Redwall also depict violence in an attractive manner
in their ads through the use of sex appeal.
Kim Gandy, the President of The National Organization for Women
Foundation, proposes that brand name corporations use these outrageous and
“provocative” illustrations solely to get publicity (Gandy,
2007). Therefore, “getting publicity” appears to be a more significant goal for
these well-known advertisers than offending and degrading women.
Conclusion
Violence
against women is a global issue that needs a global solution. Majority of women have been a victim of at
least one act of physical or sexual abuse in their lifetime (“Violence Against
Women & Children”, n.d.). As Giroux
(1996) points out, everyday acts of violence stem from somewhere; they are “neither...innocent
nor [do they] emerge outside of existing historical contexts and social
relationships” (p. 78). Advertising is
one social dynamic that plays a role in presenting women as conventional
targets of violence as seen through the campaigns of: Louis Vuitton, Dolce
& Gabbana, Redwall, and Gold Disk. Such
advertising significantly contributes to reinforcing, rationalizing and
legitimizing existing, ideological myths about the inferior positions of women
in society and the belief that men can and should control women. This is done through the techniques of dehumanization,
shock value, “ritualistic violence”, as well as the glamorization of violence. It is time for marketers to accept a degree
of social responsibility and to challenge hegemonic ideas about gender
relations and hierarchies. One way to do
this is to eliminate and replace ads that exhibit gender inequality and
violence with more positive and equal representations.
By: Sonia Ejtehadian
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