Advertising: David Gauntlett and masculinity
Gender, identity and advertising: blog tasks
David Gauntlett: academic reading
1) What examples does Gauntlett provide of the "decline of tradition"?The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of thepicture by the feisty, successful 'girl power' icons. Meanwhile the masculine ideals of absolutetoughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis onmen's emotions, need for advice, and the problems of masculinity.
2) How does Gauntlett suggest the media influences the way we construct our own identities?Magazines, bought on one level for a quick fix of glossy entertainment, promote self-confidence (even if they partly undermine it, for some readers, at the same time) and provide information about sex, relationships andlifestyles which can be put to a variety of uses. Television programmes, pop songs, adverts, movies and the internet all also provide numerous kinds of 'guidance' - not necessarily in the obvious form of advice-giving, but in the myriad suggestions of ways of living which they imply. We lap up this material because the social construction of identity today is the knowing social construction of identity. Your life is your project - there is no escape. The media provides some of the tools which can be used in this work. Like many toolkits, however, it contains some good utensils and some useless ones; some that might give beauty to the project, and some that might spoil it. (People find different uses for different materials, too, so one person's 'bad' tool might be a gift to another.)
3) What does Gauntlett suggest regarding generational differences? Is it a good thing that the media seems to promote modern liberal values?There is evidence that people's attitudes become somewhat less liberal as they get older, butat the same time the 'generation gap' in attitudes is closing (Smith, 2000). We can note that thosepeople who were 25 in the 'swinging' times of the late 1960s are now entering their sixtiesthemselves.There are some generational differences which tend to cut across these discussions. Surveys havefound that people born in the first half of the twentieth century are less tolerant of homosexuality,and less sympathetic to unmarried couples living together, than their younger counterparts. some may agree with that the modern liberal values are better as they ae more accepting of people and normalised things that older generations don't accept e.g. homosexuality
4) Why does Gauntlett suggest that masculinity is NOT in crisis?Although the magazines reflected a concern for men to find an enjoyable approach to modern living, then, there was no sign of a 'crisis' in either the magazines or their readers. Rather than tearing their hair out, everybody seemed to be coping with this 'crisis' perfectly well. The self-help books for men (discussed in chapter ten) also refuted the idea that changing gender roles had thrown men into crisis. The problem for men was not seen as being their new role - or lack of one; instead, men's troubles stemmed from their exaggerated and pointless commitment to men's old role, the traditional role of provider and strong, emotionless rock. Where men had a problem, then, it was not so much because society had changed, but because they as individual men had failed to modernise and keep up. Happily, the books took the view that people can change, and that troubled men would be able to create a satisfying and more relaxed life for themselves if they put in a bit of effort.
5) Does advertising still reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses? Offer examples for both sides of the argument from the wider advertising industry.Images of the conventionally rugged, super-independent, extra-strong macho man still circulate in popular culture. And as incitements for women to fulfil any role proliferate, conventional masculinity is increasingly exposed as tediously monolithic. In contrast with women's 'you can be anything' ethos, the identities promoted to men are relatively constrained. We noted evidence in chapter one that, whilst young females are taking to the full spectrum of school subjects and jobs, their male counterparts still generally avoid subjects and work that they see as 'female'. These things are continually crumbling, though. It is worth remembering, as we noted in chapter four, that even that archetype of masculine strength and independence, James Bond, cannot be too hard and self-reliant in today's Bond movies without being criticised for it by another character.
6) Gauntlett discusses the idea of 'girl power' and offers examples from music and film. Does advertising provide evidence to support the idea of 'girl power' or is the industry still reinforcing traditional representations of men and women?Magazines for young women are emphatic in their determination that women must do their own thing, be themselves, and/or be as outrageously sassy and sexy as possible (see chapter nine). Several recent movies have featured self- confident, tough, intelligent female lead characters (chapter four). Female pop stars sing aboutfinancial and emotional independence, inner strength, and how they don't need a man; and the popular mantra of self-help books is that women can become just as powerful as these icons, if they cultivate their confidence and self-belief, and draw up a plan of self-development
7) Do you agree with Gauntlett's argument under 'Popular feminism, women and men' where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes? Does advertising provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles?
There is an interesting parallel here with the scholarship on men and masculinity - the texts on masculinity are largely focused on the difficulties of middle-aged or older men who find it hard to shake off traditional masculine archetypes. And perhaps predictably, these studies are apparently written by middle-aged or older men who also cannot help bringing in the older tropes of masculinity. Meanwhile there is a generation of younger men who have adapted to the modern world (in a range of ways), who have grown up with women as their equals, and who do not feel threatened or emasculated by these social changes. These men and their cultures are largely ignored by the problem-centred discourse of masculinity studies. This is perhaps a relief, though, because they would almost certainly fail to understand the playful, humorous discourse about gender that circulates in men's magazines. (These magazines are not wholly anti-sexist, and there is a legitimate concern that dim readers will take 'joke sexism' literally, of course, but the more significant observation should perhaps be that sexism has shifted from being the expression of a meaningful and serious ideology in former times, to being a resource for use in silly jokes today).the magazines are often centred on helping men to be considerate lovers, useful around the home, healthy, fashionable, and funny - in particular, being able to laugh at themselves. To be obsessed about the bits which superficially look like 'a reinscription of masculinity' is to miss the point. Men's magazines are not perfect vehicles for the transformation of gender roles, by any means, but they play a more important, complex and broadly positive role than most critics suggest.
8) What examples from advertising does Gauntlett provide for the changing nature of gender in society (from the section on Judith Butler's Gender trouble)?Some advertising - such as the sexually charged but androgynous imagery promoting the CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deoderant and Kronenbourg lager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities.
9) Why is advertising such a good example of the 'contradictory elements' that Gauntlett discusses with regards to the mass media? In other words, how does advertising continue to both reinforce and challenge gender stereotypes?Contradictions are an inevitable by-product of the drive for multiple points of excitement, so they rarely bother today's media makers, or indeed their audiences. The contradictions are important, however, because the multiple messages contribute to the perception of an open realm of possibilities. In contrast with the past - or the modern popular view of the past - we no longer get singular, straightforward messages about ideal types of male and female identities (although certain groups of features are clearly promoted as more desirable than others). Instead, popular culture offers a range of stars, icons and characters from whom we can acceptably borrow bits and pieces of their public persona for use in our own. In addition, of course - and slightly contradictorily - individuals are encouraged to 'be yourself', and to be creative - within limits - about the presentation of self. This opens the possibilities for gender trouble, as discussed above. Today, nothing about identity is clear-cut, and the contradictory messages of popular culture make the 'ideal' model for the self even more indistinct - which is probably a good thing.
10) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. What is your opinion on this debate - do you agree that the media reinforces the changing attitudes towards gender and sexuality in society?People are changing, building new identities founded not on the certainties of the past, but organised around the new order of modern living, where the meanings of gender, sexuality and identity are increasingly open. Different aspects of popular media can aid or disturb these processes of contemporary reorientation. Some critics say that the media should offer traditional role models and reassuring certainties, but this view is unlikely to survive. Radical uncertainties and exciting contradictions are what contemporary media, like modern life, is all about.
Media Magazine: Andrew Tate - Masculinity in crisis?
Now read 'Tate Crime' - Media Magazine's analysis of the rise of online influencer Andrew Tate. You can find this in MM83 (p6) in our Media Magazine archive. Answer the following questions:
1) What is misogyny and how does it link to Andrew Tate?Misogyny means a hatred for / towards woman. Tate claims to be ‘absolutely a misogynist’. He has stated that women ‘belong in the home’, that they ‘can’t drive’, and believes that marriage, women are ‘given to the man and belong to the man’. He has also claimed that most men prefer dating 18-19-year-olds because they have had sex with fewer men.
2) How does the article suggest Andrew Tate used social media to build up his reputation and following?
Tate gives his audience tools to exploit anyone weaker than themselves whilst at the same time, exploitingthose same young boys and men to make himself more successful. Tate’s ‘Hustler’s University’ claimed to teachits subscribers how to get rich through investing in crypto-currency, drop shipping, and earning a commissionfrom getting other people to sign up to Hustler’s University. It’s no accident that in July, there were more Googlesearches for his name than for Donald Trump or Kim Kardashian. His followers at Hustler’s University, some as young as 13, were encouraged to repackage and repost clips from Tate’s interviews, often where he’s saying some of the most incendiary comments, in order to drive engagement.
3) Does Andrew Tate's popularity suggest there is in fact a 'crisis in masculinity' - disagreeing with David Gauntlett's view?
You have to understand that life is war. It’s a war for the female you want. It’s a war for the car you want. It’s a war for the money you want. It’s a war for the status. Masculine life is war. The only problem here is of course, it’s not. Whilst it’s true that sometimes you could apply that metaphor to some situations, life is so much more about avoiding conflict, de-escalating situations and negotiating compromises than it is treating every human interaction as a zero-sum game.
1) What examples does Gauntlett provide of the "decline of tradition"?
The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of the
picture by the feisty, successful 'girl power' icons. Meanwhile the masculine ideals of absolute
toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on
men's emotions, need for advice, and the problems of masculinity.
2) How does Gauntlett suggest the media influences the way we construct our own identities?
Magazines, bought on one level for a quick fix of glossy entertainment, promote self-confidence (even if they partly undermine it, for some readers, at the same time) and provide information about sex, relationships and
lifestyles which can be put to a variety of uses. Television programmes, pop songs, adverts, movies and the internet all also provide numerous kinds of 'guidance' - not necessarily in the obvious form of advice-giving, but in the myriad suggestions of ways of living which they imply. We lap up this material because the social construction of identity today is the knowing social construction of identity. Your life is your project - there is no escape. The media provides some of the tools which can be used in this work. Like many toolkits, however, it contains some good utensils and some useless ones; some that might give beauty to the project, and some that might spoil it. (People find different uses for different materials, too, so one person's 'bad' tool might be a gift to another.)
3) What does Gauntlett suggest regarding generational differences? Is it a good thing that the media seems to promote modern liberal values?
There is evidence that people's attitudes become somewhat less liberal as they get older, but
at the same time the 'generation gap' in attitudes is closing (Smith, 2000). We can note that those
people who were 25 in the 'swinging' times of the late 1960s are now entering their sixties
themselves.There are some generational differences which tend to cut across these discussions. Surveys have
found that people born in the first half of the twentieth century are less tolerant of homosexuality,
and less sympathetic to unmarried couples living together, than their younger counterparts. some may agree with that the modern liberal values are better as they ae more accepting of people and normalised things that older generations don't accept e.g. homosexuality
4) Why does Gauntlett suggest that masculinity is NOT in crisis?
Although the magazines reflected a concern for men to find an enjoyable approach to modern living, then, there was no sign of a 'crisis' in either the magazines or their readers. Rather than tearing their hair out, everybody seemed to be coping with this 'crisis' perfectly well. The self-help books for men (discussed in chapter ten) also refuted the idea that changing gender roles had thrown men into crisis. The problem for men was not seen as being their new role - or lack of one; instead, men's troubles stemmed from their exaggerated and pointless commitment to men's old role, the traditional role of provider and strong, emotionless rock. Where men had a problem, then, it was not so much because society had changed, but because they as individual men had failed to modernise and keep up. Happily, the books took the view that people can change, and that troubled men would be able to create a satisfying and more relaxed life for themselves if they put in a bit of effort.
5) Does advertising still reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses? Offer examples for both sides of the argument from the wider advertising industry.
Images of the conventionally rugged, super-independent, extra-strong macho man still circulate in popular culture. And as incitements for women to fulfil any role proliferate, conventional masculinity is increasingly exposed as tediously monolithic. In contrast with women's 'you can be anything' ethos, the identities promoted to men are relatively constrained. We noted evidence in chapter one that, whilst young females are taking to the full spectrum of school subjects and jobs, their male counterparts still generally avoid subjects and work that they see as 'female'. These things are continually crumbling, though. It is worth remembering, as we noted in chapter four, that even that archetype of masculine strength and independence, James Bond, cannot be too hard and self-reliant in today's Bond movies without being criticised for it by another character.
6) Gauntlett discusses the idea of 'girl power' and offers examples from music and film. Does advertising provide evidence to support the idea of 'girl power' or is the industry still reinforcing traditional representations of men and women?
Magazines for young women are emphatic in their determination that women must do their own thing, be themselves, and/or be as outrageously sassy and sexy as possible (see chapter nine). Several recent movies have featured self- confident, tough, intelligent female lead characters (chapter four). Female pop stars sing about
financial and emotional independence, inner strength, and how they don't need a man; and the popular mantra of self-help books is that women can become just as powerful as these icons, if they cultivate their confidence and self-belief, and draw up a plan of self-development
7) Do you agree with Gauntlett's argument under 'Popular feminism, women and men' where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes? Does advertising provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles?
There is an interesting parallel here with the scholarship on men and masculinity - the texts on masculinity are largely focused on the difficulties of middle-aged or older men who find it hard to shake off traditional masculine archetypes. And perhaps predictably, these studies are apparently written by middle-aged or older men who also cannot help bringing in the older tropes of masculinity. Meanwhile there is a generation of younger men who have adapted to the modern world (in a range of ways), who have grown up with women as their equals, and who do not feel threatened or emasculated by these social changes. These men and their cultures are largely ignored by the problem-centred discourse of masculinity studies. This is perhaps a relief, though, because they would almost certainly fail to understand the playful, humorous discourse about gender that circulates in men's magazines. (These magazines are not wholly anti-sexist, and there is a legitimate concern that dim readers will take 'joke sexism' literally, of course, but the more significant observation should perhaps be that sexism has shifted from being the expression of a meaningful and serious ideology in former times, to being a resource for use in silly jokes today).the magazines are often centred on helping men to be considerate lovers, useful around the home, healthy, fashionable, and funny - in particular, being able to laugh at themselves. To be obsessed about the bits which superficially look like 'a reinscription of masculinity' is to miss the point. Men's magazines are not perfect vehicles for the transformation of gender roles, by any means, but they play a more important, complex and broadly positive role than most critics suggest.
8) What examples from advertising does Gauntlett provide for the changing nature of gender in society (from the section on Judith Butler's Gender trouble)?
Some advertising - such as the sexually charged but androgynous imagery promoting the CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deoderant and Kronenbourg lager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities.
9) Why is advertising such a good example of the 'contradictory elements' that Gauntlett discusses with regards to the mass media? In other words, how does advertising continue to both reinforce and challenge gender stereotypes?
Contradictions are an inevitable by-product of the drive for multiple points of excitement, so they rarely bother today's media makers, or indeed their audiences. The contradictions are important, however, because the multiple messages contribute to the perception of an open realm of possibilities. In contrast with the past - or the modern popular view of the past - we no longer get singular, straightforward messages about ideal types of male and female identities (although certain groups of features are clearly promoted as more desirable than others). Instead, popular culture offers a range of stars, icons and characters from whom we can acceptably borrow bits and pieces of their public persona for use in our own. In addition, of course - and slightly contradictorily - individuals are encouraged to 'be yourself', and to be creative - within limits - about the presentation of self. This opens the possibilities for gender trouble, as discussed above. Today, nothing about identity is clear-cut, and the contradictory messages of popular culture make the 'ideal' model for the self even more indistinct - which is probably a good thing.
10) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. What is your opinion on this debate - do you agree that the media reinforces the changing attitudes towards gender and sexuality in society?
People are changing, building new identities founded not on the certainties of the past, but organised around the new order of modern living, where the meanings of gender, sexuality and identity are increasingly open. Different aspects of popular media can aid or disturb these processes of contemporary reorientation. Some critics say that the media should offer traditional role models and reassuring certainties, but this view is unlikely to survive. Radical uncertainties and exciting contradictions are what contemporary media, like modern life, is all about.
Media Magazine: Andrew Tate - Masculinity in crisis?
Now read 'Tate Crime' - Media Magazine's analysis of the rise of online influencer Andrew Tate. You can find this in MM83 (p6) in our Media Magazine archive. Answer the following questions:
1) What is misogyny and how does it link to Andrew Tate?
Misogyny means a hatred for / towards woman. Tate claims to be ‘absolutely a misogynist’. He has stated that
women ‘belong in the home’, that they ‘can’t drive’, and believes that marriage, women are ‘given to the man and belong to the man’. He has also claimed that most men prefer dating 18-19-year-olds because they have had sex with fewer men.
2) How does the article suggest Andrew Tate used social media to build up his reputation and following?
Tate gives his audience tools to exploit anyone weaker than themselves whilst at the same time, exploiting
those same young boys and men to make himself more successful. Tate’s ‘Hustler’s University’ claimed to teach
its subscribers how to get rich through investing in crypto-currency, drop shipping, and earning a commission
from getting other people to sign up to Hustler’s University. It’s no accident that in July, there were more Google
searches for his name than for Donald Trump or Kim Kardashian. His followers at Hustler’s University, some as young as 13, were encouraged to repackage and repost clips from Tate’s interviews, often where he’s saying some of the most incendiary comments, in order to drive engagement.
3) Does Andrew Tate's popularity suggest there is in fact a 'crisis in masculinity' - disagreeing with David Gauntlett's view?
You have to understand that life is war. It’s a war for the female you want. It’s a war for the car you want. It’s a war for the money you want. It’s a war for the status. Masculine life is war. The only problem here is of course, it’s not. Whilst it’s true that sometimes you could apply that metaphor to some situations, life is so much more about avoiding conflict, de-escalating situations and negotiating compromises than it is treating every human interaction as a zero-sum game.
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