Quiz : Ameritrade 's Attempt At Break Away From Traditional Marketing

The man is fully clothed in a suit, which represents power and formality. It is extremely suggestive as it looks like he came to this position without the woman’s knowledge or consent since her sunglasses are pushed up for her to see. He is in a dominating position where she has to look up at him and the man’s face isn’t shown in the ad, which shows that he is confident. The ad is suggesting that if you have Sky Vodka, you can look glamourous and wealthy as well. The men are always given more power and a higher status than the women (Appendix A). The second image reveals how femininity is portrayed. In the ad for Dolce and Gabbana’s Monico Lipstick, notice the lightness of the woman’s hand touching her face, the touching of one’s face, especially the finger-to-mouth pose is reminiscent of a child. She is also dressed seductively with a come-hither look on her face that is bold and suggestive (Appendix A).

For many people in the world to see an advertisement and move past it because they find them rather annoying has become the normalcy of today’s society. However, if people actually paid attention to those advertisements the readers would find that they think some of the ads should not have been allowed. An ad for Miss Dior perfume was presented in a late issue of Vogue with a model who looks to be about twenty-four years old. The model has shoulder length blonde hair, a clear skin tone, and a facial expression that could be considered provocative. The model is naked and only covered by a dress that she holds up which still only covers a portion of her top, middle section, and private area. Despite this dress, her complete right leg, thigh, arm, neck, and shoulders are revealed. In the foreground is a Miss Dior perfume bottle with the words “Miss Dior and you, what would you do for love?”. In Jean Kilbourne’s Killing Us Softly 4, she states that advertisements often send certain messages about women. Kilbourne claims that unrealistic ideas of women are often proposed within ads, such as symbolizing women as objects and not people, or even the idea that if you are not beautiful, then you are nothing. In the Dior advertisement, a few of its aspects uphold statements made by Jean Kilbourne such as sexualizing models to sell a product, emphasizing the idea of looking young and attractive, and placing models in vulnerable positions.

In the advertisement, the guy is wearing a bigger size watch than the girl. This tells us that men are sort of higher-ranked than girls. One more thing in the advertisement that undermines women is there are two wine glasses both on the girl’s side. So basically we can just see the clothes of the girl and the hand, it looks like they are just trying to cover the body of the girl as much as they can. While there is nothing blanketing the guys

For generations, society imprisoned people by declaring certain look or dress attire. Now, with the brand Solo Hop, any male individual can become a unique person rather than an identical collection assigned by others whom believe a certain look or dress attire is the way of life. Solo Hop is a brand that sells clothing for males who challenge society’s rules. My advertisement is incorporated in Maxim’s magazines, which targets single men between the ages of twenty and fifty (Maxim 10). This magazine is being sold on cable television or stores and to music production for their audience to pay attention to the views of their magazine (Launder 1). As a result of where the magazine is being sold, Maxim’s mission statement for their audience claims that it “creates a richly visual journey that’s part fantasy, part aspiration and part attainable for the millennial man who believes that everything worth doing is worth overdoing” (Maxim 2). By emphasizing colors and the concept of overpowering the world‘s laws of perfections, my advertisement revises masculinity in a more cultural yet stylish relation, aiming to show Solo Hop is an expanding brand with Maxim that differentially and materialistically supports their business by separating individuals from becoming a clone into an original or “one-of-a-kind” person.

This plays on the insecurities of younger college women and high school girls. Ads such as make women believe that they need to look like this woman in this ad in order to be beautiful. As young college women and high school girls they want to fit in. These girls want to wear the popular or in style of clothes which would come from the PINK clothing line. Advertisements such as these in Victoria’s secret magazines make younger women believe they need to buy these products in order to be beautiful. We all know that a young age self-image is extremely important because they are judged by their peers by what they wear and how they look. A young woman who is flipping through this catalogue will see this ad and say to themselves if I can afford to buy this outfit then I could look beautiful like this model. For smaller girls and women this outfit would be the perfect outfit to wear to the gym or wear just to hang out at the house. It doesn’t always send a positive message to younger women and high school girls who are already dealing with a hard time among friends and their peers to have “the perfect

Vogue Magazine’s advertisement plays on the American subconscious and what it means to be attractive. The primary visual element of the advertisement, the centered photograph, focuses on contrast to catch the eye. This concept of contrast does not remain tethered to the visual aspect of the photograph. The ad manipulates understood societal norms and conventions of human perfection to make ad convincing. Vogue Magazine capitalizes on dramatized visual and seductive textual elements to send its message about beauty or attractiveness.

Even with the growing effect of the media, gender roles in regards to woman have not gone through a drastic reform. As a result of this lack of reform, the advertisement industry has been allowed to implement these outdated ideas into the minds of the consumer through sexualized and objectifying images of women. The advertisement for the cologne “Abibis” fragrance for men, shows a beautiful woman standing in front of a deep red curtain with soaking wet hair. The woman is in a light pink and ragged bra and an unbuttoned pair of jean shorts. On her right arm there appears to be a dirt stain on her forearm and her right shoulder. Her bra is falling off her left shoulder and is barely managing

The Coco Mademoiselle ad by Chanel incorporates many explicit messages from the “First Order of Signification” which can be deconstructed to reveal manipulative implicit meaning through the “Second Order of Signification”. In the first explicit message the viewer sees that the signifier is that the model is naked and is cover herself with male clothing. The signified meaning is that it is showing that the male presence is dominant as she is covering herself with men’s suspenders. This shows that even though this is an ad meant for women the male presence influences unrealistic standards on how everyone sees beauty towards women. The next explicit image that can be seen in the ad is the item that they are trying to sell the bottle of perfume

It depicts the ex-wife falling in love with a young, handsome member of the household maintenance staff of her new mansion, and replacing a tattoo of her ex-husband’s name on her body with the name of her new beau, all the while using her ex-husband’s funds to fulfill her wishes. This scenario, in keeping with the flippant tone of the whole advertisement, exploits the stereotype of affluent, middle-aged executives with troubled domestic lives, and their idle wives who, in the absence of their career-oriented husbands, engage in illicit affairs with younger men from different social backgrounds. Through this particular set of images, the advertisement attempts to evoke feelings of bitterness and jealousy, and to exploit the insecurities of its targeted client base: the said affluent, middle-aged

Men’s magazine features articles concernin g topic of interest to their subscribers: alcoholic beverages, sporty automobiles, hunting and fishing, politics, scientific and technological breakthroughs, workplace guidance, travel and tourism, and, of course, dating. Some, such as Playboy, also boast of interviews with the rich and famous and of short stories by popular or even renown writers. There are apt to be jokes and cartoons, too, mostly about sexual matters. The mainstay of such magazines, however, isn’t the news, advice, humor, or fiction, but the photographs of beautiful young women wearing little or no clothing. It makes sense, then, that an advertisement for a men’s magazine, whether foreign or domestic, would appeal to such periodicals’ strongest selling point. If humor can be used to make the sales pitch, so much the better, but, when it comes to promoting men’s magazines, nothing sells as well as sex, as marketers for the European men‘s magazine Ché are well aware. To sell a men 's magazine, the Ché advertisement in Commuter World magazine uses a metaphor to equate the product to a “better” dream world and shows a promiscuous young woman approaching a trolley station.

Although it may be unethical to advertise females as sex objects, the provocative ads are believed to be influential on the customer’s purchasing decision. Whether Suit Supply is genuinely trying to sell their products or just draw attention to their brand, the business is creating advertisements that are considered extremely sensual and inappropriate. Apparently, this “sexual revolution” is the new way to sell fashion; sex sells. The advertisement for the Dutch company, Suit Supply, includes sexual references to make a memorable impression on the customers and influence them to purchase the product. Their goal is to make the customers fantasize about the advertisement, which would hopefully cause them to buy the product. Not only are the

As stated in the Calvin Klein Brochure, “1963 in America: anything was possible. 1993 in America: anything goes. If you've had enough, you're not alone.” It is now the year 2001 and advertisers are still pushing their limits. While designer brands , beauty products, fragrances and alcohol dominate sexual appeal in advertising, companies today are now manipulating “unsexy” products such as razors, cameras, and credit cards in ads to form a sex appeal as well. Needless to say, no standards have been enforced in the advertising industry to protect viewers' morals.

In the 2015 “The Pledge” commercial, the presence of the mother is strongly implied but the parental figure is barely seen in the advertisement. Even when female adults are shown in the commercial, there is no evidence or clear message that they are the mothers of the youth shown, as they are never actually shown with the girls. Yet, there is an implied presence, especially by including the female adults in the commercial; they stand as a symbol of the mother’s approval for American Girl, and as such, gives any mother watching the approval they may need to purchase a doll for their child. With such a minimal use of the mother, this commercial utilizes a very different marketing technique than the old commercial. It relies heavily on the mother understanding the implications it puts forth, rather than speaking directly to the mother. As such, the commercial uses a term known as adjacent attraction in their advertising; adjacent attraction is used in advertising because marketers are able to take “unlike objects that reinforce another’s value, and attach a feel good feeling to a product” (Purac, Lecture 7). It is evident that the message of the

Ameritrade is subtly hinting at a financial growth through their services alongside a progression through life. The hard work and dedication to the professional life is supposed to lead to a life’s savings that will allow one to freely enjoy newfound free time and passions in retirement. This, inevitable, is an expression of the American Dream – wealth earned by the sweat and hard work of the individual. Ameritrade implies it “hand holding” will allow a consumer to more easily achieve this ideal. Even more fascinating, however, is that Ameritrade seems to reject that the American Dream has come, nor is it right around the corner. Workers are still encouraged to continue in their job and deposit money in these new “rollover IRAs”. Furthermore, to receive your “free” $600, Ameritrade requires that you are funding your account for at least a “twelve month duration”. They are even quick to note at the bottom that “risk” is involved and success is “not guaranteed”. Therefore, while sales may depend on whether the consumer “buys” into the American Dream, it becomes clear that Ameritrade rejects that such a notion can exist.

KFC is a prime example of how advertisements can effect the people’s perspective of their values, love and material possessions. The ‘Tender Wings of Desire’ campaign propagated by KFC depicts portrayals of standards for men, ‘desires’ for women and tries to portray love as a material object. This ad campaign targets middle aged mothers by portraying the stereotypical fantasy associated with middle aged women. It portrays the story of a woman being rescued by a what society considers an attractive man. As the target audience is middle aged mothers, the imagery of books that they are likely to read is portrayed. This portrayal of a ‘perfect’ man is only used as an eye catcher and provides no insight into the item that is being advertised. This is not uncommon in advertising however, simply because ‘everyone is doing it’ shouldn’t be considered as an excuse to portray either gender in a potentially damaging way towards the general public. This can be overcome by simply portraying a product that appeals to its intended audience instead of using people dressed provocatively to catch the attention from the consumers. That is why this