Summary OfSoft-Soaping Empire : Commodity Racism And Imperial Advertising

In conclusion, advertisements, although they are intended to only sell products, contain many different underlying ideas and opinions of the people who created them and the society from which they came. I analyzed a Red Robin commercial for a burger which included a suggestive woman to appeal to men and their appetites. This use of women and the ways in which American society has sexualized food have societal and cultural implications that are not overtly visible unless one is looking for them. If we look at the way Americans view women, we see that they are sexualized. This sexualization is used to sell much more than food, such as cars, watches, perfume

What does an ad say about a society? When viewing a product advertisement, many people never stop to think why the ad and product appeals to them. However, when a more critical look is taken, it’s easy to see precisely how ads are carefully tailored to appeal to trending values of a targeted demographic, and how that makes it easy to examine the society of those whom the ad is targeted at. In the analytic writing Advertisements R Us, Melissa Rubin provides an excellent example of this, as she crafts a logical and clear analysis of a 1950’s Coca-Cola magazine ad which thoroughly explains how advertisements can reveal quite a great deal about the society in which they were created.

In a series of verse paragraphs, Dawe focuses on the 1950’s society with an emphasis on the consumerism, materialism and lack of individualism. He seeks to convince an important issue in the Australian Society-Our consumer driven culture; a culture that defines us through what we buy and consume. The focus of Dawe’s criticism of the consumerism is the family that bought home the baby from the hospital. Dawe portrays it in a satirical way; the family life and the individual lives of the family members who have been dehumanized by such a mercantile society. He instills strong commands when describing his family commodities: “One economy-size Mum, One Anthony Squires-Coolstream-Summerweight Dad along with two other kids straight off the junior department rack.” The warmth of the mum, dad and kids, contrast with the advertising language which describes them. It is as if his mum is the size of a washing machine, the father is summed up by the suit he wears, and the baby siblings have been bought like goodies in an apartment place. Dawe is not saying that this is actually true; he is using metaphors and exaggeration.

Beauty is an important aspect of many women’s lives, often dictating their everyday behaviours. Women are held to narrow, unrealistic expectations of what they should look like; these expectations being portrayed through beauty ideals and trends. Although these trends, and the advertisements they are promoted through, seem relatively harmless, they can often reinforce racism and become their own system of oppression. Throughout cultures, dark-skin is seen as unwanted and unappealing, whereas light-skin is valued and privileged. This white supremacist ideal is propagated through these various beauty trends and their advertising, inseminating privilege towards lighter skin shades. The beauty trend of using skin-bleaching creams to lighten one’s

Jean Kilbourne’s film, Killing Us Softly 4, depicts the way the females are shown in advertisements. She discusses how advertisement sell concepts of normalcy and what it means to be a “male” and a “female.” One of her main arguments focuses on how women aspire to achieve the physical perfection that is portrayed in advertisements but this perfection is actually artificially created through Photoshop and other editing tools. Women in advertisements are often objectified as weak, skinny, and beautiful while men are often portrayed as bigger and stronger. Advertisements utilize the setting, the position of the people in the advertisements, and the products to appeal to the unconscious aspect

For example, there is a side by side comparison of two men; one uses the William’s Shaving Soap and the other “cheap” soap. In the first picture there is a man with a smooth clean shave. As for the second picture there is a man with what appears to be a “blood poison” rash on his cheek. The picture of the clean shaved man has a caption that states, “This view shows face-as shaved daily for years- with the famous William’s Shaving Soap-always soft-fresh-bright and healthy. Not a pimple in over twenty years shaving experience.” As for the second picture with the “blood poison” rashed man, “This view shows the effect of being shaved once with an impure–so called “cheap” shaving soap. Blood poison caused by applying impure animal fats to the tender cuticle of the face.” The message that the William’s Shaving Soap company is trying to send to consumers is, without using William’s soap, other “cheap” imitations can lead to blood Poison rash and alter your appearance. These two ads are just examples of the peer pressure Americans had to deal with during this era. With technology advancing and appliance coming forth rapidly middle class Americans had many crucial decisions to make with the little money they made.

In today’s mass media, it is quiet common for advertisers to assimilate class into their commercials. These advertisements portray a certain level of elegance because of the sophisticated choice to use classical background music and thick European accents. On the contrary, other advertisers take the common-folk approach by structure these commercials around the western concept. Both of these advertising tactics supports an American paradox. As argued in Jack Solomon’s “Master of Desire: The Culture of American Advertising”, the contradiction lies in the desire to strive above the crowd and the quest for social equality.

The rise in advertisement played a key role in the rise of consumption. Thanks to well-developed advertisement campaigns, America redefined what a necessity is. Advertisers encouraged Americans to actively work towards maintaining a high social standing. “Advertisers made no secret of their intention to promote novelty for its own sake, in the hope that consumers would exchange perfectly serviceable goods for goods that conformed to the latest fashions” (Lasch, 2000). Consumers devoured this advertisement scheme and began to rapidly increase their spending. Many advertisements for common, household products made claim that they could make the normal appear comparable to the high end. For example, Lux, a soap company, ran an ad in 1920 that depicted two women talking - one of the women complemented on the other on the quantity of sweaters she owned, only to find out that it is not a new sweater, but rather her old sweater that Lux soap made it look brand new (Lux)! Men and women alike began to believe

Susan Bordo’s Hunger as Ideology argues that the seemingly progressive improvement of destabilizing images in advertisements in order to break the stereotypical mold is not as “progressive” as one might think; These images do not challenge the old patterns that dominate the advertisement world but break the barriers of the ideologies that have been classical “sold” to our society. It is agreeable that these “destabilizing” images allow their viewers to challenge the normality usually depicted, however there are categories in which these images do not show progress, but make way for an opposite effect, leaving a negative taste in the mouth of the consumer because of the intent of use of images in the uncommon advertisements.

Sexualizaton and objectification in the advertisements we see and the media we watch has become a very strong issue in our society. With the idea that “sex sells”, consumers don’t even realize that they’re not viewing the advertisements for what they are, but for the women (or men) that are being portrayed in a very erotic way, posed with whatever product they were hired to sell. Many articles have been written so far to challenge and assess this problem, but one written by Jean Kilbourne (1999), “”Two Ways a Woman Can Get Hurt”: Advertising and Violence” holds an extensive amount of authority. Using her personal experience with the subject, as well as studies she has conducted herself on the topic of sexualization, she talks about how the amount of sexualization in advertising affects how society views the culture and products consumers buy. She also notes that because of the quantity and prevalence of these ads, the rate of all forms of sexual assault, specifically rape (mostly towards women of all age), increase, as well as other forms of assault. It is important to examine Kilbourne’s use of rhetorical devices, such as ethos, pathos, and logos, and how effective these devices make her article. This way, it can be examined for its validity and her understanding of her own research. Kilbourne’s article is very effective through her uses of pathos and ethos, but at the same time, it loses its effectiveness through her absence of a counter-argument, as well as a lack

Advertising and sex has been linked together since advertising became a big business. The use of sexually indicative images really highlight that sex is commodities best friend. Sex is used to sell all kinds of products and due to my research it seems to sell…best? Sex in the media has gone back to the 1870s when John Everett Mallais painted a portrait of a seemingly innocent Victorian girl, which he titled “Cherry Ripe” (See page a1). In the portrait Cherry Ripe’s arms are “open,” and, to make the message obvious, her hands are pressed palm to palm between her slightly parted legs, forming an image of female genitalia. Not to mention Cherry ripe’s black mitts point out the scandalous suggestion of her hands. In the portrait the mitts stand out and draw attention to the frame of the little girl’s hands. Implying mature pubic hair…? Scholars reviewing Victorians art history have argued that there are not only sexual implications in the title but that the painting reflects the tension between the innocent and the wanted.

In the article, “Soft-Soaping Empire: Commodity racism and imperial advertising,” the author summarizes the symbolistic importance of advertisement in relation to soap representing a grand scale of Victorian beliefs and values created by consumer capitalism. The marketing strategies to promote soap were generated from the state of British society with regards to the general outlook on race, class, and gender. Therefore, the propaganda attached to the advertisement of soap ultimately generated its social and economic significance through commodifying strategies which continue to reflect society to this day.

Everyday we expose ourselves to thousands of advertisements in a wide variety of environments where ever we go; yet, we fail to realize the influence of the implications being sold to us on these advertisements, particularly about women. Advertisements don’t just sell products; they sell this notion that women are less of humans and more of objects, particularly in the sexual sense. It is important to understand that the advertising worlds’ constant sexual objectification of women has led to a change in sexual pathology in our society, by creating a culture that strives to be the unobtainable image of beauty we see on the cover of magazines. Even more specifically it is important to study the multiple influences that advertisements have

This essay will be addressing ideologies of consumer fetishism and pseudo-individuality through examining the commodity signs found in the mass marketing and advertising of designer cosmetics, particularly Chanel.

Advertising is an important form of communication between products and customers. How to get viewers’ attention is first thing need to consider for advertising. Sexual appeal is become very useful tool in advertising, and it use is increasing. The sex appeal has a very long history, the first sex appeal advertising was introduced in 1911 by Woodbury’s Facial Soap (Campaign,2014). Once this advertising is released it has caused an enormous controversy, it is considered so risqué and inappropriate by several readers, even their cancelled their subscriptions to the magazine immediately (O’Barr,2011) . However, by today’s sexually liberated standards, this advertising already is positively chaste. During the next 93 years, sex is become a