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   Forwarding and countering -- assessing essay   WA 5: "Reading the Gaze—Gender Roles in Advertising" (219-220). Define Kress and Leeuwen’s theory on image portrayal and find an example of an ad that forwards their argument and one that counters it. Discuss your examples (750 words).   Writing Assignment 5   Too Much or Not Enough?   Although less so in advertising today, America has a history of stereotyping men and women in advertising and objectifying one or both sexes. How many advertisements have you seen for a certain deodorant or type of alcohol that will get hoards of beautiful, bikini-clad women to follow you? In the visual essay "Reading the Gaze-Gender Roles in Advertising," Gunther Kress and Theo van Leeuwen discuss a theory in regards to the effect a certain advertisement has based on the position or look the subject in the photo is giving, and also addresses the role of each gender in advertising today. They suggest that if the subject is gazing directly into the viewer’s eyes, this "connects the participant with the viewer" (219). This connection speaks to the viewer of the advertisement directly, and Leeuwen and Kress suggest that this is "demanding" something of the viewer. In regards to advertisements that do not directly address the viewer, Leeuwen and Kress explain that this type of advertisement is more of an invitation to watch the subject, or as they call it, an "offer" (220). The essay offers four images that best illustrate their theory of demand versus offer; two of the advertisements address the viewer directly and two do not.   One advertisement in particular stands out when I think of advertisements that "demand" something, as explained in Leeuwen and Kress’ theory. Paris Hilton, dressed in a bathing suit, fur shawl, and stiletto heels, saunters out of a doorway into a room. In the room lies a beautiful, black Bentley with a version of Cole Porter’s "I Love Paris" playing in the background. She begins to cover the car in soap and suds while playing with a water hose in an incredibly seductive manner. As she holds the hose, she stares directly at the viewer in an exceedingly suggestive, "demanding" manner. At the very end of the commercial, Paris Hilton takes a bite out of the new spicy burger at Carl’s Junior. This advertisement perfectly exemplifies Leeuwen and Kress’ "demand versus offer" theory; when Hilton locks eyes with the viewer, she is essentially demanding that you, the viewer, go out and purchase this burger. It implies that you will feel a similar sensation while eating this new burger that Hilton does. Shown most on sports programs, the advertisement was referred to as "soft-core porn" by Melissa Caldwell, research director for the Parent’s Television Council. It was banned from being aired on television stations after a short run due to outrage in parents of young children who feared "corruption" in their children after viewing the controversial and racy advertisement.   An advertisement in the October 2008 issue of British Vogue counters Leeuwen and Kress’ theory of advertising. Belstaff is a British clothing company with a two-page advertisement in this particular issue of Vogue. It depicts a black and white photograph of five models, two men and three women. Intentionally, not one of these five models gazes into the eyes of the viewer. Two look to the side of the viewer, one above, and the two men look directly at the women, giving us only their profile. Each gaze is extremely disconnected and impersonal, therefore countering the "demand" aspect of Leeuwen and Kress’ theory. But this is not an "offer" either. There is nothing about this image that suggests that the viewer is merely a fly on the wall, observing these people. It is too much of a bold, forceful advertisement to be a mere "offer," yet there is no eye contact, thus it is not a "demand." Nothing about this image suggests looking at "specimens in a display case," (220) as the description of "offer" suggests. Each model is deliberate and fierce without making any eye contact with the viewer whatsoever.   The average human sees hundreds of thousands, perhaps millions or billions of images in one day, much due to the thousands of advertisements we see every time we look at a billboard or watch a commercial. There are images that "demand," perhaps an advertisement for diamonds that depicts a beautiful woman staring into the eyes of a viewer wearing hundred thousand dollar Graff earrings. There are images that "offer," perhaps an advertisement depicting a man with his back to the viewer wearing a pear of Levi jeans. Advertising is one of the largest and most powerful businesses in the world, thus it is no surprise that there are most likely hundreds, maybe even thousands of images that are perfect examples of Leeuwen and Kress’ theory and equally as many that counter this same theory.   Forwarding and countering -- assessing essay   WA 5: "Reading the Gaze—Gender Roles in Advertising" (219-220). Define Kress and Leeuwen’s theory on image portrayal and find an example of an ad that forwards their argument and one that counters it. Discuss your examples (750 words).   Writing Assignment 5   Too Much or Not Enough?   Although less so in advertising today, America has a history of stereotyping men and women in advertising and objectifying one or both sexes. How many advertisements have you seen for a certain deodorant or type of alcohol that will get hoards of beautiful, bikini-clad women to follow you? In the visual essay "Reading the Gaze-Gender Roles in Advertising," Gunther Kress and Theo van Leeuwen discuss a theory in regards to the effect a certain advertisement has based on the position or look the subject in the photo is giving, and also addresses the role of each gender in advertising today. They suggest that if the subject is gazing directly into the viewer’s eyes, this "connects the participant with the viewer" (219). This connection speaks to the viewer of the advertisement directly, and Leeuwen and Kress suggest that this is "demanding" something of the viewer. In regards to advertisements that do not directly address the viewer, Leeuwen and Kress explain that this type of advertisement is more of an invitation to watch the subject, or as they call it, an "offer" (220). The essay offers four images that best illustrate their theory of demand versus offer; two of the advertisements address the viewer directly and two do not.   One advertisement in particular stands out when I think of advertisements that "demand" something, as explained in Leeuwen and Kress’ theory. Paris Hilton, dressed in a bathing suit, fur shawl, and stiletto heels, saunters out of a doorway into a room. In the room lies a beautiful, black Bentley with a version of Cole Porter’s "I Love Paris" playing in the background. She begins to cover the car in soap and suds while playing with a water hose in an incredibly seductive manner. As she holds the hose, she stares directly at the viewer in an exceedingly suggestive, "demanding" manner. At the very end of the commercial, Paris Hilton takes a bite out of the new spicy burger at Carl’s Junior. This advertisement perfectly exemplifies Leeuwen and Kress’ "demand versus offer" theory; when Hilton locks eyes with the viewer, she is essentially demanding that you, the viewer, go out and purchase this burger. It implies that you will feel a similar sensation while eating this new burger that Hilton does. Shown most on sports programs, the advertisement was referred to as "soft-core porn" by Melissa Caldwell, research director for the Parent’s Television Council. It was banned from being aired on television stations after a short run due to outrage in parents of young children who feared "corruption" in their children after viewing the controversial and racy advertisement.   An advertisement in the October 2008 issue of British Vogue counters Leeuwen and Kress’ theory of advertising. Belstaff is a British clothing company with a two-page advertisement in this particular issue of Vogue. It depicts a black and white photograph of five models, two men and three women. Intentionally, not one of these five models gazes into the eyes of the viewer. Two look to the side of the viewer, one above, and the two men look directly at the women, giving us only their profile. Each gaze is extremely disconnected and impersonal, therefore countering the "demand" aspect of Leeuwen and Kress’ theory. But this is not an "offer" either. There is nothing about this image that suggests that the viewer is merely a fly on the wall, observing these people. It is too much of a bold, forceful advertisement to be a mere "offer," yet there is no eye contact, thus it is not a "demand." Nothing about this image suggests looking at "specimens in a display case," (220) as the description of "offer" suggests. Each model is deliberate and fierce without making any eye contact with the viewer whatsoever.   The average human sees hundreds of thousands, perhaps millions or billions of images in one day, much due to the thousands of advertisements we see every time we look at a billboard or essay buy online watch a commercial. There are images that "demand," perhaps an advertisement for diamonds that depicts a beautiful woman staring into the eyes of a viewer wearing hundred thousand dollar Graff earrings. There are images that "offer," perhaps an advertisement depicting a man with his back to the viewer wearing a pear of Levi jeans. Advertising is one of the largest and most powerful businesses in the world, thus it is no surprise that there are most likely hundreds, maybe even thousands of images that are perfect examples of Leeuwen and Kress’ theory and equally as many that counter this same theory.   Forwarding and countering -- assessing essay     "Reading The Gaze--Gender Roles in Advertising" discusses an advertizing practice that can go unnoticed by the average consumer. Our relationship with ads can be deep and meaningful, on levels unknown even by us. The practice of "the gaze" by both men and women models draws the consumer in, forming a friendly, demanding, or seductive relationship. The positioning of the models eyes can easily change the way the receiver of the ad feels about the product being sold. If the eyes are smiling and essay online buy directed toward the subject, one enters into a companionship with the model, yet if they are looking at you lovingly, one may enter into a more emotional relationship with the figure. Continually, if the eyes are not looking your way, but rather you are gazing at someone in their natural habitat, you feel more like a peeping tom, watching from an unknown distance. The idea of the article is to show the liaison between the seller and the buyer, the producer and the consumer. Ads are merely an expedient used to drag a relationship-deprived consumer into the arms of a product. The thought provoked in the article can be both proved and disputed merely by viewing ads in a magazine. It is my belief that it is the viewer of the ad who holds the control, for their life experiences determines whether or not the product placement and model’s gaze affects their purchasing power.   After reading this visual essay, I began to be more aware of the images around me and their relation to my inner self. As I was thumbing through a People Magazine, I came across an ad that forwarded the essays views. It was an ad for L’Oreal hair color. It featured three seemingly disconnected models, a blonde, a redhead, and a brunette all gazing into the camera lens, into me. I began to realize that each one’s glance held a different meaning overall. The blonde was playful and seductive; her glance was one of a more personal relationship. She gave a look as if to say, "I know the secret to true beauty," the kind of girl many wish to be. Then there was the redhead, on the other hand, who was homey, a girl next-door glance strewn across her pale, partially smiling, face. She made me feel like a good friend, as if she were telling me her beauty secrets at a slumber party. Lastly, the brunette was confidant and a tad more serious, but still in a friendly manner. Via her stare, I felt as if we had a more business casual relationship than a friendship. I found it interesting that each woman’s stare brought about a separate feeling of an intrapersonal relationship. This ad made me want to agree with the visual essay I had just read; yet another ad I found made me think again.   I was reading Time Magazine, as I usually do, when I came across an ad for Lunesta, a sleeping pill. At first I thought nothing of it, but then I began to remember the visual essay and started to think about the meaning behind this ad. The ad featured a pretty brunette sleeping soundly in a dark room while being watched over by the Lunesta moth. Her eyes were closed and therefore, I felt no connection to this woman once so ever. Beyond that, I didn’t feel like I was watching her from a distance either. The moth was such a fake add-in, that I took nothing real or emotional from the ad besides that it sold sleeping pills. Had the woman been awakening from a deep sleep, eyes open and happy, maybe I would have felt a connection, but this ad left me with nothing but the feeling of lethargy. Therefore, I began to wonder whether or not the visual essay was correct in its theory about our connection with models in advertisements.   The "gaze," it is something all models seem to have and all want to be models practice, but whether or not it is a means of forming a relationship with an audience is something I am unsure of. There certainly are times I can feel emotions coming from ads, but not always. I think some ads affect people due to their personal experiences in life. Not all ads can reach people emotionally, nor are all ads broad enough to form relationships with all people. I think it is true that you can look into the eyes of a model and have an idea what they are thinking, but being able to connect with them can be a different story. As shown by these ads, the theory goes either way.      Forwarding and countering -- assessing essay, digication, eportfolio, emerson college, lauren gaba, wa 5: forwarding and countering, lauren gaba,

novembre 17, 2022, 2:09

France

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