As semiotic texts, what sorts of reality do adverts
during the 1950s
construct and how?
This essay will look at a series of semiotic texts
and analyse how they construct the reality of the gender roles in the 1950s. Adverts
will be looked at to show how during that time they humiliated and degraded
women. The adverts to be analysed were illustrated during the 1950s/60s. These
examples demonstrate how shocking adverts during that time were towards women
and how the representation of women has changed quite considerably in the last
60 or so years. Semiotic analyses will be backed up with with research in to
semiotic theory and the findings of Barthes and Saussere.
Signs presented within
everyday media are used to communicate ideas and meaning. Signs could be
pictures, words, gestures, voice, digital media and more. Ferdinand De Saussure
(1857-1913), the Swiss linguist who developed semiotic theory, realised that we
rely on cultural knowledge and social agreement to determine that each sign
represents an idea. For example, if we were to hear or read the word “dog,” we
would either be most likely to picture what we have come to universally
recognise a “dog” to be; the animal – or something that signifies it, such as a
collar or lead. De Saussure claims that a sign is broken down in to
two elements; the signifier and the signified and describes the relationship
between the two as arbitrary. This meaning that there is no logical
relationship between the word and the concept. Therefore, communication relies
on shared knowledge and we use signs to communicate. The signifier is the form
that the sign take, such as an action, a word or picture and the signified is
the mental concept we visualise from the signifier. Our perception of reality
is structured and shaped by the words and signs we use. We give signs their
meaning, we construct it.
A key part of the
semiotic theory is the element of cultural codes. Every message the media gives
must include a code that will be understood by the sender and receiver. In
other words: ‘there must be some measure of agreement about the meaning of the
words used (or of the gestures, movements, colours, sounds)’ (MARTIN, B, and RINGMAN,
F, 2006, p.42). This is the social agreement which Saussure claims society
relies on to depict an idea. For example the word ‘night’ would denote
darkness.
Roland Barthes promoted
semiotics as a theoretical approach to the study of culture. Barthes presented
the idea of connotation and denotation and that sign use both to communicate
understandings and representations. Denotations are the literal understandings
of signs. It’s making meaning with association. However while denotation lets
us make a direct link with the signifier and societies agreed signified
meaning, connotation is the operation of ideology and myth. For example, the
colour red connotes the idea of love, romance but also death and thriller. This
is very often used in tv, film and advertisements.
The study of myths
has influenced semiotic theory from various cultures carried out by
Levi-Strauss. In modern society the term myth has evolved from Greek myology
and biblical connotations to a broader meaning. It is proposed that ‘myth
serves the ideological interests of a particular group in society, which
Barthes terms ‘the bourgeoisie’’ (Bignell, J, 2002, p.24). The term referring to the class of people that
own particular institutions of society. ‘The term myth is also used simply to
indicate figment of the imagination’. (MARTIN, B, RINGMAN, F, 2006, p.130)
Advertisements
are clear examples of how De Saussure and Barthes’ theories work and
demonstrate how semiotics are used within today’s society. This essay looks at
the use of semiotics within advertisements, produced during the 1950’s and
60’s, and focuses on the ways in which they present discrimination against
women. The ideas that these particular adverts came to connote are shocking and
greatly differentiate from the ads presented in today’s society.
In the
previous misogynistic society, women were always expected to fulfil specific
gender roles, such as being responsible for the cleaning, cooking, or looking
after the children. Yet, in today’s society, this idea has evolved to the point
where saying such things is labelled as sexist (discriminating against women).
During the 1950’s and 60’s, sexism against women came to be recognised as the
social norm, accepted by both men and women. The stereotypical housewife role
that people hate in today’s society, was once seen as the ideal representation
of how a woman should be. No matter how derogative 1950’s and 60’s
advertisements may appear nowadays, they were often embraced by women living
within that time period, wanting to fit within the society’s connotations of
‘the perfect woman.’ Advertisements in the 1950’s and 60’s commonly showed
women being completely controlled and influenced by their husbands. Products
aimed at women were either bought in order to impress their husbands, or
designed for cooking and cleaning purposes with shocking blunt references which
presented these tasks as female gender roles and suggested women to be less
important than men.
Times have
changed since the 50’s and 60’s; women’s roles in society have arguably become
equal to that of men’s. During the 50’s and 60’s there were a number of
advertisements portraying women as either sex objects or dim-witted – as shown within the three illustrations. The first
text denotes a young brunette woman holding a ketchup bottle. Her facial
expression displays a look of surprise at the thought of being able to open the
bottle without the assistance of a man. The question, ‘you mean a woman can
open it?’ suggests that the bottle is so easy to open, that even someone as
weak as a woman could open it. The underlining of the word ‘woman’ emphasises this
point and connotes an idea of disbelief regarding the fact that even women
could use this product functionally.
Men were
seen as the dominant gender – women knew no better than to become dependent on
men, and so a man would usually be expected to open a bottle, like the one
denoted in the illustration, for a woman. This advert is arguably targeted at
women. Although the woman in the illustration is portrayed as stereotypically
weak, the advert could also suggest that women are just as strong as men and don’t
need them to open things for them anymore. This could’ve been the start of the
demise of misogyny. The yellow background could connote an idea of feminism,
again suggesting the advert to be aimed at women. The colour yellow connotes
happiness and an overall brighter outlook on life – perhaps promoting equality
between men and women. The use of colour red in her lips, nails and ketchup
bottle could connote an idea of love or sex, with the intention of attracting a
man’s attention to the advertisement.
The woman’s
practical hair-do may suggest the new easy-to-use lid is a practical product
for women to have. Her elongated eyelashes, neat eyebrows and pouting made-up
lips could lead women to believe that if they were to buy this product, they
would look as perfect as the illustration connotes this woman to be. Maybe it
shows the target audience that this new lid makes her life easier, giving her
more time to apply make-up. Her feminine pose, the way she holds her hand and
her beautifully painted nails lead viewers to question how such delicate hands
could open a ketchup bottle without the help of a husband. This coupled with
the surprised expression on her face shows how shocked people would’ve been at
the possibility of a woman opening a bottle independently. It connotes an idea
of functionality.
This very
obvious clause: ‘It pins off – and back on again – without muscle power’ is
again connoting an idea of weakness amongst women, and the suggested simplicity
can insult the female intelligence. It implies that women aren’t as strong as
men. Yet the target audience is soon made clear as you read, ‘when you see it
on your grocer’s shelf’ – women were known to do the grocery shopping. ‘Save
fumbling, tumbling, fumbling fingers at opening time’; the semantic words
suggest that a woman’s clumsiness will not be an issue when it comes to opening
ketchup. This is again an example of a derogative connotation. In addition, the
advert illustrates a reality where women are weak and inferior to men. Without
men, then women could not cope or do a simple task like opening a bottle. They
had to manufacture an easy to use lip especially for women.
The second
illustration is aimed at men. The advert was made during the time period after
World War 2 and the ages of baby boomers. The Van Heusen advertisement
advertises ties, with the statement: ‘Show her it’s a man’s world.’ This sexist
comment suggests that men are far more superior to women, and that women are
put on this earth to serve men’s needs. This belief is enforced by the
illustration in the advertisement, denoting a woman kneeling before a male
figure, with a connotation of domination on the man’s part. Repetition of the
expression ‘man’s world’ is again reinforcing this idea that men are superior
to women. The woman is shown serving who we believe to be her husband
breakfast. Men in the 50’s and 60’s came to believe that their wife’s only role
was to cook and clean for them whilst they provided for them by working. This
was the reality presented to them. And what do men need for work? A tie; a tie
can often connote the idea of corporate masculinity. Jean Kilbourne (2006)
states that Consumerism has become the religion of this era; its holy txt is
advertising. The man’s face expresses astonishment, implying that this scenario
is the tie’s doing, and implying reasoning as to why his wife is serving him
breakfast in bed. The man’s comfortable pose connotes the privileges which he
holds over what looks to be his wife. The stereotypical “dumb blonde” woman in
the illustration is drawn wearing her dressing gown, suggesting that making her
husband’s breakfast was the first thing she did when she got up. Her husband’s
needs are her priority. This compared with her husband’s clothing (a shirt and
tie), also suggests that she doesn’t need to bother getting dressed as she
doesn’t have a job. The fact she is kneeling down connotes an idea of bowing
down to her husband – he is above her in society. Her hair seems to be
carefully styled and set against a made-up face: this is an example of
objectification. Back then, women were seen more as sex objects than as equals,
and it was thought that women should strive to look beautiful in order to
please men, rather than themselves. This advertisement promotes the myth of the
‘perfect woman’, which doesn’t actually exist beyond advertisement. ‘The use of
mythic themes and elements in media representations has become so widespread
that it is hardly noticed any longer’. (Danesi, J, 2002, p.46). Although this product is aimed at
men, perhaps it was used to address women regarding what is expected of them.
The white bed sheet and shirt have connotations of purity and innocence. This
colour is presented around the man’ perhaps to suggest that he is perfect and
can do no wrong. And what is it that brings a man thus kind of power? A Van
Heusen tie.
‘Babyboomers’
tended to show their masculine traits. The advert suggests that if you were to
buy this tie, you and your life would become like that of the man’s on the
illustration. You too will have a woman bringing you breakfast in bed, and will
have power over women in general. Men strived for this life denoted in the
illustration. The ties illustrated on the advert are made up of colours, such
as blue and red, which connote masculinity, and stand out against the white
shirt the man is wearing. The words, ‘make her so happy’ coincide with the
smile on the woman’s face, suggesting to women that if this tie, and fulfilling
her husband’s desires, will make her husband happy, she will too be happy. This
leads the viewer to believe that women are simple-minded and don’t have valid
opinions of their own.
A small
paragraph in the bottom-right of the advertisement is full of masculine
connotations such as ‘man-talking’ or ‘power-packed.’ The most prominent being
‘Tell her it’s a man’s world … and make her so happy it is.’ This implies that
it’s okay to control your wife and could sound almost threatening. Women should
be happy and accepting of the fact that men are superior; during the 1950’s and
60’s, they were. Van Hausen Corp was known to create lots of stereotypical
adverts featuring women and aboriginal people. If released during the 21st
century, Van Heusen advertisements would be dismissed as either racist or – in
the case of this illustration – sexist.
“Christmas morning, she’ll be happier with a Hoover”
reads Hoover’s 60’s advertisement for their newest vacuum. The illustration advertises a Hoover as a
suitable Christmas present for a woman. It holds similarities with the Van
Hausen ad, as it suggests that women are only suited to cook and clean. It
illustrates a young Caucasian woman, dressed in a light green and white dress,
lying on the ground beside some presents. She appears to be middle to upper
class and in her late twenties or thirties, looking onto her new vacuum with an
expression that we can only connote to be that of enjoyment and glee. The
colours are used to connote Christmas; red and green are strongly associated
with Christmas, and the colours make the illustration fun and festive. The logo/label
alone has a bow on it, suggesting that even the brand name is a gift in itself.
The way the woman holds her hand upon the new hoover appears to be an action of
gentle and comforting body language, usually displayed when interacting with a
child. Her new Christmas present is like her new “baby.” The colour red could
have connotations of passion, which conveys the idea that the woman shown here
is extremely pleased and passionate about her new hoover. Red is also regarded
to connote love, and in the 60’s, this was probably acknowledged to be a nice
present. The text is written in an elegant and stylish font, connoting
stereotypes of femininity.
The
advertisement puts women in their place. It suggests that all women care about
is cleaning, and so providing them with a hoover for Christmas would be
perfectly suited to their needs. It’s encouraging a reality where women should
stay at home to cook and clean. The words, ‘And forever after’ suggest that if
you were to get a woman the hoover for Christmas, you would get your ‘happily
ever after.’ You will have her ‘forever.’ The ring on the woman’s wedding
finger implies it’s a perfect gift from a husband to his wife. The smile on her
face reinforces the fact that the Hoover will make her happy. ‘And forever
after’ also shows that Hoover is a timeless and irreplaceable brand; just like
a wife should be. This is also implying that she’ll be happy using Hoover
forever.
At the
bottom of the illustration it says 'she cares about her home', emphasising the
word 'care'. Saying that cleaning at looking after the house is all she cares
about. It's as if it's a person that she looks after. The text is monumentally
demeaning towards women and reduces them to objects that clean and takes care
of the family. Cleaning isn't just something she has to do it’s something she
wants to do. Something she cares about. The words 'give her a Hoover and you'll
give her the best' suggests that there isn't a present out there better than
this one. It also suggests that if you didn't get her this Hoover you wouldn't
be getting her the best present you could. You wouldn't be getting her
something that she 'cares' about. Jean Kilbourne (2006) states that in a
consumer culture, people are persuaded to find an identity and fulfilment
through their choice on purchases. Advertising spoils relationships then offers
products as comfort and substitutes, which stay and never change.
Although
it's a woman drawn in the advertisement, the audience is aimed at men because
it refers to the woman as "she", rather than "I" or
"you". In smaller font, a rhetorical question states, "If you
really care about her… Wouldn’t it be a good idea to consider a Hoover for
Christmas?" This is there to make the husband feel guilty; if he doesn't
buy his wife the hoover then he doesn't care about her. Also the price of the
vacuum, $99.95, is very expensive. By putting the price right in the bottom
corner in a very small font it’s making it harder to read by the audience and
suggests that price shouldn’t matter when it comes to your wife's happiness. By
directing this ad toward men, it’s showing the men that it’s their job to look
after his wife and family. In a marriage, the woman is merely there to cook and
clean. The hoover can signify a commodity, ‘thus suggesting that women are
commodities also’. (Dyer, G, 1982,
p.124)
The text that is most profound is “Christmas morning she’ll be happier
with a Hoover”. That coupled with the image paints the picture that in the
1950’s, when it was Christmas, women would expect and would enjoy getting a new
appliance that would aid them in better cleaning the household. Cleaning was
their duty. Overall, the advertisement is persuasive because it makes them feel
guilty if they don’t buy and use their product. The most overt is that if they
don’t buy a Hoover, then the husband does not love their wife. So it is assumed
that if you love your wife, you will buy the Hoover. This is a tactic that is
often not used so plainly today. The advertisement values marriage also. Typically,
with advertisements today, they do not try to exclude any group, in order to
capitalize on monies fully. Obviously, in the 50s including everyone was not
their main goal. Their audience was targeted toward upper class men, who were
the primary bread winners in the household. As well as this, $86.50 and $99.95
were pretty expensive prices sixty years ago.
Although gender roles have changed dramatically since these adverts were
published, women still battle with the fight to be seen as an equal. Women are
still seen as objects but in a more sexual way. Adverts in magazines, posters
and newspapers are bound by a code of practice administered by the advertising
standards authority (the ASA). As you can guess, many advertisements ignore the
regulations and the ASA ‘have been known to dismiss complaints about the sexist
portrayal of the women in ads because they argue that the woman is there as
decoration and irrelevant to the product’. (Dyer, G, 1982, p.184)
In conclusion, these three texts are just examples
of the reality that was constructed from advertisements during the 50’s. They
show a reality where men were superior to women and society accepted this as
right. Adverts used ad emphasised on what society believed to be the norm. They
played with the fact that women wanted to
match society’s connotations and myth of what ‘the perfect woman’ was. They
used semiotic theory to communicate a reality that is no longer deemed
acceptable.
Bibliography
MARTIN, B, and RINGMAN, F (2006) Key
Terms in Semiotics, Cornwall, MPG Books.
BIGNELL, J, (2002) Media Semiotics
an introduction, 2nd Ed, Glasgow, Bell & Bain Ltd
DYER, G, (2003) Advertising as communication, London,
Routleadge.
JEAN KILBOURNE, Jesus is a brand
of jeans, 2006, http://newint.org/features/2006/09/01/culture/, 22nd March 2014
DANESI, M, (2002) p.46 Understanding
Media Semiotics, Bloomsbury Academic
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