Essay Feedback and improvements needed.

-Check Harvard Referncing
-Make sure i use at least 12 sources
-Correct misunderstandings of 'The Gaze' in context with the image
-DO NOT USE 1st PERSON
-Explicitly use termonology
-Change the structure




Structure needs to be:


Outline gaze theory- Coward then Berger then Mulvey
The apply to the example

Essay First Draft

Women used in Advertising & the damage of the male gaze on society.

 ‘The film and television industries are dominated by men, as is the advertising industry.’ (Coward, pg.33). We the consumer of an advert are viewing the image from a direct gaze, representing a demand which makes us enter a 'parasocial relationship' (Kress & Van Leelwan 1996 122ff) with the people depicted within the photograph, the relationship in which we engage with them is determined by their facial expression or body language. Using the theories of John Berger, Rosalind Coward, Laura Mulvey and film theories. I want to explore the male gaze used within advertising and show the damage of this on the modern society through two concepts, the male idea of the cultural ideal and the idea of nassistic damage to women.

            Meltin Pot is a male's retail company selling jeans and other denim products, they target young men in the 20's and 30's, for a recent ad campaign have used a series of photography which explores the idea of the male fantasy to sell their product in a voyeuristic way. ‘Fantasy functions most conspicuously in a conservative way, as a vehicle for the depolitilicization and acceotance of the ruling ideology. It provides an imaginary enjoyment that often persuades subjects to accept their actual immiseration’(Todd McGowan, Pg.35) we buy into the the idea of the fantasy created as it is better than our own life, it shows what our life can become if we own this product. The distance between the male and his fantasy shows a personal relationship between the desired and the desirable, this cloesness shows the mans desire to possess the female of his fantasy.

This image is very telling of the society with live in today, the 'advertising industry dominated by men' (Coward, R. The Look. ), made by men for men it is there to reinforce the power and dominance of men in society and shows women to be subordinate sex. The photographer has thought about every aspect in the image, from location, colour, arrangement and the story it is portraying. Set in what looks to be a luxurious sex house the elaborate decoration and attention to detail within the furniture and props, grapes and wine, shows the glamour of sex.

This image is particularly interesting as we have numerous intra-digetic gaze's happening in the same image. At first glance we are drawn to the woman in the centre of the image bound to the chair, the gaze we see through the camera lens is that of the male consumer. The female’s gaze stretching to the the far left of the image away from us, acting as though she is unaware she is being watched. Her gaze is very strong and although she is half naked there is a sense of power through the use of her body, power in her appearance.

We follow her gaze to the person in the chair at the fair left we can see his appearance in the mirror, half hidden it appears a dark and dirty part of the male fantasy that is explored in secret, a part of his fantasy that he does not want to be seen. Mirrors and curtains have been used to mask and reveal parts of the set and people, it is interesting to see how the man with the pig mask can only be viewed by ours and the man on the right's gaze of the image through the mirror. The mirror allows the photographer to create a 'double of the self, a second figure who can be examined more closely than the original-  a double that can also be alienated from the self' (Lutz & Collins 1994 -376). We view the man in the mirror as an object and this makes him a more subtle component of the scene allowing the person to be more explicit as we view him as an object not a person as we can only see his reflection. It is a part of the male fantasy that he is trying to hide from us, a dark fantasy, the mirror gives us as insight into this but only through another means, something beyond the mans control.

Then we look to the man on the right, his jeans first as the rest of him blends into the background of the image this is the product that is being sold, he is the gaze of the bystander onto this erotically charged image, a high powered gaze. Within this photograph mirrors and curtains have been used to mask and reveal parts of the set and people, it is interesting to see how the man with the pig mask can only be viewed by ours and the man on the right's gaze of the image through the mirror. The mirror allows the photographer to create a 'double of the self, a second figure who can be examined more closely than the original-  a double that can also be alienated from the self' (Lutz & Collins 1994 -376). We view the man in the mirror as an object and this makes him a more subtle component of the scene allowing the person to be more explicit as we view him as an object not a person as we can only see his reflection. It is a part of the male fantasy that he is trying to hide from us, a dark fantasy, the mirror gives us as insight into this but only through another means, something beyond the mans control. Or is the man in the chair infact himself both men are to the side of the photograph and can be seen together in the mirror in the middle, is he looking at his own fantasy where he plays a role within it. He watches over the fantasy as the stronger sex the one in power and control but himself in the fantasy in the chair has less power than the woman, if we look carefully at her gaze onto the man it is very powerful and strong staring not necessarily seducing.

The bystander, is exploring his own fantasy, it is his fantasy we see showing the idea of 'sex at a distance, the only complete secure relation which me can have with women'. He is the only character in the image standing, the angle of his gaze looking down onto the woman shows the hierarchy over the woman, dominant male, he has full control over the her and his fantasy empowering his feelings of strength. Both men are to the side of the photograph but can be seen together in the mirror in the middle, the man in the pig mask in the chair is a fantasized double of himself is he looking at his own fantasy where he plays a role within it. He watches over the fantasy as the stronger sex the one in power and therefore controlling of everything we see.

The female in the image is not bound to the chair and has a strong, powerful gaze over his fantasized self, she is the one able to move and dominate him. This explores ‘Cowards’ theory, what we need to remember is that the male in the image is a peeping tom in his own fantasy  ‘And Peeping Toms can always stay in control’(Coward, pg.35) it is his mind we see, a controlled environment where his has created everything we see. This advert contradicts Berger’s quote ‘Men watch women as women watch themselves being watched’ (Berger) in this image the woman is watching the man who is inturn being watched we are seeing the male fantasy is in fact to be dominated by the woman, not the helpless woman we see in adverts open for the seduction of men but one who parallels their own power.

This powerful woman however is reassuringly pleasurable as she is created within the limits of a male mind, where ‘distanced he maybe but secure he remains’ (Coward, Pg.35). The woman has a shiny plastic appearance that explores the vision of the ‘ideal’ a perfect doll like women that can be controlled similar to the images we see in advertising, a display of the superstructure reflecting the base this shows the male fantasy to include reflections of the female ideal that has been created through images by men for male pleasure.

When I first glanced at the image I was very aware of the sexual context and its explicit nature and I, as the viewer, questioned whether this is something I should be looking at, are people looking at me looking at this image?  As the viewer I feel guilt when I first look at the image as I feel I am now part of his fantasy, the feeling of guilt is soon lost when the photograph is put into context as an ad it then becomes acceptable in today’s society for me to view it.

This advert highlights the dangers of explicit and sexual advertising in todays society, when images like these are exposed to both sexes of all ages. We are growing up around explicit, pornographic images of women that only boosts the idea of men needing to be in control as ‘the camera in contemporary media has been put to use as an extension of the male gaze at women on the streets’ these images are everywhere to be viewed, replacing reality.

            We don’t all view images in the same way ‘for looking is not a neutral activity’ (Coward, pg.33), but myself as a young female growing up surrounding by these images in society can understand how damaging these images are. These seductive, picture perfect women pasted on billboards and magazines, ready and waiting for a male view are creating narcissistic damage on women within our society. From the female perspective these images create ‘an ambivalence between fascination and damage’ (Coward pg.39). ‘it could be argued that when women look at these ads, they are actually seeing themselves as a man might see them’ We see what the male fascinates about and try to become that image which is so far away from our own. We scrutinize ourselves against these unrealistic views of women that we strive to be and in turn cause immiseration within our own appearance.

            Voyeurism is an easy way to sell products to men, as it conjures images of sexual nature. Although I think effect these images have on both sexes change relationships within society, ‘Advertising in this society builds precisely on the creation of an anxiety to the effect that, unless we measure up, we will not be loved.’ the male worried of not being in control and the inability to perform and the female not being able to meet the high expectations of the ideal woman.

Howard Referencing

BOOKS

(Coward, R. The Look, Thomas, J , 2000)
(McGowan, T. The Real Gaze, Film Theory After Lancan, State University of New York, 2007)
(Berger, J. About Looking. Vintage Books, a division of Random House, Inc, New York 1980)
(Mulver, L. Visual and other Pleasures. 2009 Palgrave Macmillan, Hampshire, UK.)

WEBSITES
http://www.aber.ac.uk/media/Documents/gaze/gaze.html

http://books.google.co.uk/books?id=aC0OAAAAQAAJ&pg=PA220&lpg=PA220&dq=narcissistic+damage+the+gaze&source=bl&ots=WggnEtXDL3&sig=Yy3W0A3w5OCppHaIgwiGNN9LHfQ&hl=en&ei=cydZTZrRIZGEhQfCqbSjDA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBkQ6AEwAA#v=onepage&q=narcissistic%20damage%20the%20gaze&f=false