Introduction to Postcolonialism: blog tasks

Introduction to Postcolonialism:

1) Look at the first page. What is colonialism - also known as cultural imperialism? 

‘Postmodernism’, ‘poststructuralism’ and ‘postcolonialism’ are often tough to pin down to one particular thing. This might be because first you have to understand the thing, modernism, structuralism etc., then you have to understand the ‘postness’ of it all. In academia, this tends to mean not just ‘something that came after’ but also a critical analysis or reaction against something.

2) Now look at the second page. What is postcolonialism? 

The process of decolonisation gathered speed in the 20th Century and with it, many of the attitudes associated with colonialism began to be challenged. Postcolonialism, like postmodernism, refers less to a time period and more to a critiquing of a school of thought that came before it. Postcolonialism exists to question white patriarchal views with a particular reference to how they relate to race.

3) How does Paul Gilroy suggest postcolonialism influences British culture?

Noted postcolonial thinker, Paul Gilroy in his 2005 book Postcolonial Melancholia suggested that Britain had not quite faced up to its colonial past, that the national psyche had not quite come to terms with no longer being a global superpower, and this had resulted in the desire to still subjugate those from different races, particularly immigrants. As Gilroy puts it, Britain’s ...criminalisation of immigrants and their descendants especially those from the Caribbean and South Asia signifies a melancholic response to these social and political groups that are essential to late modern British life. This criminalisation and demonising of immigrants is done through a number of means, one of the key ones being othering.

4) What is 'othering'?

Othering is the phenomenon whereby we identify something as being different from, or alien to our social identity. If something is ‘other’ it is different to ‘us’; it doesn’t fit well within the confines of our society. The practice of othering persons means to exclude and displace them from the dominant social groupto the margins of society. This obviously has a dehumanising effect on the people being othered. Rather than focusing on the things we have in common, that everybody has hopes and dreams, things they care about, people are reduced to labels such as ‘illegal immigrant’ or ‘asylum seeker’.

5) What examples of 'othering' are provided by the article?

Othering based on race has existed in mainstream media for as long as there has been mainstream media, but not always in the same form. Things have come a long way since Love Thy Neighbour, the seventies sitcom about a Black family living next door to a white family with a bigot for a man of the house. In today’s TV landscape, shows such as Man Like Mobeen, Top Boy and I May Destroy You offer a much more nuanced depiction of ethnic minorities due to a broadly left leaning culture within TV production. The process of othering has been the domain of tabloid newspapers such as the Daily Express, who printed 179 anti-migrant stories between 2011 and 2016, that’s roughly one anti-immigrant headline every ten days.

6) What is 'double consciousness'? 

 ‘Double consciousness’ whereby people struggle to reconcile two nationalities or identities.

7) What are 'racial hierarchies'?

The idea of racial hierarchies: the idea that some races are superior to other ones. In Western culture, people who promote these ideas are usually advocating for white supremacy. However, perceptions of different ethnic groups can change over time.

8) What examples from recent media products challenge the idea of racial hierarchies? 

Brooklyn Nine- Nine’s ‘Moo Moo’ episode from its fourth season, where Lt. Terry Jeffords is racially profiled by another cop. Some shows choose to largely ignore the character’s ethnicity and its impact on their role, such as Nick Fury’s role as director of SHIELD in the Marvel films, striving for a time when a person’s ethnicity doesn’t make a difference to anyone.

Blog task: Score advert and wider reading

 Media Factsheet - Score hair cream

Read the factsheet and answer the following questions:

1) How did advertising techniques change in the 1960s and how does the Score advert reflect this change?

In the 1960s, advertising agencies relied less on market research and leaned more toward creative instincts when it came to creating their campaigns. ads attempted to win over consumers with humor, candour and irony and focused on large visuals and minimal copy for a dramatic effect and print ads took on a realistic look, relying more on photography than illustration. The Score hair cream advert reflects this as the image was clearly taken in a studio using actual people as the main subjects, this adds to the realism as they all have different expressions and posses.

2) What representations of women were found in post-war British advertising campaigns?

Advertising in the post-war period was illustrated by campaigns that undoubtedly reinforced the idea that a had to adopt and expressive role. Women had to be a passive nurturer, providing emotional support in the private sphere, being responsible for the well being of family members and the socialisation of their children.

3) Conduct your own semiotic analysis of the Score hair cream advert: What are the connotations of the mise-en-scene in the image? You may wish to link this to relevant contexts too.

The setting for the advert resembles that of a jungle due to the multiple plants in the background. This could highlight Britain's colonial background. Also the male character is covered up and only his forearms are on show, whereas the female characters are scantily clad and dressed inappropriately for the situation. Perhaps this links to the idea that males are hunter-gathers which reinforces their strength and dominance, creating an impression of hyper masculinity. The female characters all fit the Western beauty standards, are in revealing clothing and have their hair and make up done, implying that women are viewed from the eyes of a hetero sexual man, and are represented as passive objects of male desire (Mulvey's male gaze theory).

4) What does the factsheet suggest in terms of a narrative analysis of the Score hair cream advert?

The Score advert identifies the man as Propp’s ‘hero’ in this narrative, inferring that he is ecstatic to be the hunter-protector of his ‘tribe’.

5) How might an audience have responded to the advert in 1967? What about in the 2020s?

In 1967, a male audience would have enjoyed the advert as it reinforces their masculinity especially in a time of changing attitudes to gender and sexuality.

6) How does the Score hair cream advert use persuasive techniques (e.g. anchorage text, slogan, product information) to sell the product to an audience?

The anchorage text, for example, is a persuasive technique as it uses inadequacy marketing, implying that the product can solve the problem for men.

7) How might you apply feminist theory to the Score hair cream advert - such as van Zoonen, bell hooks or Judith Butler?

Butler notes that gender as an objective natural thing does not exist and "Gender reality is performative which means quite simply, that it is real only to the extent that it is performed". This means that, to Butler, gender has nothing to do with materiel bodily facts and is instead a social construction that is open to change and contestation.

8) How could David Gauntlett's theory regarding gender identity be applied to the Score hair cream advert?

Gauntlett notes that "views of gender sexuality, masculinity and femininity. identity and selfhood, are all in slow but steady processes of change and transformation" This is evident in the Score hair cream advert as gender is represented very differently in comparison to today.

9) What representation of sexuality can be found in the advert and why might this link to the 1967 decriminalisation of homosexuality (historical and cultural context)?

The man is physically above the women and is holding a gun, which is a phallic symbol. This is an example of hypermasculinity and reinforces men as dominant. Perhaps, due to the 1967 decriminalisation of homosexuality, the advert intended to reinforce heteronormative ideas that were previously valued.

10) How does the advert reflect Britain's colonial past - another important historical and cultural context?

Furthermore, the man's prop gun and costume is reminiscent to Britain's colonial past which is significant as the advert was published 20 years after the 1947 Partition of India.


Wider reading

The Drum: This Boy Can article



1) Why does the writer suggest that we may face a "growing 'boy crisis'"?

We are much less equipped to talk about the issues affecting boys. There’s an unconscious bias that males should simply ‘man up’ and deal with any crisis of confidence themselves. After all, men (certainly white, middle-class, Western men) are better paid, have more opportunities and are not inhumanely oppressed in some parts of the world.

Yet, the reality is that men commit suicide more than women, and are more likely to drop out of education and get involved in crime, drugs and binge drinking. Moreover, as women are increasingly empowered, many men feel increasingly disempowered, accentuating these social problems.

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?

As Lynx/Axe found when it undertook a large-scale research project into modern male identity, men are craving a more diverse definition of what it means to be a ‘successful’ man in 2016 and to relieve the unrelenting pressure on them to conform to suffocating old paradigms. This insight led to the step-change ‘Find Your Magic’ campaign from the former bad-boy brand.

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?

“We’re seeing a huge rise in eating and body image disorders among young men. We can’t isolate the cause. Advertising plays its part. A 13-year-old boy of average build in one class recently told me seeing an ad made him feel fat. He didn’t mean a bit out of shape. He meant everything that goes with that feeling such as seeing himself as lazy, unaccomplished and incapable.”

4) How have changes in family and society altered how brands are targeting their products?

Quite a few brands still segment like this, but others are seeking “a true understanding of their target consumer; who they really are, their beliefs, their attitudes, where they are now, where they want to be in future. “These brands are not just governed by the jobs men do or their age”.

5) Why does Fernando Desouches, Axe/Lynx global brand development director, say you've got to "set the platform" before you explode the myth of masculinity?

“This is just the beginning. The slap in the face to say ‘this is masculinity’. All these guys [in the ad] are attractive. Now we have our platform and our point of view, we can break the man-bullshit and show it doesn’t matter who you want to be, just express yourself and we will support that. “What being a man means, and what ‘success’ means, is changing and this change is for the good. The message hasn’t exploded yet but we will make it explode. We will democratise it.”

MIGRAIN 3 Assessment - Learner response

 MIGRAIN 3 Assessment - Learner response

1) Type up your feedback in full (you don't need to write the mark and grade if you want to keep this confidential).

WWW- Good attempts to incorporate the media language in both answers.

EBI- More nuance needed and a recognition of the changing and diverse representations in the media.(not always but often or typically)

2) Read the mark scheme for this assessment carefully. Write down the number of marks you achieved for the two questions: _/8; _/12. If you didn't achieve full marks in a question, write a bullet point on what you may have missed.

4/8 - 

• The Carolina Herrera fragrance campaign reinforces traditional representations of gender through a combination of factors including images, language and typography.

• The verbal codes (text) reinforce the gender roles expected in society, supporting Judith Butler’s theory that gender is “a performance” – a pattern of repeated acts or rituals. Here, the expectation that women should be ‘good girls’ while men are allowed to be ‘bad boys’ reinforces the restrictive gender roles that are set from childhood. This is then explicitly reinforced in the text ‘The new feminine/masculine fragrance’ – suggesting that people should behave, look and smell a certain way to perform their gender.

•  The choice of typography – serif font, formal white on dark background – reinforces this idea of traditional gender roles and rejects the current move in society and the mass media for a more ‘woke’ approach to gender identity and fluidity. The typeface is old-fashioned, authoritative and extends the idea that men and women should be expected to dress and act in a certain way.

• The image of the woman reinforces both Laura Mulvey’s ‘male gaze’ theory and Liesbet van Zoonen’s idea that women’s bodies are presented as ‘spectacle’ for the benefit of male gaze

7/12 - 

• The Carolina Herrara campaign reinforces Liesbet van Zoonen’s ideas regarding the media and patriarchal dominance. Undoubtedly, the female model is presented as a ‘spectacle’ for male pleasure and the positioning of the models and the use of text (‘good girl’ and ‘bad boy’) establishes a male dominance.

•  The female model arguably provides evidence for each element of van Zoonen’s theory regarding the representation of women. Here, she is clearly objectified, restricted to a secondary role (at the man’s feet), passive, framed to emphasise her sexuality and adhering to white western beauty standards. This could undoubtedly have an impact on media audiences and therefore influence social or cultural norms.

• David Gauntlett argues that masculinity is constantly evolving and social concerns that masculinity is ‘in crisis’ are exaggerated. However, this campaign does not provide particular evidence for an evolution in representations of men (aside perhaps from a lack of socks and no necktie). Indeed, this campaign reinforces classic masculine stereotypes and therefore perhaps provides evidence against Gauntlett’s theory audiences.

• The Carolina Herrara advertising campaign may be seen as an attempt to reclaim traditional gender roles in response to an increasing tolerance of gender fluidity and non-binary gender identity.

• The campaign reinforces Judith Butler’s work in Gender Trouble – particularly the idea that gender is culturally and socially constructed – not ‘natural’. The construction of the adverts supports Butler’s idea that we are conditioned to adhere to social norms – both in terms of gender roles and heterosexuality.

3) For Question 2 on the social and cultural contexts of gender representations, identify three potential points in the mark scheme that you didn't include in your answer.

• The verbal codes (text) reinforce the gender roles expected in society, supporting Judith Butler’s theory that gender is “a performance” – a pattern of repeated acts or rituals. Here, the expectation that women should be ‘good girls’ while men are allowed to be ‘bad boys’ reinforces the restrictive gender roles that are set from childhood. This is then explicitly reinforced in the text ‘The new feminine/masculine fragrance’ – suggesting that people should behave, look and smell a certain way to perform their gender.

•  The choice of typography – serif font, formal white on dark background – reinforces this idea of traditional gender roles and rejects the current move in society and the mass media for a more ‘woke’ approach to gender identity and fluidity. The typeface is old-fashioned, authoritative and extends the idea that men and women should be expected to dress and act in a certain way.

• The image of the woman reinforces both Laura Mulvey’s ‘male gaze’ theory and Liesbet van Zoonen’s idea that women’s bodies are presented as ‘spectacle’ for the benefit of male

4) Having read the whole mark scheme, pick out one media theory that you didn't include in this assessment and summarise it briefly here so you can use it confidently in future.

• David Gauntlett argues that masculinity is constantly evolving and social concerns that masculinity is ‘in crisis’ are exaggerated. However, this campaign does not provide particular evidence for an evolution in representations of men (aside perhaps from a lack of socks and no necktie). Indeed, this campaign reinforces classic masculine stereotypes and therefore perhaps provides evidence against Gauntlett’s theory.

5) Based on your experience in this assessment, identify three aspects of Media (e.g. skills/particular theories/examples) that you need to work on for your next assessment.

I need to work on remembering a broad variety of theories and examples within them, also looking at the social context as well as the cultural context.

Gender, identity and advertising: blog tasks

 David Gauntlett: academic reading

1) What examples does Gauntlett provide of the "decline of tradition"?

Today, it seems more appropriate to emphasise that, within limits, the mass media is a force for change. The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of the picture by the feisty, successful 'girl power' icons. Meanwhile the masculine ideals of absolute toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on men's emotions, need for advice, and the problems of masculinity.

2) How does Gauntlett suggest the media influences the way we construct our own identities?

The social construction of identity today is the knowing social construction of identity. Your life is your project - there is no escape. The media provides some of the tools which can be used in this work. Like many tool kits, however, it contains some good utensils and some useless ones; some that might give beauty to the project, and some that might spoil it.

3) What does Gauntlett suggest regarding generational differences? Is it a good thing that the media seems to promote modern liberal values?

The mass media has become more liberal, and considerably more challenging to traditional standards, since then, and this has been a reflection of changing attitudes, but also involves the media actively disseminating modern values. It therefore remains to be seen whether the post-traditional young women and men of today will grow up to be the narrow-minded traditionalists of the future.

4) Why does Gauntlett suggest that masculinity is NOT in crisis?

The self-help books for men also refuted the idea that changing gender roles had thrown men into crisis. The problem for men was not seen as being their new role - or lack of one; instead, men's troubles stemmed from their exaggerated and pointless commitment to men's old role, the traditional role of provider and strong, emotionless rock. Where men had a problem, then, it was not so much because society had changed, but because they as individual men had failed to modernise and keep up. Happily, the books took the view that people can change, and that troubled men would be able to create a satisfying and more relaxed life for themselves if they put in a bit of effort.

5) Does advertising still reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses? Offer examples for both sides of the argument from the wider advertising industry.

Images of the conventionally rugged, super- independent, extra-strong macho man still circulate in popular culture. And as incitements for women to fulfil any role proliferate, conventional masculinity is increasingly exposed as tediously monolithic. In contrast with women's 'you can be anything' ethos, the identities promoted to men are relatively constrained. We noted evidence in chapter one that, whilst young females are taking

to the full spectrum of school subjects and jobs, their male counterparts still generally avoid subjects and work that they see as 'female'. These things are continually crumbling, though. It is worth remembering, as we noted in chapter four, that even that archetype of masculine strength and independence, James Bond, cannot be too hard and self-reliant in today's Bond movies without being criticised for it by another character.

6) Gauntlett discusses the idea of 'girl power' and offers examples from music and film. Does advertising provide evidence to support the idea of 'girl power' or is the industry still reinforcing traditional representations of men and women?

 Magazines for young women are emphatic in their determination that women must do their own thing, be themselves, and/or be as outrageously sassy and sexy as possible. Several recent movies have featured self- confident, tough, intelligent female lead characters. Female pop stars sing about financial and emotional independence, inner strength, and how they don't need a man; and the popular mantra of self-help books is that women can become just as powerful as these icons, if they cultivate their confidence and self-belief, and draw up a plan of self-development.

7) Do you agree with Gauntlett's argument under 'Popular feminism, women and men' where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes? Does advertising provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles?

The magazines are often centred on helping men to be considerate lovers, useful around the home, healthy, fashionable, and funny - in particular, being able to laugh at themselves. To be obsessed about the bits which superficially look like 'a inscription of masculinity' is to miss the point. Men's magazines are not perfect vehicles for the transformation of gender roles, by any means, but they play a more important, complex and broadly positive role than most critics suggest.

8) What examples from advertising does Gauntlett provide for the changing nature of gender in society ?

Some advertising - such as the sexually charged but androgynous imagery promoting the

CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deoderant and Kronenbourg lager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities. In this book we have discussed further cases of films, TV shows and magazines which have also celebrated non-traditional visions of gender and sexuality.

9) Why is advertising such a good example of the 'contradictory elements' that Gauntlett discusses with regards to the mass media? In other words, how does advertising continue to both reinforce and challenge gender stereotypes?

Contradictions are an inevitable by-product of the drive for multiple points of excitement, so they rarely bother today's media makers, or indeed their audiences. The contradictions are important, however, because the multiple messages contribute to the perception of an open realm of possibilities. In contrast with the past - or the modern popular view of the past - we no longer get singular, straightforward messages about ideal types of male and female identities (although certain groups of features are clearly promoted as more desirable than others). Instead, popular culture offers a range of stars, icons and characters from whom we can acceptably borrow bits and pieces of their public persona for use in our own. In addition, of course - and slightly contradictorily - individuals are encouraged to 'be yourself', and to be creative - within limits - about the presentation of self. This opens the possibilities for gender trouble, as discussed above. Today, nothing about identity is clear-cut, and the contradictory messages of popular culture make the 'ideal' model for the self even more indistinct - which is probably a good thing.

10) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. What is your opinion on this debate - do you agree that the media reinforces the changing attitudes towards gender and sexuality in society?

People are changing, building new identities founded not on the certainties of the past, but organised around the new order of modern living, where the meanings of gender, sexuality and identity are increasingly open. Different aspects of popular media can aid or disturb these processes of contemporary reorientation.

Media Magazine: Andrew Tate - Masculinity in crisis?

1) What is misogyny and how does it link to Andrew Tate?

Misogyny is a dislike of, contempt for, or ingrained prejudice against women. Tate claims to be ‘absolutely a misogynist’. He has stated that women ‘belong in the home’, that they ‘can’t drive’, and believes that in marriage, women are ‘given to the man and belong to the man’. He has also claimed that most men prefer dating 18-19-year-olds because they have had sex with fewer men.

2) How does the article suggest Andrew Tate used social media to build up his reputation and following?

Tate dangerous is that impressionable minds may look at the lifestyle he purports to lead, hear the views he espouses, and quickly come to think that one has led to the other. Whilst some people may experience idyllic high school years, many readers may remember them as a hellish time where being kind or virtuous has little impact on your place in the social hierarchy

with those at the top being prone to bullying or exploitation of those at the bottom. Andrew Tate’s views do nothing to alter this status quo.

3) Does Andrew Tate's popularity suggest there is in fact a 'crisis in masculinity' - disagreeing with David Gauntlett's view?

Tate gives his audience tools to exploit anyone weaker than themselves whilst at the same time, exploiting those same young boys and men to make himself more successful.

Blog tasks: Representations of women in advertising

  Representations of women in advertising

Academic reading: A Critical Analysis of Progressive Depictions of Gender in Advertising

Read these extracts from an academic essay on gender in advertising by Reena Mistry. This was originally published in full in David Gauntlett's book 'Media, Gender and Identity'. Then, answer the following questions:

1) How does Mistry suggest advertising has changed since the mid-1990s?

Mistry suggests that throughout the mid-1990s that homosexuality has evolved as more open as the social norms of today's society has evolved to a better platform due to sexual and gender stereotypes have been decreased to gay comics and more for example.

2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?

There were many stereotypes when it came to women between 1940-1950 as many were battling a crisis of their own identity after their husband had gone to war (WW2) and they had the right to work independently. However that was subdued due to masculinity rising and women being taught how to 'behave' as they were then treated as objects.

3) How did the increasing influence of clothes and make-up change representations of women in advertising?

The increase of sexualising women in the advertisement as it brought customers wanting to be like that to impress their man like perfume but also some for men that sexualises and objectifies women as they were seen to be 'decorative'.

4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?

The theorist that came up with the idea of 'male gaze' was Mulvey as she discusses the relation of women being represented in a certain framework by men as they sexualize them (especially in the media industry).

5) How did the representation of women change in the 1970s?

The representation of women has evolved since the 1970s due to women being less objectified and independent due to the power of women uprising from the women's movement for pushing for gender equality in workplaces and universities.

6) Why does van Zoonen suggest the 'new' representations of women in the 1970s and 1980s were only marginally different from the sexist representations of earlier years?

Zoonen suggested 'new women' as a new journey as it would influence others to independently know confidence and assertiveness compared to the early years of being objectified by men.

7) What does Barthel suggest regarding advertising and male power?

From what Barthel states 'today's young women can successfully storm the bastions of male power... without threatening their male counterparts' that indicates that women after the 1970s and our generation can freely have an opinion and live to our desires without male authority objectifying us women.

8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?

There is still a lot that needs to be done in the media industry when it comes to feminist views as there is still a lingering for women to be independent life without being objectified and stereotyped, which there is but there are still women constructing their selves in this generation making advertisement still trying to end it.


Media Magazine: Beach Bodies v Real Women (MM54)

Now go to our Media Magazine archive and read the feature on Protein World's controversial 'Beach Bodies' marketing campaign in 2015. Read the feature and answer the questions below in the same blogpost as the questions above.

1) What was the Protein World 'Beach Bodies' campaign and why was it controversial?

The campaign was to as it shows in the magazine 'courting the female market' to be expected to have these beach bodies but it backfired as it demonstrated the male gaze and objectified women to be this certain way (white, tanned, skinny and blonde female).

2) What was the Dove Real Beauty campaign?

The Dove Real Beauty campaign is trying to build self confidence in women and young children as it shows women of different varieties of race, age  and body types.

3) How has social media changed the way audiences can interact with advertising campaigns? 

Audiences have interacted in a more negative way and stated in the 'Beach Bodies' campaign that it is highly sexist but back in the early 20th century, it would have been depicted as a normalised thing in society.

4) How can we apply van Zoonen's feminist theory and Stuart Hall's reception theory to these case studies?

Van Zoonen and Stuart Hall's theory establishes the representation of how women are stereotyped in advertising in the 'Beach Bodies' campaign indicates that young women should strive to be this certain way as the Dove campaign shows the opposite and strives young girls to be whoever they want.

5) Through studying the social and historical context of women in advertising, do you think representations of women in advertising have changed in the last 60 years?

In my opinion, I believe that the representation of women will change again to either a better way or worse since depicting the future is an unexpected thing due to women still being sexually harassed till this day of women empowerment since the early 20th century.The way females are portrayed throughout advertising has always been the motive to sexually exploit them and women go along with it since it’s what makes them money.