This blog is written as a part of my third semester assignment in the paper of Cultural Studies. In this blog, I will explore the topic "Examining Gender Representations in Indian Advertisements"
Name: - Trushali Dodiya
Roll No: - 19
Semester: - 3(Batch 2022-24)
Enrolment number: - 4069206420220011
Paper No: - 205
Paper name: - Cultural Studies
Paper code: - 22410
Topic: - Examining Gender Representations in Indian Advertisements
Submitted to: - Smt. S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University
Email Address: - trushalidodiya84@gmail.com
Abstract:
Advertisements, designed for marketing purposes, play a significant role in selling products. However, these ads often convey unintentional or intentional messages about gender roles, reinforcing stereotypes. This study focuses on how boys and girls are portrayed in Indian advertisements, aiming to comprehend the changes in these depictions over time and the influences shaping them. The study delves into the impact of culture and traditions on these advertisements, exploring the tactics advertisers use to convey their messages. The primary goal is to understand how these ads shape people's thoughts and behaviors. Through a meticulous analysis of contemporary advertisements spanning various media platforms, this study seeks to unravel the nuanced ways in which notions of masculinity and femininity are constructed and projected.
Table of Content:
- Introduction
- Gender Representation in Advertisements
- Impact on Society
- Changing Trends of Advertisements
- Conclusion
- References
Introduction:
Advertisements are a powerful tool of marketing strategy. We come across various ads in television, online platforms and magazines. But at the same time it is not just about selling things; it is a powerful force that shapes and reflects societal values, including perceptions of gender. Advertisements have become storytellers, conveys the narratives about how girls as boys should be, which sometimes also sustains the gender based stereotypes intentionally or unintentionally. This study explores the intricate dynamics between advertisements and gender dynamics in the Context of India.
While looking at Indian advertisements, it pays a crucial role in shaping the gender portrayals. These representations not only influence customer choices but also contributes to the construction of societal norms and expectations.
Gender Representation in Advertisements:
Gender based discrimination and stereotypes are prevalent in our society from the root of its origin. This representations has continuously been seen in various forms, like books, magazines, advertisements, movies, web series etc. This is not because it is always intended, but also the way we think and the way we are getting evolution in our thinking and understanding of certain societal aspects and norms.
With expecting the profits, Advertisements serves as certain sort of mentality of people living in a period of time. This study will deep digger into the realm of advertisements which represents the gender roles and stereotypes.
Rajagopal and Gales, in their work "It's the Image That Is Imperfect: Advertising and Its Impact on Women," highlight crucial aspects of the portrayal of females in advertisements. They reference Matlin's sixth stereotype, which asserts that women's bodies are depicted differently from men's in advertising. The authors argue that women are often presented in a sexual or vulnerable position to enhance product sales, whether the advertisement is for a shaving cream, alcoholic beverage, or products like Edge Shaving Cream, Pepsi-Cola, or Absolute Vodka.
The trend persists across diverse product categories, suggesting a pervasive use of gendered imagery in marketing strategies. This raises important questions about the impact of such representations on societal attitudes and norms. The implications of these advertising strategies contribute to a nuanced understanding of how gender roles and stereotypes are perpetuated through commercial messaging. Let's study some of the advertisements.
The representation of gender in Slice advertisements, particularly the transition from Katrina Kaif to Kiara Advani as brand ambassadors, highlights an enduring trend in advertising. The portrayal of women in these advertisements often emphasizes sensuality, using body language and gestures that go beyond the product's utility. The choice of background songs, from "Rasiya Aja"(Slice and Goyal) to "Nasha Pyar Ka,"(Slice India) further underscores the attempt to associate the product with attraction and desire. The Slice Swayamvar advertisement(Slice India), like other Slice ads, consistently features sensuous body postures and highlights a drop of the beverage on the lips.
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This recurring theme suggests a deliberate marketing strategy that goes beyond the mere promotion of a cold drink. The use of traditional concepts like "Swayamvar" creates a metaphorical link between choosing Slice and selecting a life partner.
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This intentional emphasis on sensuality raises questions about its impact on societal attitudes and gender roles, prompting a critical examination of the broader implications of such marketing strategies.
The continuity of this approach over time suggests a deliberate marketing strategy. The underlying message seems to be that consuming Slice is not just about quenching thirst; it's also about embodying a certain sensuousness. The persistence of such portrayals in the advertising industry raises questions about the societal norms and expectations that these campaigns both reflect and perpetuate.
Pepsi's advertising history also provides another noteworthy example. The evolution of slogans from "Yahi hai Right Choice baby" to "Dil Mange More" (Pepsi)(Pepsi) underscores the shift in messaging while still maintaining a focus on the appeal to desire. The use of phrases like "Meri Jaan" suggests a personalized connection between the consumer and the product, with women often being the focal point of this appeal.
Moreover, the differentiation in the portrayal of women compared to men in these advertisements is a recurring pattern. While men may be presented as assertive or carefree, women are often depicted in a more alluring or suggestive manner. This reinforces traditional gender roles and stereotypes, contributing to a narrow and limiting understanding of femininity in the context of product consumption.
The broader implications of such gender representations in advertisements extend beyond the specific products being promoted. These ads play a crucial role in shaping societal perceptions of gender roles, influencing how individuals perceive themselves and others. The use of sensual imagery to sell everyday products reinforces the notion that a woman's value is often linked to her physical appeal.
By critically examining and discussing these advertisements, we can contribute to a broader conversation about the need for more diverse and empowering representations of gender in the media. This includes challenging advertisers to move away from perpetuating stereotypes and to embrace a more inclusive and progressive approach in their campaigns. As consumers become more aware and demand change, there is an opportunity for advertisers to reshape narratives and contribute to a more equitable and respectful portrayal of gender in society.
Soap advertisements, including those for Nirma, Liril, and Santoor, consistently reflect a similar trend in portraying women, placing a significant emphasis on their appearance.
In the case of Nirma soap ads, the iconic jingle "Tu husna pari tu jane jaha" remains unchanged, underscoring a persistent focus on the beauty of women. This continuity suggests a deliberate choice to maintain a particular image associated with the brand.
Similarly, Liril soap advertisements also adhere to this pattern, utilizing the female body to attract consumers. The emphasis on sensuality and visual appeal becomes a prominent feature in these campaigns.
Santoor soap ads take a slightly different approach by showcasing a woman who attracts someone with her skills, later revealed to be a mother(Santoor Stay Young). While this narrative seemingly challenges traditional roles by portraying a confident woman with skills, the underlying theme of female beauty remains central. The ads may aim to subtly break stereotypical portrayals of women, yet they still retain elements of the conventional focus on feminine attractiveness.
Dove soap ads have taken a distinct and progressive approach in portraying women, diverging from traditional beauty standards. Through campaigns such as #StopTheBeautyTest(Dove India), Dove challenges the conventional practice of evaluating women based solely on their appearance. The hashtag reflects a commitment to ending the scrutiny that women often face regarding their looks.
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Accompanied by the question "कब तक चलेगी खूबसूरती की ये बदसूरत परख? आखिर कितनी खूबसूरती काफी है?"(Dove India) (How long will this ugly test of beauty continue? Ultimately, how much beauty is sufficient?), Dove challenges societal norms that perpetuate unrealistic beauty standards. The subtitle "खामिया नहीं खूबिया देखिए" (See virtues, not flaws) encourages a shift in perspective, urging viewers to focus on qualities beyond physical appearance.
Soap ads consistently emphasize women's physical appearance, with Santoor soap attempting a nuanced approach by showcasing skills alongside beauty. In contrast, Dove soap disrupts traditional beauty norms with campaigns like #StopTheBeautyTest. Despite varied approaches, the overall trend raises questions about the enduring nature of gender stereotypes in advertising, signaling a need for continued reflection and evolution in the industry for more inclusive portrayals.
Male body spray advertisements often perpetuate traditional and conventional stereotypes about women by depicting them as constantly attracted to men wearing the advertised fragrance. For instance, the Wild Stone body spray for men utilizes the tagline "log to notice karenge hi" (people will definitely notice) and the hashtag #IntensifyYourGame. In these ads, women are portrayed as irresistibly drawn to men who use the product.
This portrayal reinforces the traditional gender roles where men are seen as the initiators of attraction and women as passive objects of desire. The marketing strategy implies that using the advertised body spray will make men more appealing to women, adhering to outdated notions of masculinity and femininity.(wildstoneofficial)
This observation points to the androcentric nature of advertisements that has been pointed out by Barbara B. Stern, which means that they are centered around male perspectives. This tendency in advertising draws from conventions often seen in male-oriented stories, where women may be placed in subordinate roles, dominated, or even overlooked. Even when female characters are featured prominently in these ads, there is a simultaneous portrayal of them in subordinate positions. This suggests a complex dynamic where, despite being at the center, female characters are often presented as secondary or subservient in comparison to their male counterparts. This androcentric approach in advertising reflects broader societal norms and expectations, contributing to the reinforcement of traditional gender roles and power dynamics.
In almost all the advertisements, female are as brand ambassadors. And moreover they are so skinny and attractive models. Here the perception of customers getting changed when it comes to buy certain products. It is okay if female are leading in advertisements of female beauty care and other ads of products that been used only by woman. But amazed to examine that the body spray and other male products, females are portrayed in the same way and they are much sensualised in it. The study of several male body spray ensures this statement.
Impact on Society:
The impact of advertisements on society, particularly concerning gender stereotypes and the perception of women, is a significant aspect to consider. In Barbara B. Stern's work, "Feminist Literary Criticism and the Deconstruction of Ads: A Postmodern View of Advertising and Consumer Responses," the examination of language, meaning, and comprehension in ads is approached through a feminist lens. Stern delves into the essential question posed by Holland regarding literature, breaking it down into three components: the advertising text ("what"), the consumer ("who"), and the response process ("how"). He rightly emphasizes that the response and reception play a crucial role in understanding the impact of such ads.
It's crucial to acknowledge that women often face societal pressures related to appearance. As noted by Rajagopal and Gales, the stereotypical representations prevalent in advertisements significantly influence women's perceptions of their own appearance. Women might unknowingly internalize these ideals, conforming to the standards set by ads. Unfortunately, they may not realize that adhering to these standards, such as attempting to look like the women portrayed in advertisements, can create additional barriers. The unrealistic expectations set by gender stereotypes can contribute to a cycle where women feel compelled to meet these standards, perpetuating societal pressures and inhibiting individual expression.
It also impacts on consumer behavior. The use of idealized and often unattainable beauty standards in ads, featuring skinny and conventionally attractive models, can create a sense of aspiration and desire among viewers. This phenomenon is often hold by advertisers to influence consumer purchasing decisions.
When individuals see representations of a particular body type associated with a product, there is a psychological effect that suggests using that product can lead to achieving a similar appearance. This can lead to a desire to imitate the look of the models in the advertisements. Advertisers understand this and strategically use such imagery to create a connection between the product and the perceived idealized outcome.
As a result, some female consumers may be more inclined to purchase these products with the hope that it will help them achieve the beauty standards presented in the ads. It underscores the power of advertising not just to sell a product but also to shape perceptions of beauty and influence individual choices and behaviors. This aspect of advertising has been a subject of critique, especially in discussions around body image issues and the promotion of unrealistic beauty ideals.
Changing Trends of Ads:
The evolving trends in today's advertisements reflect a shift towards promoting equal roles and breaking stereotypes. Brands like Dove and Ariel are at the forefront of this change. Dove's ads challenge stereotypical beauty standards, emphasizing a move away from judging female beauty based on conventional norms. Similarly, Ariel's advertisements go beyond promoting a washing powder – they advocate for equality in household chores with the hashtag #IsLaundryOnlyWomansJob and encourage everyone to #ShareTheLoad.
The Nirma Washing Powder ad presents a noteworthy departure from traditional gender stereotypes by featuring four women actively helping an ambulance out of a muddy puddle while many men observe.(Nirma)
This depiction challenges the common narrative where men are often portrayed as problem solvers and heroes, while women are limited to specific roles. By showcasing women in a proactive and decisive role traditionally associated with physical strength, the ad disrupts traditional gender norms. This choice sends a powerful message about gender equality, encouraging viewers to question ingrained stereotypes and recognize the capabilities of individuals irrespective of their gender. In the context of changing gender stereotypes in advertising, this Nirma ad contributes to a more inclusive narrative, prompting a reevaluation of societal expectations and advocating for a broader, more egalitarian perspective on gender roles.
These ads serve not only to sell products but also to challenge and reshape societal norms. The focus extends beyond the tangible benefits of the products to address broader social issues, particularly gender equality. Tata Tea, in its advertisements, tackles gender equality across various fields. For instance, one ad features Shahrukh Khan discussing the imbalance in how male and female names are presented in movies. His commitment to putting the heroine's name first in all his films -अबसे मेरी हर फिल्म मे हिरोइन का नाम आगे होगा, signifies a call for substantial change, emphasizing the need for collective efforts to bring about a significant transformation. The tagline, "बड़े बदलाव के लिए हर एक को छोटी शुरुआत करनी पड़ेगी," reinforces the idea that significant societal shifts begin with individual actions, no matter how small.
Another Tata Tea ad cleverly addresses gender stereotypes by portraying a father who, despite his son's race, attributes the loss to a girl. It goes with the tagline "Inequality gets Learnt. Equality need Teachin" (Jaago Re)
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This scenario is followed by a powerful message highlighting the need for societal change. These advertisements play a pivotal role in creating awareness and sparking conversations about the shifts required in our society to achieve true gender equality. They encourage individuals to take small steps toward a more equal and inclusive future.
Conclusion:
In conclusion, advertisements play a significant role in shaping societal values and gender perceptions. While persistent stereotypes in ads raise concerns, there are positive shifts exemplified by brands like Dove and Ariel challenging norms. The Nirma Washing Powder ad, in particular, disrupts traditional gender roles, advocating for inclusivity. Although some trends are changing, there's a continued need for advertisers to move away from stereotypes and contribute to a more equitable portrayal of gender in society. Brands like Tata Tea are fostering awareness and conversations about gender equality, emphasizing the transformative impact of small steps toward a more equal future.
References:
Dove India. “Dove | #StopTheBeautyTest (Hindi).” YouTube, 2021, https://youtu.be/E3kWzRB6Yy8?si=qx6p3gl8KsvS9yLB.
Jaago Re. “Shahrukh Khan's Choti Shuruaat - Tata Tea Jaago Re New TVC.” YouTube, 16 June 2023, https://youtu.be/gAhJ0Ryccf0?si=GzYfHbQHNq_r4AIX.
Jaago Re. “Tata Tea - Inequality gets Learnt. Equality needs Teaching.” YouTube, 2017, https://youtu.be/SpPozOvNrKA?si=TcWQh6RQiPJTLl0l.
Liril India. “LIRIL Fresh is Back Ad.” YouTube, 2015, https://youtu.be/Db9hpqChCZU?si=0-EydxTTRcIgC484.
Nirma. “Nirma Washing Powder Ambulance.” YouTube, 2014, https://youtu.be/YHOZAl0OX84?si=hWs-uiTPDXMA3rhh.
Nirma India. Woh hai itni haseen, dhoondey titliyan... Saundarya Sabun Nirma - 65 sec. 2023. YouTube, https://youtu.be/IHXWYgloX5E?si=cgbSKeyfXWVokLDr.
OpenAI. “ChatGPT Conversation on Gender Representations in Indian Advertisements.” OpenAI ChatGPT, 2022, https://chat.openai.com/c/d391497f-084b-4570-9f7b-5fd25406ff8a.
Pepsi. “Old Lehar Pepsi TVC - Yehi Hai Right Choice Baby ft. Aamir Khan, Aishwarya & Mahima Chaudhury.” YouTube, https://youtu.be/RXubpKOGWCU?si=Wqo75niiB0YWmrHx.
Pepsi. “Shahrukh Khan | Old Pepsi Ad | Rani Mukherjee, Kajol, Shahid Kapoor | 1999.” YouTube, 2019, https://youtu.be/q4gpDFcgBeE?si=K9BPB7QE34GL-4YB.
Rajagopal, Indhu, and Jennifer Gales. “It's the Image That Is Imperfect: Advertising and Its Impact on Women.” Economic and Political Weekly, vol. 37, no. 32, 2002, pp. 3333-3337. JSTOR, https://www.jstor.org/stable/4412464. Accessed 2023.
Santoor Stay Young. Santoor Soap TV Commercial- Hindi. 2014. YouTube, https://youtu.be/a1lWGPmInak?si=kB_tsRABrl70_GeD.
Slice, and Lipank Goyal. Slice Aamsutra 2009 Commercial. 2009. YouTube, https://youtu.be/xh7jIOcOpEU?si=Y-iThJJfvvqpSHlx.
Slice India. Sabse Khaas Slice I Kiara Advani I Kya Aapne Slice Try Kia? I TVC I Hindi. 2023. YouTube, https://youtu.be/cVZffMcZcI0?si=1R718hdM2NJxUs0z.
Slice India. Slice Swayaamvar (Hindi). 2012. YouTube, https://youtu.be/RqgG0vuZACA?si=ZihYqo5ZBfL231la.
wildstoneofficial. “Wild Stone Classic Deos for Men - Log Toh Notice Karenge!” YouTube, 2022, https://youtu.be/HJ17BWVvIeg?si=eft_VmwoUdtCmGtW.
wildstoneofficial. “Wild Stone Intense Deos #IntensifyYourGame.” YouTube, 2021, https://youtu.be/ZeODfXWpaAA?si=KPjgTZpd6GLCzyrc.
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