The consumerism of the corporeal infatuation of the 21st century is conceivably the drug people overdose on, on a daily basis.People abuse this “drug” regardless of whether they believe or don’t believe, are aware or completely oblivious to being targeted for superficial marketing and a very much strategized commercialism. Imagine an 8 year-old chubby brunette with freckles getting off her school bus and seeing a huge billboard and on it observing a tall, tan, long blond haired woman clad in revealing attire and wearing a promiscuous expression on her face and having the effect on the little girl that THAT is what she HAS to look like in order to be “accepted.” And the cycle of oppression begins.
The Dream Liquid Mousse produced by Maybelline is a makeup corporation that solicits to all types and ages of women (this made obvious when a random African American woman is shown only for a second) that strive to be desirable. The affects applied to the 30 second long commercial create appeal with the articulation and visual aids. What drew me in the most to the commercial, however, was the exotic and seductive model, Adriana Lima. With her luscious lips and entrancing blue eyes, it’s hard for any consumer to resist wanting to look like her immediately and hopping into their cars and driving to find the closest Sephora with Dream Liquid Mousse. In advertising images and popular culture, sexuality is the prerogative of the young, slender, and able-bodied(Kirk, and Okazawa-Rey 150). Many of these images portray white women(Kirk, and Okazawa-Rey 150). Melba Wilson noted that racism and sexism converge in mainstream stereotypes of women of color as “exotic creatures of passion” (Kirk, and Okazawa-Rey 150).
Something else that caught my eye after further analysis was the fact that the woman’s voice that was delineating the makeup had a low, mysterious, sensual, whispering, growl-like tone. The tone alone could be described informally as, “creepy,” but add the redundancy of the message she is trying to send and the audience could feel like they were being brainwashed. Women are expected to be modest and virtuous, to look beautiful, and simultaneously, to lure men and fend them off (Kirk, and Okazawa-Rey 150). “Like it’s been airbrushed,” sends the message that although the pictures you see in magazines of models are airbrushed, physically having the appearance of looking airbrushed is possible, and that ultimate perfection can be reached. First of all, what and who defines what perfection is? Second of all, is our culture so aesthetic obsessed that pores are considered a flaw? Third of all, what makes pores imperfect and what does that have to do with what a woman is or expected to be? Ads that use women’s bodies to sell products also sell ideas of heterosexuality(Kirk, and Okazawa-Rey 150).
As sex objects, women are commonly portrayed as child-like or doll-like playthings(Kirk, and Okazawa-Rey 150). These images flow from reinforce macro-level patriarchal constructions of gender and sexuality based on the following assumptions: Heterosexuality is prescribed or natural for women and men, men are the initiators in heterosexual encounters, and men’s sexuality is assertive and in need of regular relsease (Kirk, and Okazawa-Rey 150).
The advertisement wants you to believe that perfection is real and that with their product, you will be perfect. Also, since they spend so much time talking about how pores are imperfect and “flawed” it shows that women are still being oppressed in the fact that looking “100% flawless” is expected of women and that if a woman looks anything less than “100% flawless” than she shouldn’t be accepted by our culture’s standards. The negative mannerisms and values this commercial sends are astonishing after intense scrutiny – and I never would have noticed all of this if I was just waiting for my TV show to come back on. Feminist scholars have analyzed the oppressive nature of ads and media representations that bombard women and girls with an ideal beauty defined as thin, lean, tall, young, white, and heterosexual, with flawless skin and well-groomed hair (Kirk, and Okazawa-Rey 208).
Works Cited:
Kirk, Gwyn, and Margo Okazawa-Rey. Women. Fifth. New York, New York: McGraw Hill, 2010. 150. Print.
Kirk, Gwyn, and Margo Okazawa-Rey. Women. Fifth. New York, New York: McGraw Hill, 2010. 208. Print.