Advertising is pervasive in daily life, utilizing mass media to convey information about products or ideas and influence viewer behavior. The use of sexuality in advertising is a common practice, but its impact varies depending on how individuals interpret the meaning of an ad and whether it reinforces or challenges cultural norms. Crowley (1993) asserts that women are often objectified in advertising, with portrayals that depict them as unintelligent, sexy, or solely responsible for housework. This representation perpetuates sexist stereotypes and fails to accurately reflect the diverse roles and capabilities of women. Additionally, women are frequently depicted as sex objects or victims of sensationalized and violent crimes in both journalism and advertising (Crowley 1993).
According to Taflinger (1996), sex is a powerful psychological appeal in advertising, second only to self-preservation. Taflinger explains that sex appeals to viewers due to its biological and instinctive nature, as it is connected to the genetic imperative of reproduction. As a result, advertisers utilize sex in their campaigns because it is an effective strategy. Throughout history, women have consistently been portrayed as attractive and alluring figures in advertisements. This can be observed in the Tony White Nissan Ad “Simply Irresistible” and the older advertisement for Bornhoff Bread, both of which depict women as seductive objects.
In a critical viewpoint, these advertisements seemed to belittle and shame not only the women showcased in them but also those who witnessed them. Feminists contended that such ads reinforce the dehumanization of women for male sexual pleasure (Lumby, 1997) and add to an environment of fear, which includes the increase in incidents of rape, sexual abuse, and harassment within society. In recent years, feminists have joined hands with conservative media and critics from popular culture.
According to Lumby (1997), feminists have actively protested against advertisements that they consider sexist and strongly criticized the presence of violent and sexual content in various forms of media, such as books, films, magazines, music videos, and video games. These feminists have called for government investigations into the potential corrupting effects of new media technologies and supported the implementation of new censorship regulations for popular forms of media (Lumby, 1997, p. xii). As a result of their efforts, an advertisement featuring a watch for a Sydney Jeweller was forced to be withdrawn. The photograph for this advertisement was taken by Helmut Newton.
According to the Australian Advertising Standards Council, they received numerous complaints about an advertisement that was deemed sexist and degrading to women. However, if we take an objective perspective, the advertisement could be seen as more provocative than sexist. Lumby (1997) argued that the scene depicted in the ad is a common portrayal of sexual intimacy that occurs in many Australian homes on a daily basis. In this scene, one partner expresses desire while the other enjoys the attention before reciprocating. It is important to note that the scene is not violent and both models are consenting adults.
According to Lumby (p. 3), the advertisement appears to objectify men more than it degrades women. Lumby criticizes the ad for conveying a misleading message that women consent to and take pleasure in molestation from men, implying that such behavior is normal. Lumby finds the ad offensive as it objectifies and demeans women, advocating for sexual harassment and abuse, which she considers completely unacceptable. She expresses disgust towards the advertisement and believes that its publication is another offense against women.
After receiving the complaint mentioned above, Cheryl Kernot, leader of the Australian Democrats, strongly criticized the advertisement, deeming it “extremely derogatory and demeaning” and asserting that it was not only insulting to women but also to men (Lumby,1997, p. 3). However, Catharine Lumby would argue that women can derive pleasure from sex as well. In the advertisement, the woman does not appear overwhelmed by the man’s attention. In fact, she does not even acknowledge him, remaining focused on her book instead. It seems that there is a certain level of sexual pleasure occurring, and it is not solely for the anonymous male. Somehow, the woman is experiencing her own satisfaction; the man is merely a part of her enjoyment.
According to Lumby (1997), the woman in the watch ad is not being harassed or raped. In fact, she seems to be enhancing the enjoyment of the moment by using her left hand. Instead of degrading the woman, the ad appears to objectify the man. This suggests that the woman in the ad is experiencing a pleasurable sexual encounter. Lumby argues that the game of seduction is accessible to individuals of all genders and sexual orientations. However, in a society driven by capitalism and patriarchy, women’s bodies have been commodified, reducing their value to their sexual appeal to men.
Ironically, men use the justification of their natural sexual aggression and violence to oppress women and argue that women’s symptoms must be controlled, censored, and punished in order to protect them from male sexuality and aggression. In this scenario, women are so powerless that they cannot even give consent to sex with a man (Lumby, 1997, p. 50). The feminist concerns about advertising are based on the assumption that the majority of female viewers are somewhat gullible to mass advertising and need protection from it, similar to impressionable and vulnerable young children.
According to Lumby (1997), the term ‘mass’ in media refers to the extent of audience reached rather than inherent uniformity. Lumby (1997, p. xxiii) emphasized that the way individuals perceive and process any image or piece of information is closely linked to its format and context. However, feminist or female viewers who possess the ability to interpret images in a counteractive manner have limited influence in the media landscape. In other words, they lack the opportunity to derive an opposing meaning from these images. Furthermore, it is paramount to acknowledge that women are deprived of the ability to derive pleasure or satisfaction from these images as well. Consequently, feminists argue that the portrayal of sex in advertising is subversive within our culture.
The changing society has also resulted in a shift in advertising. In the past, men were often used to promote products instead of women. Lumby (1997) mentions that in Australia, there was an ad for Sheridan sheets that sexualized the male body. The ad depicted a muscular and tanned male torso wrapped in crumpled sheets, conveying suggestive implications. Lumby (1997, p. 78) also cites Calvin Klein ads showcasing attractive and well-built adolescent boys. In another example, a Diet Coke advertisement featured female office workers gathering at 11:30 am to admire a male construction worker enjoying his Diet Coke during a break.
Ads today feature fit and bronzed male bodies as a prerequisite for promoting various male commodities. These advertisements counteract the typical utilization of sexuality to market products. The primary objective of advertising is to persuade individuals that the goods are beneficial to them in some way. However, feminists question why women and sex are linked to selling products. Katz argues that women and sexuality are aimed at capturing men’s attention in advertisements. He posits that if a commercial were to depict a man casually lounging on a couch with a remote in hand and cracking open a Bud Light, it would not appeal to many men.
According to Katz, in order to capture attention, advertisers should incorporate a seductive woman showing interest in a man with a wet Bud Light bottle on a couch. The more attractive and revealing the woman is, the more memorable the image will be. Advertisers aim to appeal to viewers by tapping into their desires to consume products. Lumby (1997) argues that using male desire for attractive women to sell watches is not uncommon in a consumer society where nearly everything, from childbirth classes to funerals, is packaged, advertised, and sold. Ultimately, it is the overall context of an image that attracts consumers.
Advertising has faced criticism from those who argue that it extends beyond selling products or ideas and exerts a significant influence on society. Bovee asserts that advertising, in various forms, is pervasive and persuasive, capable of shaping social trends and molding personal attitudes. This influence is often unwanted, intrusive, and detrimental to society. However, advertising also serves to promote freedom of speech, support media, provide information about social issues, goods, and services, and reflect societal changes. While some feminists argue that the portrayal of women as seductive and sexual objects in advertisements is degrading, Catharine Lumby believes that women can also enjoy sex. The interpretation of sexual attention used in advertising is subjective, and it depends on how individuals define whether it subverts or reinforces cultural norms. As Lumby (1997) suggests, there is no single “true” interpretation of any image or representation. Rather, there are various points of view (Lumby, 1997, xxv).
