By Helen Ringrow
This publication bargains a cross-cultural comparability of French and British cosmetics ads and explores how the discourse of attractiveness advertisements represents principles approximately femininity in French and English language contexts. because the international attractiveness expands and shoppers develop into extra serious of the claims made, the subject of cosmetics advertisements discourse is tested utilizing Feminist serious Discourse research. One universal topic underlying so much cosmetics ads discourse is that the feminine physique constantly calls for ‘work’ to mend its ‘problems’: flat epidermis, dry hair, and so forth. the writer makes use of issues of language and gender, media and id, and advertisements throughout cultures to reveal precisely what's going within the language of cosmetics ads and to supply a primary step in the direction of difficult those principles and wondering alternatives.
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Additional info for The Language of Cosmetics Advertising
London: SAGE. Mendes, K. (2012). “Feminism rules! ” Re-evaluating feminist discourse in print media 1968–2008. Media, Culture & Society, 34(5), 554–570. Mills, S. (1995). Feminist stylistics. London: Routledge. Mills, S. (2008). Language and sexism. Cambridge: Cambridge University Press. Mills, S. (2012). Gender matters: Feminist linguistic analysis. London: Equinox. , & Mullany, L. (2011). Language, gender and feminism: Theory, methodology and practice. London: Routledge. Myers, G. (1994). Words in ads.
Not just a look, it’s a whole way of life. Fig. 3 Worked example of Aussie Lusciously Light 3 Minute Miracle deep conditioner 42 H. RINGROW The next lines set up an additional problem as Problem 2: Existing Product, which is in this case heavy conditioner: That’s quite enough to schlep around, without a heavy conditioner adding the extra burden of follicle flatness. Thus, heavy is constructed as semantically negative when it is modifying conditioner. The negative connotations are intensified by extra burden and the alliterative follicle flatness.
As more and more problems are identified and purchasable solutions provided, what constitutes ‘acceptable’ female appearance may become even narrower, but this tends to be positively framed as an opportunity for continual improvement of one’s appearance (Orbach 2010: 90). This self-improvement often involves an attempt to delay or disguise visual signifiers of ageing, which are constructed as inherently negative and in need of ‘youthinising’ (Nelson 2012: 143). In many media contexts, older women are somewhat invisible or stereotyped, and, with some exceptions,2 are not portrayed as sexually attractive (Woodward 1991; Chivers 2003; Gill 2007a: 84–91; Hurd Clarke 2011; Nelson 2012).
The Language of Cosmetics Advertising by Helen Ringrow