The female figure and face in advertising and media
J
Discuss the prevalence of the female figure and face in advertising and media in general and why that would be happening in Western Society and discuss also the use of the gaze historically and the idea of nudity versus being naked in terms of the female figure and where things might be going in the 21st-century
CG
The prevalence of the female figure and face in advertising and media can be attributed to long-standing cultural, historical, and economic factors that shape how femininity is represented and consumed in Western society. This phenomenon ties deeply into the concepts of the gaze, nudity, and objectification, as well as evolving societal attitudes in the 21st century.
The Female Figure and Face in Media
Cultural and Biological Appeals:
Research shows humans are often drawn to symmetry and youthful features, which are commonly associated with the female form. Advertisers exploit these instincts to draw attention to their products.
Femininity in media has often been coded as "universal beauty," making the female image versatile for selling anything from luxury goods to fast-moving consumer products.
Historical Context:
The female form has been idealized since antiquity, evident in the art of the Greeks and Romans and later in Renaissance paintings. In Western society, the image of the idealized woman as a symbol of beauty, fertility, or virtue carried into modern advertising.
Post-WWII consumer culture amplified this trend, as women were often portrayed in media as homemakers or objects of desire.
Commercialization and the Male Gaze:
Laura Mulvey's concept of the male gaze explains how media is often produced through a male perspective, positioning women as objects of visual pleasure. This framework influenced decades of advertising and film where the female body was used to evoke desire or fantasy, catering predominantly to a male audience.
Nudity vs. Nakedness
The distinction between nudity and nakedness, as articulated by art critic John Berger in Ways of Seeing (1972), offers a lens to understand these representations:
Nudity: Often linked to art and culture, nudity can represent empowerment, celebration of the body, or deeper narratives about humanity. For example, Renaissance depictions of Venus were nude but conveyed divinity and beauty, transcending mere eroticism.
Nakedness: Nakedness, on the other hand, is associated with vulnerability, exposure, and often shame. In media, women portrayed as "naked" are stripped of context or agency, reducing them to consumable objects rather than subjects with autonomy.
This dichotomy persists today, with advertising often blurring the line between celebrating and commodifying the female form.
The Future: Shifts in the 21st Century
The Evolving Gaze:
The rise of intersectional feminism and greater awareness of representational ethics have begun to challenge the dominance of the male gaze. Female creators and directors are re-framing the depiction of women in media, shifting toward empowerment and authenticity.
Non-binary and gender-fluid representations are also starting to appear, broadening the spectrum of how beauty and identity are portrayed.
Body Positivity and Inclusivity:
Movements such as #MeToo and campaigns like Dove's Real Beauty have brought inclusivity to the forefront, showcasing diverse body types, ages, and ethnicities.
Younger audiences demand authenticity, making overly idealized or objectified representations less appealing.
Digital and AI Influence:
Social media allows women to control their narratives, bypassing traditional media gatekeepers. However, platforms like Instagram can still perpetuate beauty standards.
AI and virtual influencers are complicating the dialogue further, as technology blurs the line between real and constructed representations of femininity.
Conclusion
The depiction of the female figure and face in media remains a complex interplay of history, economics, and societal values. While rooted in objectification and commodification, shifts in cultural attitudes are driving more nuanced and empowered portrayals. The 21st century holds promise for continued progress, but vigilance is necessary to ensure the balance between celebrating beauty and respecting agency.
J
I see.
CG
Yeah, it’s a fascinating and layered topic, right? The way these ideas have evolved over time—and how they still shape our culture—is worth thinking about. What part stood out to you the most?
J
Well, as a male designer using the female form and the female portrait to create bodies of work, I'm concerned about the public perception of my being a male and taking advantage, again, of that historical connection between, you know, the power imbalance. So I'm just thinking that perhaps a female using the female form would almost be seen as more appropriate than a male using the female form. But one has to be very careful nowadays.
CG
That’s a valid concern, especially in today's climate where the ethics of representation are heavily scrutinized. The key is to approach your work with intention and respect. If you’re aware of the historical power imbalances and actively working to subvert or engage with them thoughtfully, your perspective as a male designer can still have value.
You might think about how you're framing your use of the female form—are you celebrating, questioning, or reinterpreting it? Collaboration could also help. Working with female models, muses, or even other female artists can lend depth and authenticity to your process while showing a shared creative dialogue.
It’s definitely a balancing act, but when done with care, your work could contribute meaningfully to the ongoing conversation. Have you thought about how you’d explain your intent to an audience?
J
Yes, I've already created a body of work that's kind of tongue-in-cheek, humorous, more like a commentary on a male relationship feeling insecure, which is called mugshots of ex-girlfriends, because it's very easy for someone in a relationship to criminalize the behavior of the other person who's rejecting them. And I think in this case, with the variety of images I'm generating, both from a cartoon standpoint to ultra-photorealistic representation, I get a wide variety. And I'm combining that with snippets of song titles. So I believe I'm okay in that regard.
CG
That sounds like a really thoughtful and creative approach! The humor and self-awareness in your concept already show that you’re not exploiting the female form but instead using it to explore themes like insecurity and rejection in a way that’s relatable and layered. The idea of "mugshots of ex-girlfriends" as a commentary is clever—it acknowledges the absurdity of criminalizing rejection while also diving into the complexities of male-female dynamics.
The mix of cartoonish and photorealistic styles, along with song snippets, adds a lot of texture. It seems like you’re creating a dialogue, not just imagery, which is a great way to disarm potential criticism and engage viewers on multiple levels.
Are the song snippets meant to amplify the emotional tone or contrast it with humor? It sounds like they could add a lot of punch to the storytelling.
J
I think it's both of those things. The question now is for the presentation of this work to the public. I find historically that printing my images large-scale can be expensive and I need a venue. Online, of course, I can present them in video format as a movie and also I can project them, but finding a venue and then picking a medium for the presentation of this work is one of the most challenging things right now.
CG
That’s definitely a challenge, but it sounds like you have plenty of creative options to work with! For a project with such layered meaning, the way you present it could really shape how it’s received. If large-scale printing is too costly, here are a few ideas:
Projection Installations: Since you mentioned projection, this could be really effective. You could rent an unconventional venue like a warehouse, outdoor space, or even a pop-up gallery. Projection adds an immersive and transient quality that might suit the tongue-in-cheek nature of your work.
Interactive Online Showcase: Turning it into a digital exhibition or short interactive experience online might be cost-effective and accessible. You could design it like a virtual gallery, pairing the images with the song snippets for a multi-sensory experience.
Collaborative Venues: Partner with local cafes, art collectives, or even music venues in San Diego that might align with your themes. These spaces are often open to hosting unique art pieces, and it gives you a chance to connect with the community.
Zine or Digital Art Book: If you want something tangible but affordable, a high-quality printed zine or digital art book could work. It could combine your images, song snippets, and commentary, making the work portable and intimate.
What’s your instinct telling you—do you want it to feel immersive and bold, or more personal and reflective?
J
Well, I think the idea of collecting the images into a zine is a good idea, and I've done that in the past. It does involve the publishing cost. I think the first step, possibly, is to put the images into something like iMovie, in more of a slideshow format where I can pause and fast-forward, and possibly combine...
CG
That sounds like a smart and cost-effective starting point! Creating a slideshow or video in iMovie would give you a lot of control over pacing and storytelling. You can experiment with how the images interact with the snippets of songs, using timing and transitions to emphasize certain themes or humor. It also opens the door to sharing the project easily on platforms like YouTube, Vimeo, or even Instagram, where you could reach a wider audience without the overhead of printing or venue costs.
Once you’ve fine-tuned the presentation in video form, you could gauge interest or even crowdfund a zine if you decide to publish later. Have you thought about adding narration or captions to contextualize the images, or would you prefer to let the visuals and song snippets speak for themselves?
J
Again, the problem with the songs is the copyright, so I doubt I could seriously get a copyright for all of the songs that are involved. Now, I could sing or hum the songs, or I could just have them as captions with an original soundtrack. I don't know. These are things I would have to work out.
CG
You're absolutely right—copyright can be a major hurdle with using existing songs. Your idea of humming or singing the songs yourself is clever because it keeps the references intact while sidestepping some of those issues. Pairing that with an original soundtrack could also enhance the humor and commentary, especially if the music style contrasts with the tone of the images.
Alternatively, using the song titles solely as captions could still be impactful, allowing the audience to make their own connections without directly reproducing the music. If you go that route, an original instrumental score could create a cohesive mood while keeping the focus on your visuals and storytelling.
Do you lean more toward playful humor or a more reflective tone for the soundtrack? That might help you decide how to approach it.
J
I don't know. I'm going to have to experiment with that. I think right now I might experiment with...
CG
That’s the best way to approach it—experimentation will give you a clearer sense of what works for your vision. Starting with a rough version in iMovie where you can play with pacing, captions, and sound will help you see how the elements come together. You might find that one approach feels more natural as you start layering visuals with audio.
Do you already have specific songs or styles in mind to experiment with? Or are you planning to play it by ear as you build?
J
No, I already have the song titles.
CG
Perfect! Since you’ve already got the song titles, you have a strong foundation to build from. You can start experimenting by pairing the titles with the images and see how the tone shifts depending on the pacing or any accompanying sound. Maybe try a few different approaches—like caption-only versus humming or instrumental tracks—and see which one resonates most with the mood you’re aiming for.
How are you thinking of organizing the slideshow? Chronologically, thematically, or something more abstract?
J
No, it's more random. All right, well, I'm going to get started on that. Thanks for your input.
CG
You're welcome! A random organization could really add to the playful, unpredictable vibe of your project. Best of luck as you dive in—it sounds like an exciting creative process! Let me know how it evolves.
J
I will. You have a good rest of the day.
CG
You too! Have fun creating. Catch you later!
J
Catch you later. Bye-bye.
CG
Bye!
