Comparison Of Susan Bordo And The Male Body

In our society today a business is not a business without an advertisement. These advertisements advertise what American’s want and desire in their lives. According to Jack Solomon in his essay, “Master’s of Desire: The Culture of American Advertising,” Jack Solomon claims: “Because ours is a highly diverse, pluralistic society, various advertisements may say different things depending on their intended audiences, but in every case they say something about America, about the status of our hopes, fears, desires, and beliefs”(Solomon). Advertisers continue to promote the American dream of what a women’s body should look like. They advertise their products in hopes for consumers to buy them, so they can look like the models pictures in the ads. Behind these ads, advertisers tend to picture flawless unrealistic woman with the help of Photoshop. In our society today to look like a model is an American dream and can be the reasons why we fantasizes and buy these products being advertised. “America’s consumer economy runs on desire, and advertising stokes the engines by transforming common objects;signs of all things that Americans covet most”(Solomon).

Jean Kilbourne’s film, Killing Us Softly 4, depicts the way the females are shown in advertisements. She discusses how advertisement sell concepts of normalcy and what it means to be a “male” and a “female.” One of her main arguments focuses on how women aspire to achieve the physical perfection that is portrayed in advertisements but this perfection is actually artificially created through Photoshop and other editing tools. Women in advertisements are often objectified as weak, skinny, and beautiful while men are often portrayed as bigger and stronger. Advertisements utilize the setting, the position of the people in the advertisements, and the products to appeal to the unconscious aspect

The claim presented in the article is how ads often set unrealistic beauty standards, and how the author encourages them to “break free” from these standards by giving two examples on how ads should be compelled.

The first two chapters of “The Practice of Looking” touch upon the idea of interpretation of images. For the purposes of this essay, an image is a piece of media that has a tangible visual effect, such as a picture, book, or TV series. The authors talk about how many people can have different interpretations of the same image and the idea that the audience gives an image meaning, which are valid arguments, but they fail to recognize that a single person’s interpretation of an image can change over time. Interpretation can change constantly, whether it’s many people looking at the same image or one person looking at the same image repeatedly over time; sometimes, the author’s intended meaning is more easily interpreted than at other times.

Issues of dieting, fat, and slenderness are hot topics in our culture. Bordo addresses them from a postmodern, but historical, feminist perspective. In this essay, she attempts to explain the appeal of slenderness in our society; and also, how the ideology of normal our society holds can be mentally and physically damaging for many people.

Chapter one in our textbook started to spark many interests that I wasn’t even aware were interests of mine. Whether we decide to look, or are forced to look, the action of looking will always be a social practice. Through this practice, we encourage mass communication of our different cultures along with the influences that sparks the interest to begin with. Thus, there are endless amounts of ideologies associated with looking that it is practically impossible to wrap your head around it all, but once you manage to obtain a grasp, the ideologies are quite interesting. For example, Weegee’s photograph, “The First Murder,” portrays just how certain images can have very different reactions concerning your age or size of experience. Depicted

Although Sturken and Cartwright claim it is quite easy to fall for the misconception that photographs are “unmediated copies of the real world” (Sturken & Cartwright, 17), this is no longer true, if it ever was. While cumbersome, even before the advent of image editing software, it was possible to modify photographs. Furthermore, in contemporary society, we have completely lost faith in mass media representation; rarely do people expect images to be completely unmodified anymore. This is especially visible in western culture since people are pressured to conform into highly specific aesthetics where even a “natural” look is artificially crafted with makeup and digital filters. Even disregarding direct manipulation to a print through methods such as Photoshop, photographs are manipulated in such obvious ways, it almost seems absurd to point it out. The framing, lighting, and positioning are always adjusted by the photographer. Therefore, people themselves are a type of manipulation; a representative filter through which biases are imbued. In effect, Sturken and Cartwright’s conclusion that all camera-generated images bear an “aura of machine objectivity” (Sturken & Cartwright, 16) stemming from “the … legacy of still-photography” (Sturken & Cartwright, 17) is

Image is everything in today’s society appearance of things have become more important that what they really are and these images are being constantly fed to us through the media. Image has both a positive and negative influence on the individual but most people have been drawn into

Everyday we expose ourselves to thousands of advertisements in a wide variety of environments where ever we go; yet, we fail to realize the influence of the implications being sold to us on these advertisements, particularly about women. Advertisements don’t just sell products; they sell this notion that women are less of humans and more of objects, particularly in the sexual sense. It is important to understand that the advertising worlds’ constant sexual objectification of women has led to a change in sexual pathology in our society, by creating a culture that strives to be the unobtainable image of beauty we see on the cover of magazines. Even more specifically it is important to study the multiple influences that advertisements have

Furthermore, their contest on the judgement of images is void of knowledgeable evidence (Jenkins 2012). Despite that fact, such people are confident in their beliefs of the truth. They don’t acknowledge the truth of mechanisms, but rather depend on their superficial nature. At this stage, the reality of things is based on the resemblance of objects in their appearance. Analytical Perception

“‘You resemble the advertisement of the man,’ she went on innocently. ‘You know the advertisement of the man.’”(PG, 114)

As you begin Beauty (Re) discovers the Male Body your read of author Susan Bordo spilling her morning coffee over a shockingly sexual advisement of a nude man. Initially, I rolled my eyes and settled in assuming, I was going to read about the tragedy of how men are now being objectified and exposed in adverting like women. As I flip through the pages looking at the scantily clad images I’m not really shocked; this essay was written fifteen years ago; I see these kinds of images going to the mall. What was shocking, however, was how Bordo a published, woman philosopher born in 1947 wrote about these images. I felt myself blush as I read “it seems slightly erect, or perhaps that’s his nonerect size, either way, there’s a substantial presence

This book contains a lot of sexual and psychological themes. In the very first sentence Hustvedt writes cynically that people will remember male artists better than female. The relation between sex and art is one the man themes and is often described vulgarly.

Despite a background of social criticism far removed from our time, Ways of Seeing sees some interesting ways to study what is common in images, which unites and dismisses painting and cinema, advertising and graphics, old and new media. The enterprise of John Berger is a form of desecration of our relationship to images: if we can reveal the beauty of a form in a noble art (painting, cinema) as in a communication image (advertising, The television stream) then the hierarchy between legitimate and non-legitimate art is

Through visual anthropology, images, ads, and cartoons are constantly changing individual’s views and the world in which they live in. Images are not merely pictures to state the obvious, they are pictures that have a deeper meaning. Whether the meaning is shown or not shown, they convey representation of something more meaningful in the end. Stuart Hall