A-Level Media Dmitri D

"PUT ON A HAPPY FACE"

Carried and supported by the male character, typically like a damsel in distress. This was supported with the movies leading up to this time period where women were always seen as the character that needed rescuing. However the male character also has his hand up, suggesting he's protecting himself from something, which shows his vulnerability too. Guy on the bottom right on his knees and head back; quite submissive.  Her head is back which suggests vulnerability and a sense that she is being sexualized; tight dress too. DOES SHOW A SENSE OF OBJECTIFICATION This poster was a made in the 1960's; the time when women were starting to be objectified. A sexual revolution, with the introduction of abortion laws, marriage laws, contraception. They were given more freedom.  The tags of wives were no more, it was now girlfriends and partners. There was also a second wave of feminism that came into play at this time too, where women were made more powerful the before. Looki

The image of the woman, a very typical 1950's fashion style with a full face of makeup. This was the trend, people like Veronica Lake, used to have this style. So this could have reflected what was popular in those times. The posters are quite idealised. (Perfect) as it creates an aspirational vision for the audiences. Hair pulled back shows readiness to do more practical work and so portrays women as more resourceful and physical; ready to do the difficult work going on. SYMBOLIC CODE OF HEARTS Women were expected to stay at home and be FULL TIME wives in the 1950's, so this is showing the stereotype of them loving cleaning ETC. The image of her is large in size and so makes her seem like she is powerful. Intertexual reference to a war time propaganda poster featuring Rosie The Riveter. The Advert reflects Van Zoonens theory that women are shown as quite domestic. It also challenges it too as it says that women are also quite sexualized but in this, they aren