Blog task: Score advert and wider reading

Media Factsheet - Score hair cream

Go to our Media Factsheet archive on the Media Shared drive and open Factsheet #188: Close Study Product - Advertising - Score. Our Media Factsheet archive is on the Media Shared drive: M:\Resources\A Level\Media Factsheets. If you need to access this from home you can download it here if you use your Greenford login details to access Google Drive.

Read the factsheet and answer the following questions:

1) How did advertising techniques change in the 1960s and how does the Score advert reflect this change?

1960s ushered in an age of new and pioneering advertising techniques. According to AdAge (adage.com), advertising agencies in the 1960s relied less on market research and leaned more toward creative instinct in planning their campaigns. “Eschewing portrayals of elitism, authoritarianism, reverence for institutions and other traditional beliefs, ads attempted to win over consumers with humour, candour and, above all, irony.” Copy was still used to offer an explanation of the product - and to pitch to the consumer - but the visuals took on a greater importance. The “new advertising” of the 1960s took its cue from the visual medium of TV and the popular posters of the day, which featured large visuals and minimal copy for a dazzling, dramatic effect. Print ads took on a realistic look, relying more on photography than illustration, and TV spots gained sophistication as new editing techniques were mastered. 

2) What representations of women were found in post-war British advertising campaigns?


Post-war British advertising campaigns typically portrayed women as nurturing, domestic caregivers, who were responsible for household tasks such as cooking and cleaning. They were often seen as the homemakers of the family and were responsible for providing a safe and comfortable environment for their husbands and children. They were often depicted as passive and submissive, with the expectation that they would obey their husbands and follow their lead.

3) Conduct your own semiotic analysis of the Score hair cream advert: What are the connotations of the mise-en-scene in the image? You may wish to link this to relevant contexts too.

Within the score hair cream advertisement the man is being held up by women in which depicts the idea that women should be obeying the man. Moreover the scantily clad clothing also shows this as well as reflecting society in the way that women were more objectified. 

4) What does the factsheet suggest in terms of a narrative analysis of the Score hair cream advert?



5) How might an audience have responded to the advert in 1967? What about in the 2020s?

Male audiences would have reacted more positively to their advert in 1967 as it would give the idea that they would achieve the things that are in the poster such as having women to serve them. Contrastingly in 2020s, an advert such as that would be heavily ridiculed and unsuccessful due to people being able to comment in the advert and share there beliefs on it due to the prevalence of social media.

6) How does the Score hair cream advert use persuasive techniques (e.g. anchorage text, slogan, product information) to sell the product to an audience?

The Score hair cream advert uses persuasive techniques such as the text of "get what you've always wanted" therefore implying that the product has the potential to give the customer the result they have been looking for. The advert may also be implying that the customer can achieve the look they desire by using the product. The phrase could suggest that the customer will be satisfied with the results and that the product will meet their expectations.

7) How might you apply feminist theory to the Score hair cream advert - such as van Zoonen, bell hooks or Judith Butler?

Feminist theorist van Zoonen would likely critique the Score hair cream advert of 1967 for its reinforcing of gender stereotypes and its objectifying of women. Bell hooks would likely take issue with the ad's message that women must conform to certain narrowly defined standards of beauty in order to be deemed attractive. She would also point out that the ad reinforces the idea that a woman's worth lies in her physical attractiveness, rather than her intelligence or other qualities. Judith Butler would likely critique the ad for its reinforcement of the gender binary, as it presents a very clear distinction between the roles of men and women.

8) How could David Gauntlett's theory regarding gender identity be applied to the Score hair cream advert?

David Gauntlett's theory of gender identity states that gender is something that is socially constructed, rather than predetermined by biological factors. Applying this to the Score hair cream advert from 1967, one could argue that the advert relies on traditional notions of masculinity and femininity in order to sell the product.

9) What representation of sexuality can be found in the advert and why might this link to the 1967 decriminalisation of homosexuality (historical and cultural context)?

The Score hair cream advert of the 'jungle' 1967 features hypersexualized woman in a jungle setting. This representation of sexuality was likely intended to appeal to a male audience, as the woman is presented as a sexualized object.The advert also emphasises heterosexuality, which could be a reflection of the 1967 decriminalisation of homosexuality in the UK as it shows men that they would remain heterosexual even if they use their product.

10) How does the advert reflect Britain's colonial past - another important historical and cultural context?

The Score hair cream advert of the 'jungle' from 1967 reflects Britain's colonial past as it portrays a sort of gender/racial hierarchy.

Wider reading

The Drum: This Boy Can article

Read this article from The Drum magazine on gender and the new masculinity. If the Drum website is blocked, you can find the text of the article here. Think about how the issues raised in this article link to our Score hair cream advert CSP and then answer the following questions:

1) Why does the writer suggest that we may face a "growing 'boy crisis'"? 

A growing global ‘boy crisis’ suggests that we could be, in fact, empowering the wrong sex. Of course, women are woefully under-represented in boardrooms and certain walks of life, with casual sexism and unconscious bias still endemic, but the difference is that we are all now familiar with the narrative around tackling these issues, thanks in no small part to groundbreaking campaigns such as ‘Like A Girl’ by Always, Sport England’s ‘This Girl Can’ and Dove’s ‘Real Beauty’. We are much less equipped to talk about the issues affecting boys.

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?

Axe/Lynx has changed its marketing to present a more positive representation of masculinity by focusing on celebrating men and their individual stories, rather than objectifying women. This includes featuring male role models who are professionals, entrepreneurs, and athletes, and shifting the focus away from traditional gender stereotypes. The brand has also featured more diverse models, including those from different ethnic backgrounds, to further support its message of inclusivity and respect.

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?

He suggests that advertisers should use gender-neutral language and imagery, focus on individual strengths and personalities, and promote a range of gender expressions. Additionally, he believes that advertisers should work to make sure that gender roles are seen as fluid, and that gender stereotypes are challenged.

4) How have changes in family and society altered how brands are targeting their products?

With changes in family and society, brands have had to adjust their targeting strategies to meet the needs of their evolving consumer base. This has meant that brands are now more focused on reaching a more diverse customer base, including different ethnicities, genders, ages, and cultural backgrounds. Brands are also increasingly targeting social media platforms to reach a wider audience and engage with their customers on a more personal level.

5) Why does Fernando Desouches, Axe/Lynx global brand development director, say you've got to "set the platform" before you explode the myth of masculinity?

Fernando Desouches believes that setting the platform, or creating a foundation, is key before an effective campaign can be launched. This is important in the case of the Axe/Lynx brand because the company wants to redefine what it means to be a man in today's society. By addressing the outdated and harmful stereotypes of masculinity, the brand can create a new, positive image and set the stage for a long-term, successful campaign.