solitary individual comes up again and again, but the Denim, Metal, Passion campaign could be interpreted to show that for the Levi’s jeans wearer all the introspective work is done. The skin replaced by denim, and the authentic figure, literally translucent, has escaped society. In this sense I take Botterrill’s therapeutic commercial to be apparent and visible; it is as if the consumer is coming up for air. As I touch upon later, this metaphor also echoes the Soviet youths yearning to surface from the inertia of Soviet being. The third facet of authenticity is performative: those who engage in an expressive lifestyle can be seen as exemplars of authenticity; those who wear jeans perform originality. In the appendix I have provided a picture …show more content…
The drama of the campaign is well recorded by a Solidarity party political poster, which was posted around Poland in the weeks leading up to the election. The image is a simple still-shot taken from High Noon (1952), a film mentioned earlier, which stars the US film star Gary Cooper (1901-1961), seen on the poster dressed in Sheriff’s attire, and in the colourised versions it is clear that he is wearing jeans. Solidarity won all but one of the seats that they could legally contend in that election. The minimal wording that reads simply “Solidarity,” at the top and “High Noon” at the bottom, indicates the primacy of action over words: High Noon for Poland. Clearly by 1989 Poland and the Eastern Bloc was not only looking west, but to the Wild West, to the frontier. The significant photographic detail, which was changed by the party, was that the Sheriff’s gun was replaced with a ballot paper, an attack on the old regime that supposedly could only be maintained by military power, whilst the new regime was offering a version of law and order that relied solely on popular support and …show more content…
In Poland, a land suffering from inertia of communism, Solidarity had begun to imagine its own US style frontier, and its socio-economic stance is clear, Poland would join modernity, in wake of Locke, Ricardo, Smith and Jefferson, as a nation of individuals with an appetite for property rights and democracy. There is a mordant quality to the image, which mocks social conservatism by replacing the ‘proper’ image with the ‘improper’; the picture would have offended some, and deliberately
The purpose of this article is to analyze a commercial and to inform about how that commercial was effective. Gray states that the audience of the Hanes underwear commercial is middle-class women, aged 12 and up. I think that the audience of Gray’s essay is also the same, because if men are not particularly interested at a
Capitalist objectification of the self, the subjectification of Althusser, begins with the Old Navy ad. Here, kindly old mother-figures or warm and attractive young women assure us in their slightly lobotomized ways that shopping at the Old Navy is "fun," that their cargo pants are all the rage, that their carpenter jeans are the perfect thing. The representation of the self as Platonic form in the person of the model on the television screen recreates the self as consumer object:
Wanting to test this theory, Gladwell analyzed multiple other advertising campaigns based on the same concept; men respond well to the idea of accidentally looking fashionable or falling into the currents trends. While analyzing other advertisements provided Gladwell’s theory of the Dockers’ campaign more plausible, due to the fact that the multiple advertisements were not addressed in the introduction to the paper, to the close reader the paper seems unfocused and full of tangents. Gladwell analyzed the Dockers’ campaign in paragraphs 1-14, 29-37, while the other paragraphs were focused on advertisements ranging from other male fashion campaigns to bottled water advertiseme...
Marx and Engels certainly believed that the United States would provide an example for the rest of the world with its inevitable move toward socialism. Following the American...
In addition to these street demonstrations, there were massive waves of workers’ strikes in the mines and steel mills. At first, the government tried to threaten the protesters; the Committee of National Defense announced preparations for a national state of emergency. By the determination of the workers, the Communist realized that talks with the unofficial trade union were unavoidable. The actions of the workers’ forced the Communist regime to begin talking about the trade union movement called Solidarity.... ... middle of paper ... ...(1989 Twenty Years
The Solidarity movement in Poland was one of the most dramatic developments in Eastern Europe during the Cold War. It was not a movement that began in 1980, but rather a continuation of a working class and Polish intelligentsia movement that began in 1956, and continued in two other risings, in 1970 and 1976. The most significant of these risings began in the shipyards of the 'Triple City', Gdansk, Sopot and Gdynia in 1970. The first and by far the most violent and bloody of the workers revolts came in June of 1956, when at least 75 people died in the industrial city of Poznan. The third uprising took place in 1976 with workers striking in Warsaw, and rioting in the city of Radom.
This article gives a brief summary of the June 1976 protests conducted by Polish citizens
Politics had played a large part in the movement’s beginning, and they continued to be...
The advertisements for vodka that the Skyy Vodka company comes out with is filled with sexual tenacity, that draws in both men and women who come across their advertisement. Skyy Vodka is a company who consistently produces and evoke very sexual advertisements. The company’s advertisements repeatedly contains a slim, young, and beautiful females who wear provocative clothing, and in many occasions the women in the advertisement usually has a sexual dominance over the male counterpart. The single underlying reason why Skyy Vodka’s advertisements has proven to be very successful is their use of sex by the way they represent their females. The company do not hold back the appeal to sex and they commonly promote the sexual benefits of drinking Skyy Vodka. The use of sex is used everywhere and we have undoubtedly seen it work from ads in magazines and movies to commercials and merchandise, the fact of the matter is that sex is a great and powerful way to market an item or idea. While the advertisement for Skyy Vodka titled “The Antagonist” seen in People magazine’s May 7, 2007 issue adheres to the usual standards of Skyy ads, it has an underlying theme of white, male supremacy and the female threat to that power. Skyy Vodka has become an object that exemplifies sex to young adult males and creates a sense of confidence as the advertisement suggests that consuming their vodka will result into woman being attracted to them.
Eva Mendes half top is undressed and she is exposing her bare back turning her torso slightly, while her face confronts the spectator. The skin dominates the image and the eye is immediately drawn to the intensity of her expression, the curvaceous figure and her arms in an explosion of seductive beauty, framed by nothing but a pair of jeans. To quote Berger’s line “her expression is the expression of a woman responding with calculated charm to the man whom she imagines looking at her…she is offering up here femininity as the surveyed”. (Berger, 1972, p. 49) The centrality of the body in this case is even more reinforced by the caption advertising the brand called unmistakably the BODY Line.
In which way the seller’s chief goal is to sway their possible spectators and attempt and change their opinions, ideals and interests in the drive of resounding them that the produce they are posing has a touch that customer wants that will also be in their advantage, therefore generating false desires in the user’s mind. Dove is vexing their viewers to purchase products they wouldn’t usually buy by “creating desires that previously did not exist. ”(Dyer, 1982:6). In its place of following the outdated mantra of beauty- advertising campaigns that endorse an unachievable standard of attraction as the norm, Dove’s campaign has taken a concern that touches the lives of loads of young and old women: self-observation in the face of ads that don’t mirror the realism of women’s looks. Dove is saying that it’s all right to be ordinary, and that you’re not less than for not being what certain advertisers reflect to be flawless.
Calvin Klein 's #myCalvins campaign features many different celebrities posing in their Calvin Klein underwear with the sentence “I________ in #mycalvins.” This wildly successful advertising campaign uses many different methods to make the ad not only eye-catching but memorable. The ad that this paper is written on features model
Even though people always tend to attribute “authentic” knowledge of a practice or product by tracing its culture, in the currently globalizing world where the cultures are overlapped and intertwine with one another, the criteria is ineffective due to the difficulty of ascribing the practice to a specific culture; hence, the notion of cultural authenticity is no longer legitimate. The cross-cultural origins and further developments of the Contemporary Ballet illustrate that to simply consider this dance form authentically American is inappropriate, whereby demonstrates the high degree of illegitimacy in the pursuit of cultural authenticity.
To begin, one must look at why the Solidarity Movement in Poland succeeded where so many other revolutionary movements across the Eastern Bloc didn’t. World War II had devastated Europe physically, mentally, and economically. By 1980 “Poland was among the Eastern Bloc countries whose societies were still in the grips of the post-World War II system of totalitarian, communist rule” (Pearce 7). However, in contrast to many of the neighboring countries, Poland was able to maintain bits and pieces of free enterprise and civic associations under communist rule. Nevertheless, the Poles were frequently subjected to the brutal suppression of their rights, freedom of movement, and expression (Pearce 7). Despite these suppressions, the Polish working class had always been well organized to protest against the actions of the communist regime, and “frequent clashes between workers and the authorities began in the late 1940s and were repeated in 1956, 1970 a...
In addition to it's commodification, authenticity is also indicative of the split found in affirmative culture. Affirmative culture can be defined as a bourgeois separation of the mental and spiritual world from the rest of civilization; this other world is independent and superior to civilization.40 Both concepts agree in that they do not posit a form of higher social existence or of any sense of solidarity.41 Like in affirmative culture, the subject universalized from it's social context to deal with the harshness of social relations.42 Like great bourgeois art, authenticity makes suffering eternal, universal forces; effortless resignation follows.43 There exists little distinction between looking at paintings in the Louvre and joining a suburban gardening club; both are helpful for avoiding the fact that one is a worker than must sell one's labour power.44 Authenticity represents the split between the mental world from the world of civilizaiton.