|
|
Exotics—Surreal
------------------------------------------------------------------------
 <Background:
The exoticization of women includes the presentation of women in
incredibly odd or surreal contexts. Many contemporary ads present women
with animals, bizarre situations, mythical creatures, or other unreal
scenarios. Of course, some people would say that such exotic circumstances
are part and parcel of the advertising industry. By creating surreal and
shocking ads, consumers will notice the products, but the Gender Ads
Project is not concerned with selling products, but looking at how
contexts of selling products leads to the negativity of gender
stereotyping. The
Ads:
Consider any number of the following ads. What situations are
reflected in these examples of the exotic surreal? Discussion Questions:
(1) Why are women constructed as surreal objects? Is this construction
merely a form of experimentalism within graphic design or does it reflect
the complete mutability of the female body? (2) Can you find comparable
examples of the surrealization of men in advertising? (3) Do all of the
ads in this exhibit reflect gendered perspectives? Discuss any that you
think do not relate to gender. >
|
Image 1 |
Image 2 |
Image 3 |
Image 4 |
Image 5 |
Image 6 |
|
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 7 |
Image 8 |
Image 9 |
Image 10 |
Image 11 |
Image 12 |
|
 |
|
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 13 |
Image 14 |
Image 15 |
Image 16 |
Image 17 |
Image 18 |
|
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 19 |
Image 20 |
Image 21 |
Image 22 |
Image 23 |
Image 24 |
|
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 25 |
Image 26 |
Image 27 |
Image 28 |
Image 29 |
Image 30 |
|
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 31 |
Image 32 |
Image 33 |
Image 34 |
Image 35 |
Image 36 |
|
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 37 |
Image 38 |
Image 39 |
Image 40 |
Image 41 |
Image 42 |
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 43 |
Image 44 |
Image 45 |
Image 46 |
Image 47 |
Image 48 |
 |
 |
 |
 |
 |
 |
|
|
|
|
|
|
|
|
Image 49 |
Image 50 |
|
|
|
Home |
 |
 |
|
|
|
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
<presented by Scott A.
Lukas, Ph.D.>
|
