ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
The Evolving Image of Women in Indian Advertisements: A Review J. Jeyarani 1 1 Research
Scholar, Department of English, National College (Autonomous), (Affiliated to
Bharathidasan University), Tirchirappalli, India 2 Associate
Professor and Head, Department of English (UAP), National College (Autonomous),
(Affiliated to Bharathidasan University), Tirchirappalli,
India
1. INTRODUCTION The image and representation of women around the world has been evolving over the years in every sphere of their existence including advertising. Today, women are getting distinguished as professionals in diverse occupations or positions within the society. The image of women in advertising is also gradually changing over a period of time though for a long time, it followed the conventional thinking about women and their position and role in the society. This paper delves into the evolving image of women in Indian ads over the time and the backdrop of the process. 2. Literature Review In recent times, the evolving image of woman in advertising has received the attention of academicians as well as media practitioners Das (2000), Siu et al. (1997). Courtney and Lockeretz (1971) did the first study of women’s image in role portrayals with a study of 112 ads in magazines. Their judgement at the end of the study was that the ads mirrored mostly the stereotypical roles of women. Many other studies done after them also highlighted the occurrence of stereotyping women’s image in ads and this approach was in existence for a long time Siu et al. (1997). Compared to the other parts of the world, the image of women in advertising is categorically different in Asia Cutler et al. (1995). In the same way as the cultural life and values of the Asian countries are very different from that of countries like the United Britain, Canada, and the US Hofstede (1980), the image of woman portrayed in ads are also distinct in Asia when compared to these countries. There are not many studies based on the evolving image of woman in Indian ads, though in the print, Matthew (1990), Munshi (2000) and Das (2000) have done the groundwork in the field of women in advertisement. This study aims to fulfil this gap by analysing the evolving image of woman in Indian ads in television over the decades. 3. Image of Women in the 1970s
Ads Women in ads studies throughout the 1970s mainly focused on whether advertisements accurately reproduced the contemporary position of women or if stereotypes of women were perpetuated through explicit picture depictions in certain role scenarios or by suggestive clues Kerin et al. (1979). It has been demonstrated that there has been a considerable increase in the proportion of women in employment roles Wagner and Banos (1973). Women were mostly represented in the 1970s as housewives or mothers, with significantly fewer women playing professional roles than males Dominick and Rauch (1971). Men were shown in the advertisements as being in positions of power and trust in professional settings, whilst women were mostly depicted at home or with jobs that were scarcely noticeable. Additionally, males were depicted in advising positions to women, which suggests that they play subordinate roles in their interpersonal and professional interactions with men Silverslein and Silverstein (1974). In addition, even when they are not the main consumers of a good or service, there are far more males featured in television advertising. So, in the 1970s, women were not represented as autonomous individuals but rather as sexist stereotypes Courtney and Whipple (1974). 4. Image of Women in the 1980s
Ads Although the disparity shrank from the 1970s commercials, women were still represented in domestic settings while males appeared in professional and corporate settings in the 1980s Courtney and Whipple (1983). The disparity between how men and women are represented has so decreased since the 1970s, with more women being shown as employed and fewer women being depicted in non-working jobs and in family environments Sullivan and Connor (1988). 5. Image of Women in the 1990s
Ads In the late 20th century, television became a dominant presence in households and women were frequently targeted by advertisements for beauty products that promised to improve their appearance. These advertisements often perpetuated negative stereotypes about women and perpetuated the notion that women needed to look a certain way in order to be considered attractive. Despite India being a country with a rich cultural heritage that includes female goddesses, it also has high rates of violence and sexual abuse against women. In Indian advertisements, women are often portrayed in stereotypical and objectifying ways, rather than being given a self-identity. Ads tend to depict women as submissive to their husbands, dutiful mothers, and loving to their children. This portrayal emphasizes women's roles as homemakers and caretakers, rather than focusing on their social or economic empowerment. While some ads may show women as achieving equality and breaking stereotypes, there is still much room for improvement in terms of avoiding gender stereotypes in Indian advertising. Jacob (1992) A lot of transformation has taken place in the Indian advertising world in the past few years. The image of women in advertising keeps evolving which is a sign of societal transformation too. Because of its influence on the lives of people, from a much broader point of view, advertising plays a considerable role in determining the society. While ads reflect the changes in the society, they also have the capability to shape the society and traditions. Most of the advertisements in the past, and some even today, present a wide range of ads representing women in housewives or homemakers’ roles alone, their primary duty being caring and working for their families. However, this image had greatly evolved over the period of time, and today, many ads represent women in stronger roles, not confined to the home and family, but in roles involving socio-economic development, in the business world with or as top businesspeople in command. Though there are still ads out there that are critical of women’s role and demean the image of women, at the same time, some ads try to break this code of belief and conventions. McArthur et al. (1975) In recent times, there have been a
number of advertisements in India that aim to challenge and break down
gender stereotypes. For example, Tanishq's jewelry brand commercial on
remarriage is a strong effort to break taboos surrounding the subject of
remarriage. Havells' ad "Respect for Women" shows a man in various
situations asking his wife to either make juice or iron clothes and in
response, the wife gets the appliance and asks him to do the necessary task.
Bharat Matrimony's commercials show a changing attitude towards working women
and have a positive impact on viewers. The Jaago Re ads feature strong women
who are not afraid to challenge traditional masculine attitudes. Advertisements
such as Vogue's ad featuring Madhuri Dixit, in which she talks about teaching
men not to make women cry, and #ShareTheLoad by Ariel, which questions the
traditional expectation that laundry is solely a wife's responsibility,
challenge age-old traditions and behavior. These ads bring a positive message
and instill hope for a more equal and just society. However, some ads are
harmful to women's image and perpetuate negative stereotypes, such as Fair
& Lovely's message that a woman's life will be difficult if she is not
fair-skinned, or deodorant ads that depict women as desperate for men or border
on vulgarity. Milner
& Collins (2000) 6. Image of Women in the 2000s
Ads Advertising is a creative industry and in the 21st century, there are advertisers who are showcasing strong women and their progress. However, there are still some advertisements that depict women in a way that does not reflect their true status in society. For instance, Jack and Jones' 2016 ad featuring Ranveer Kapur carrying a woman on his shoulder with the tagline "Don't Hold Back, Take Your Work Home" was criticized for promoting sexism and glorifying sexual harassment in the workplace. In 2013, Ford Figo's ad, which showed Silvio Berlusconi with three women tied up in the back of the car, was deemed as promoting sexual harassment. Most car or bike ads are focused on the male space and often depict women in a victimized or sexualized manner. In 2011, Wild Stone Deo and Set Wet Zatak advertisements portrayed women, including married women, lusting over men who used the products. Tamil advertisements for nightwear, such as Nandu Brand Lungies, show women with lustful eyes. In Pommies Nighties ad, actress Devayani describes the product as making her feel like the queen of the home. These advertisements play into gender roles and can be seen as promoting sexism and discrimination. 7. Review Advertising has undergone a significant transformation in recent times, moving away from the objectification of women and towards a focus on empowerment and equality. This shift is largely due to the growing movement for gender equality and the activism of feminists, women, and social justice advocates. They have spoken out against the sexualization and exploitation of women in media and advertising, leading to a reconsideration of the portrayal of women in these industries. Instead of portraying women solely as objects of beauty, marketing campaigns now often emphasize the importance of a balanced family life and a strong sense of self. The image of women in advertising has evolved from a passive and decorative object to a confident and assertive individual. This change can be seen in advertisements for a wide range of products, from dishwashers and detergents to cars and soap. For example, in a recent Airtel advertisement, a woman is shown as a successful boss at the office, and then later, as a loving wife preparing dinner for her husband. This ad highlights the balancing role of women, who are both professional and caring, and it is a significant departure from earlier advertisements that only emphasized women's physical appearance. Thus, the advertising industry is moving in a positive direction towards a more respectful and empowering portrayal of women. Advertisers are beginning to recognize that women are more than just objects of beauty and are instead complex individuals with a range of talents and responsibilities. The trend towards a more balanced and empowering depiction of women is a step in the right direction and one that will continue to gain momentum in the years to come. The traditional gender stereotypes that depict men as the sole breadwinners and women as homemakers have become less prominent in advertisements. This shift can be seen through the portrayal of men participating in household tasks. For instance, the Prestige Kitchen Appliance company features Bollywood star Abhishek Bachchan gifting his wife, former Miss Universe Aishwarya Rai, with household appliances, with the tagline, "Those who love their wife won't reject Prestige." This change in representation highlights that men are not only responsible for financial stability but also play a role in sharing the responsibilities of family life with their wives. The portrayal of women in Indian advertisements has also shifted from objectification to empowerment. For example, the Hamam Soap advertisement used to feature a mother using the product to protect her family, however, the current ad depicts a mother who is taking action to protect her daughter from harassment. She does this by learning martial arts, and the tagline of the ad is, "Run, Chase, and Do Anything Without Fear." The modern mother is shown to prioritize her daughter's safety and well-being over her beauty and is committed to raising her daughter to be strong and confident in the face of modern-day challenges. Advertisements have evolved to reflect a more inclusive and empowering representation of gender roles, breaking away from traditional gender stereotypes. The shift towards showcasing men and women as partners in household tasks and empowering women is a positive change and a step towards promoting gender equality. In the current ads, the image of women had evolved from the ‘damsel in distress’ types to ‘damsel in power’. More ads show that women could safeguard themselves. The changed role of woman due to education, self-respect andeconomic independence is greatly responsible for this shift in the mindset of advertisers. However, real women empowerment can be achieved only when all women are empowered. Theneed of women may change according to their geographical setting, but, the respect and care they deserve as sisters, wives or mothers is the same everywhere. Empowerment lies in gender equality at home, in the society, in politics, health care, and everywhere else. 8. Discussion And Conclusion This review study indicates that the image of woman in TV ads has massively evolved over the decades. For so long, although woman in India were portrayed as conventional and stereotyped characters, today, the shifting difference in their image and the product categories they advertise is clear and superior. This review shows that advertisements that portray women with respect and equality can also address the harmful effect of gender stereotyping and promote gender equity and diversity. Skillful and creative advertisements portray the image of women to propagate that girls need to go to school and gain skills for employment to effectively transition to bigger and higher roles. Women’s requirements of nutrition, their awareness of menstrual hygiene and management, sanitation, general and personal hygiene programs are subjects that have surfaced in the Indian advertisements for the benefit of women. The review highlights that there is increased representation of women and girls across age, class, colour, and other diversity indicators. Diverse templates of beauty are promoted in the present-day Indian TV and print ads and detrimental beauty norms of women and girls based on fairness and thinness are getting increasingly avoided. At the same time, more women and girls are portrayed as leaders, especially in the public sphere, and there is a visible positive growth in gender norms. Further studies can be made on a comparative analysis of Indian advertisements related to women with other nations for a universal analysis and picture.
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