SCORE

• Power in the advertisement is largely a power based in traditional forms like patriarchy and colonialism. 

  The advert shows a man with a heightened masculinity sitting on animal skin holding a gun, these signs connote power and strength. This can be seen in Feminist Judith Butler’s idea of gender being a performance as the connotations of power and strength were often used in adverts around the 1960’s to reinforce the dominant ideology of masculinity.
• In 1967 there was a  patriarchal(male) attitude and dominance in society reflected in advertising for men's products like Score and also the most popular films at the time which was James Bond. During this time period women were often depicted in advertisements as being subservient to men or objectified as sex objects linked to Laura Mulvey's Male Gaze Theory. 
• the headline “get what you’ve always wanted” is a semantic code (Barthes). One meaning could be referring to the actual product, whereas the hidden meaning could be referencing to the mass of girls standing round him and worshipping him.
• This isn’t the only reading and the advertisement could be seen as simplistic and ‘tongue-in-cheek’ as the jungle is clearly a constructed set and the Big Game Hunter/colonial adventurer is so over exaggerated that he could be a cartoon character. 
• The advert uses a lot of semiotics such as the animals skins and guns to represent power and strength. These symbols have been used throughout history to showcase the power of men and their ability to hunt and kill. In this case however, the symbolic meanings of these items have changed slightly due to the context of the advert. Instead of representing hunting skills, they now represent the sexual prowess of the model. He is able to attract so many women just by having them around him, much like a hunter would bring back prey to feed his family.
• M  I  S  E     E  N    S  C  E  N  E

  Long Shot

  Man is central and high up(higher than the women)

  Man is white and middle aged

  Man is relaxed & smiling

  Man is looking at the camera in direct mode of address

  Man is holding a gun(resting in his groin area)'Phallic 'connotations

  Man is crossing his legs & arms(protecting his masculinity?)

  Man is wearing khaki safari clothing(Colonialism Metaphor)

  Man's shirt is unbuttoned.

  Man is wearing an expensive watch

  Man is well groomed...Metrosexual
• M I S E E N S C E N E

  
  

  Women are holding him up on a stretcher(Patriarchal Dominance)

  Leopard print/skin on the stretcher

  indicating masculine traits eg hunting

  Women are all white and of a similar age(20's)

  Women are all slim and pretty and are objectified wearing scant skimpy clothing showing flesh

  Women are smiling and mostly looking up at him admiringly in indirect mode of address.

  One woman is looking at the camera alluringly in direct mode of address to appeal to the male target audience.
• P O P  C U L T U R E  R E F E R E N C E S:-

  JAMES BOND

  (Film Character)

  TARZAN

  (Film Character)

  GEORGE BEST

  (Footballer)

  OBJECTIFIED SCANTILY CLAD WOMEN

  (Film Characters)

  CARRY ON FILMS

  (Comedy Film Characters)
• The Score advertisement references the hyper masculinity in 60’s popular culture such as the representation of men and women with intertextual references to the James Bond and Tarzan films which were very popular in the 1960’s.
• CARRY ON HUMOUR

  The humorous side of the advertisement also references the sexist humour of the Carry On film comedies.

  The Score hair cream advertisement is a historical artefact from the year 1967. It can be examined by considering its historical, social and cultural contexts particularly as it relates to gender roles, sexuality and the historical context of advertising techniques.
• The Score advertisement can also be interpreted as being very influential on popular culture. The male model in the advertisement is probably the most similar looking to the actor George Lazenby who was chosen to play the new James Bond replacing the original James Bond actor Sean Connery only a year later. The advertisement is also referenced a few years later in an actual Carry On Film called Carry On Up The Jungle in terms of the images in the film poster and the similar use of costumes as well as the objectification of women.
• OBJECTIFIED WOMEN

  Popular films in 1967 that featured women in starring roles would often be sexualised representations wearing bikinis exposing lots of flesh in films like One Million Years BC starring Raquel Welch.
• The message of the advert is to target men and make them desire the product in order to get female attention. It says ‘made by the men‘ and ‘famous masculine scent’ to further accentuate its appeal to men.

  'GET WHAT YOU'VE ALWAYS WANTED'

  The tagline "get what you've always wanted" is a play on words referring to both the grooming product and the adulation of and success with women.
• RECEPTION THEORY

  The preferred or dominant reading for the Score hair cream advert according to Stuart Hall's Reception Theory would be that using this hair cream will give you everything a man would want, female admiration and good looks.also that using it will make u a more masculine + successful with women like James Bond or George Best. 

  Negotiated reading could be that the advert is targeting heterosexual men who are feeling insecure or marginalised. due to threats against traditional masculinity posed by the rise of feminism and women rights and the legalising of gay relationships. 
• GAY RIGHTS 

  The year 1967 can be seen as a period of significant social change in Britain. There were changing attitudes to the role of women and men in society. Legislation was passed by the government in 1967 decriminalising homosexuality.
• WOMENS RIGHTS

  This period was termed the ‘swinging 60’s’ and was also a significant time for women in terms of changing gender roles in society. Women were campaigning for equal rights with women demanding equal pay.

  FEMALE INDEPENDENCE-THE PILL

  The 60's was a time where women had a new found independence because of the rise of feminism and in particular the free availability for the first time of the contraceptive pill enabling women to take control of their sex lives and gaining a new found freedom and independence.
• LEGALISING OF HOMOSEXUAL RELATIONSHIPS

  The legalisation of homosexual relationships was a huge step forward for gay people but was still stigmatised by many in the heterosexual male community.

  This advertisement could then could be interpreted as asserting masculinity in uncertain changing times. 
• CRISIS OF MASCULINITY

  The representation of masculinity could be interpreted as a time of anxiety and insecurity which could be called a period of masculinity in crisis for the heterosexual man.

  These significant trends and changes may have led to some insecurity or even what could be called a ‘crisis of masculinity’.
• Stage 2 is conscious masculinity and includes all those groups who believe masculinity should be a certain way. It includes people who think in terms of archetypes, men’s rights advocates and so on. It identifies aspects where men do badly such has health and education. This applies to the Score Advertisement.
• Copy text box = repetition, brand continuity, made by men for men. Some product information, emphasis on masculinity. Joseph Gelfer Stage 2 Conscious masculinity.
• The setting relates to a time period (albionic nostalgia) before the fall of the British Empire (many of Britain’s colonies gained independence in the 1950s-60s) and this advert seems to reignite the tone of an era before that fall, helping to lessen postcolonial melancholia. CONTRAST TO SEPHORA conscious effort to branch away from traditional norms and explore diversity.
• Hyperreality:

  The postmodern age is marked by the dominance of advertising as a media form. Advertising has also impacted on other media forms creating hyperreal inertia. Baudrillard suggests that media blending has resulted in the construction of fictionalised reality. Audiences yearn for authenticity in postmodernity; the media industry tries to satisfy this yearning through realised fiction.