Dongying Shen

Mr. Jimenez

English 1A

June 5, 2007

Public Space

The National Preference to Elitism:

The Accentuation of Privilege and Distinction in American Public Spaces

America, as a mongrel nation built of ever-changing disparate parts, is held together by a notion, the notion that all men are created equal.  However, it is generally understood that most people in our society consider themselves superior to others.  That means, behind America’s mythic promise of equal opportunity, there lies a desire for unequal social rewards, “a ferocious competition for privilege and distinction” (Solomon 410).  Therefore, American society has two faces: the one maintaining egalitarianism and the other encouraging elitism. 

Despite the parallel existence of both in American society, the national ideology clearly prefers elitism.  The United States is usually portrayed in popular media as a country based on elites and individual heroes.  Therefore, the American ideal can be described as “out of many, one” (Quindlen 397).  American public spaces play to this ideal, such as the women’s shoe department of Nordstrom at Westfield Santa Anita Mall.  By emphasizing luxury and privilege to appeal to customers’ pursuit of high social status and superiority, it manipulates an idea of “standing out of the crowd with our shoes,” which stems from the national preference to elitism.

The emphasis on luxury has largely to do with the sumptuous decoration of the department.  The space is dominated by the classic royal style, which is characterized by elegance and opulence.  A thick woolen carpet, which is embroidered with flowers and birds of the Renaissance style, covers the wood floor of the department, where a huge crystal chandelier is hung from the ceiling.  With the chandelier shedding golden light, high heels and boots are displayed on curved glass shelves with metal bands around, appearing as stars that represent the greatest art of the century.  The glass shelves are labeled with such brand names as Marc Jacobs, BCBGMAXAZRIA, and Salvatore Ferragamo, whose prices range from four hundred dollars to one thousand dollars.  Next to those glass shelves are extra wide leather sofas, which offer customers comfortable places to try shoes on or take a rest.  “It is so wonderful to shop here; it is impossible for me to say ‘No’.”  This is how a female customer reacted when she walked into this shoe department.  Actually, similar remarks are reiterated by many visitors to this shoe department.  By presenting a palace-like shopping place, this shoe department delivers such message: “you are not just buyers; you are kings and queens.”

The adornment of the space accentuates the idea of extravagance; furthermore, high-quality customer service is provided to stress privilege.  When strolling around the department, visitors are greeted with welcome smiles from sales assistants, accompanied with “how are you doing today?” or “is everything OK?”  All sales assistants wear business suits, which match up with these high-priced fashion brands sold in the department.  Once they have any question about shoes, customers never need to wait because there are so many assistants around the department; they will reply with enough details and great patience.  Furthermore, every customer will receive one-to-one assistance, which can be described by the following: “can I measure your feet,” “please take a seat.  I will bring shoes to you,” and “I think another pair of shoes might fit you.”  Such prompt, enthusiastic, and attentive personalized service implies the following: “you are the only person we care.”

This women’s shoe department works by associating luxury and privilege with high social status and superiority, which are most coveted in our society.  The brand names labeled are not simply pieces of product information; they imply high social economic status, since the prices ranging from four hundred dollars to one thousand dollars are affordable for only a few people.  Besides, decorations like the crystal chandelier, the exquisite carpet, curved glass shelves, and leather sofas remind customers of those banquets and parties held at beautiful villas or magnificent castles, which are open only to celebrities and social elites.  Moreover, the personalized service emphasizes the notion of individual privileges: “only you deserve that special treatment.”  In other words, this shoe department implies that “once you buy shoes here, you will be elite and, therefore, superior to others.” 

The utilization of the notion of high social status and superiority in this shoe department is common in other public spaces as well.  Not to mention those high-end retail stores, where fantasies of rising above the crowd with certain skirts or suits are created to manipulate customers into consuming, the construction of the American workplace emphasizes the hierarchy, where personal privacy in a public office are connected to the individual empowerment and status within the organization.  More “closed door” (Spain 707) potential are provided to the elite such as managers and supervisors, whereas ordinary staff like secretaries have to share space and privacy.  American public spaces always find ways, in which high social status and superiority are related to certain arrangement or decoration, to distinguish the elite from ordinary people.

The idea of high social status and superiority is manufactured and accentuated in public spaces because we American want them.  The national preference to elitism, which can be precisely described as “walking quick and cleaving a way” (Solomon 410), breeds the yearning for social competition and distinction.  Consequently, there rises a question for social elites: what is the best way to express our high status and superiority?  In socially immobile societies such as aristocratic Europe, generations of fixed social status have produced fixed class signals, for instance, the accent of one’s voice and the shape of one’s nose, to distinguish themselves from other classes.  In contrast, the United States, as the heir of a history of extreme contrasts and abrupt changes, does not own such signals.  The lack of such signals leads to the appearance of materialism, a point of view that identifies one’s social status with what one possesses.  As a result, the demand for the objects that mark rank and prestige is strong in American society, where elitism is preferred, desired, and pursued.  As shown in the women’s shoe department of Nordstrom, customers are not willing to reject shoes there, because the rejection directly tells others that “you cannot afford this pair of shoes; therefore, you do not belong to the elite.”  Consequently, the objects including the costly shoes, the luxurious decorations, and the VIP service really do not matter, since it eventually disappears behind the presumed high social status and significant potency of their consumers.

The national preference and desire for elitism is no accident; it is a spontaneous outcome of American history.  The United States was established and developed by immigrants characterized by individualistic heroism, which is regarded as the elementary form of elitism.  In addition, popular media such as newspaper, magazines, television and films reinforce the impact of elitism by claiming that American society is founded on the contribution of individual heroes.  To illustrate, the plots of Hollywood films like Erin Brockovich and The Beautiful Mind follow the personal experience and individual strife of the American elite.  Accordingly, Americans’ worship of elitism is a necessary consequence of the formation of the United States and the catalytic influence of media. 

The popularity of elitism among the nation leads to its appearance in American public spaces, which can “reflect and reinforce a culture’s political ideology and power structure” (Maasik & Solomon, 632).  As such a culturally significant icon, the American public space conveys and accentuates elitism by adopting it to the structure and decoration.  The women’s shoe department of Nordstrom at Westfield Santa Anita Mall, as an example of such application, manipulates customers into buying its merchandise by constructing a chic shopping environment and providing excellent personalized service to satisfy their demands for high social rank and prestige.  What is hidden after this utilization is the nature of American society.  Though it is claimed as a democratic country, the United States advocates the dream of rising above the crowd, which produces the national preference to elitism.  What we American desire, after all, is to attain a social summit beyond the reach of the ordinary and bask alone in the glory.

Work Cited list

Solomon, Jack.  “Masters of Desire: The Culture of American Advertising.”  Signs of Life In The USA: Readings on Popular Culture for Writers.  Ed. Sonia Massik and Jack Solomon.  Boston: Bedford/St. Martin’s, 2006

Quindlen, Anna.  “A Quilt of a Country.”  Signs of Life In The USA: Readings on Popular Culture for Writers.  Ed. Sonia Massik and Jack Solomon.  Boston: Bedford/St. Martin’s, 2006

Spain, Daphne.  “Spatial Segregation and Gender Stratification in the Workplace.”  Signs of Life In The USA: Readings on Popular Culture for Writers.  Ed. Sonia Massik and Jack Solomon.  Boston: Bedford/St. Martin’s, 2006

Maasik Sonia, Jack Solomon.  “Popular Spaces: Interpreting the Built Environment.”  Signs of Life In The USA: Readings on Popular Culture for Writers.  Ed. Sonia Massik and Jack Solomon.  Boston: Bedford/St. Martin’s, 2006.

Tough and Vulnerable

—The Portrait of Heroines in Hollywood Films

Heroism is one of the most important themes in Hollywood films.  It comes from the human experience of overcoming adversity and fulfills the desire to do great acts.  When we think of heroism in Hollywood films, we recall tough guys such as Superman and the Terminator.  As Sherrie Inness states in Tough Girls, “Given American society’s fascination with the tough guy, it is hardly surprising that he has become a media staple” (1).  As a testament to male dominance, Hollywood usually portrays males as representatives of heroism, whereas females are traditionally depicted as either Madonnas or whores.

The traditional conflicts over female stereotypes lie in this Madonna-whore dichotomy.  The Madonna type is featured as purity and devotion, embodying the feminine ideal that is characterized by women’s emotional behavior and simple mindedness.  To the contrary, whores, who are promiscuous and cruel, defy this ideal.  The Madonna-whore dichotomy exemplifies the contrast between two extremes, the compliance and violation of the feminine ideal.

However, this Madonna-whore dichotomy no longer satisfies audiences’ needs.  Most American women appeal for the presence of independent and sophisticated females in movies, whereas many American men try to maintain feminine dependence and obedience.  This juxtaposition leads to the transition from the Madonna-whore dichotomy to tough yet vulnerable heroines, a new category of females in Hollywood films.  In these films, heroines appear to be professional, determined and assertive, yet their images are softened by addressing their sexuality and femininity.  This opposition of toughness and vulnerability in heroine myths forms the backbone of many popular movies, such as The Silence of the Lambs. 

The Silence of the Lambs features Clarice Starling, a young FBI trainee, who is sent to see the imprisoned Hannibal “the Cannibal” Lector, a serial killer as well as a brilliant psychiatrist, to ask his expert advice on catching another serial killer given the name Buffalo Bill, who is abducting women and skinning them.  Portraying Clarice Starling as a tough and vulnerable heroine simultaneously, The Silence of the Lambs presents a dichotomy in heroine myths, stemming from conflicts over female roles in American society.

The Silence of the Lambs constructs Clarice’s toughness from different aspects.  Her physical strength is used to demonstrate her toughness, starting when she is shown running on a fitness trail at the FBI academy.  She jumps over obstacles on the ground, runs through gloomy woods and climbs up a steep slope.  In addition, the film depicts her in such strenuous exercises as target shooting and boxing.  Clarice’s physical capability is demonstrated by her superior fitness for these difficult activities that many men would find impossible to finish. Besides, Clarice’s courageous and heroic behavior accentuates her toughness. Though having been told not to tell anything private to Hannibal, she insists on doing quid pro quo, which demands her personal information in exchange for Hannibal’s brilliant psychological analysis of Buffalo Bill, to rescue the victim.  Ultimately, Clarice overcomes fear and danger, killing the murderer and saving the victim, and becomes a real FBI agent.  In all these ways, she can be described as being brave, determined and powerful, which proves her toughness. 

It is Clarice’s toughness that makes her survive the FBI, a traditional territory of masculine guys.  However, when putting herself in this kind of confrontation with males, Clarice becomes sexually vulnerable.  We can easily recall these amorous glances and stares from males like Dr. Chilton, the warden of the asylum where Lector is being held, and Dr. Akin, the entomologist working in the museum; Dr. Chilton thinks Jack Crawford, Clarice’s male supervisor, is very clever since he “uses a pretty young woman to turn him on”.  In these males’ perspective, Clarice is merely a passive sexual object, which puts her into potential danger.  Aside from her sexual vulnerability, the film brings out her emotional vulnerability through her sensitivity and frailty.  This vulnerability is evident during quid pro quo.  When Clarice recalls her father’s death and talks about the screaming of the lambs, her eyes are filled with tears and her voice throbs.  She becomes sad and scared, almost losing control of her emotions.  In addition, it is revealed that Clarice chose to join the FBI partly because of fear and helplessness she experienced during her childhood.  It is implied that women are not naturally tough; they are driven to be tough.  By showing her sexuality and susceptibility, Clarice’s vulnerability is repeatedly an issue throughout the film.

Like The Silence of the Lambs, many other Hollywood films apply the same strategy of portraying tough yet vulnerable heroines.  Sarah Tobias in The Accused, who is gang-raped by three drunk guys, fights against the men cheering for the rape; Meg Altman in Panic Room, who is depicted caring about her family and crying over divorce, beats three robbers invading her house; Queen Gorgo in 300, who is deeply attached to her husband and believes in him, kills the traitor to her country.  Theses heroines adopt many masculine gestures and aggressive attitudes, but they maintain sexual attraction and vulnerability that belong to the feminine ideal.  There lies the modern dichotomy in female roles.

The popularity of such tough-vulnerable heroines suggests that female roles in American society have two faces: the one encouraging assertive and dominant women, and the other retaining susceptible and submissive females.  This contradiction is derived from the conflicts between women’s struggle for empowerment and men’s maintenance of societal patriarchy.  In the past century, more females were educated, flooded into different fields of activities and their social economic status rose dramatically.  This situation stimulated their pursuit of individuality and social dominance, resulting in the emergence of independent and powerful women.  At one time, men were left feeling substituted and concerned.  Consequently, they referred women back to the traditional feminine ideal to maintain male domination.  This contradictory nature is clearly reflected in the portrait of heroines in Hollywood films.  These heroines possess considerable toughness.  They help demonstrate that females can be ambitious, competent and determined, satisfying women’s needs.  On the other hand, the films utilize their vulnerability to deliver a message that females can never be completely tough, which relieves men from the threats women have posed to patriarchy.

Instead of choosing between the compliance and violation of the feminine ideal, heroines manage to live in these two extremes. The transition from the traditional Madonna-whore dichotomy to the modern toughness-vulnerability opposition is significant.  It is “a metaphor for larger cultural concerns” (Maasik & Solomon, 305).  The increasing prevalence of tough yet vulnerable heroines illustrates that female roles in American society have achieved an appropriate compromise that meets both women’s and men’s requests.  This rational compromise is a type of heroism as well.  Its social implication provides a fair attitude towards females and their roles within American society.  Heroines are not just heroines, after all.

What Defines Ideal Women?

—The Paradox of Female Gender Myths

Gender stereotypes are the entirety of accepted opinions and norms related to male and female behavioral norms, motives, and requirements.  Male stereotypes are thought to be professional, determined and assertive, whereas the feminine ideal is to be emotional, obedient and passive.  In addition, women are conventionally expected to be visually enticing.  Ads play to gender stereotypes, especially for women’s products such as clothes and perfume.  Most perfume ads refer to the traditional female as an object and a pleaser, but a lot of American women are against it and struggle for the same opportunities as men.  The latest version of Dior’s “j’adore” ad illustrates a combination of both aspects, presenting the paradox of female gender myths, a conflict over the definition of ideal women.

In this ad, Charlize Theron is grabbing her diamond earrings and evening dress.  She tilts her head, looking away from the camera.  A French statement “j’adore”, meaning “I love”, is placed very close to her breast.  The background is a dimly lit hall, bare except for a crystal chandelier.  The brand name “Dior” is imposed upon the upper right corner of the image and a golden bottle of the perfume is displayed to the lower right.  Depicting Charlize Theron as an assertive individual and a sexual object concurrently, Dior’s ad draws readers’ attention cleverly.

This ad features Charlize Theron, a woman trying to get rid of the jewelry and clothes that have tied her down, revealing her desire for independence and dominance.  Why is she grabbing her earrings and dress? Why does she tilt her head with eyes looking down instead of directly facing the camera?  Diamond earrings, couture dress, and graceful body language are generally regarded as feminine, just as to be sensitive, submissive and dependent symbolizes the ideal feminine model.  With her rejection and opposition to those general features, the advertisement truly shows that modern females are endeavoring to turn over the stereotype of ideal females and beat the conservative gender myths.

Dior chose Charlize Theron because she is a cultural icon in a nontraditional way.  She is ambitious, aggressive, and successful in her career, having won an Academy Award for best actress.  It is her strength and her empowerment that defines the modern female.

Although the feminist movement has shown great impact upon the modern advertising industry, it still exploits men’s appetite for sex and anxiety over women’s threats to their privileges.  Dior’s ad keeps something consistent to the image of traditional women—sexual objects, pleasers and caregivers.  The obvious sexuality is demonstrated in Charlize Theron’s smooth skin, half exposed breast and well curved perfume bottle.  The sexual nature effectively lures males into their own sexual fantasies.  Furthermore, the golden color and the crystal chandelier in the background intentionally associate the perfume and beautiful women with wealth.  This correlation between sex and money perpetuates the ideology of the objectification of women.  As Steve Craig observes,

    Entire industries (automotive, cosmetics, fashion) are predicated on the assumption that men and women will continue behaving according to their stereotypes.  Commercials for women therefore act to reinforce patriarchy and to co-opt any reactionary ideology into it.  Commercials for men need only reinforce masculinity under patriarchy and, at most, offer men help in coping with a life plagued by women of raised conscience. (172). 

To be physically attractive and dutiful defines the other aspect of the ideal female, which satisfies men’s deep-seated fantasies and relieves them from a more feminine society.

Dior utilizes an opposing picture, engaging women’s and men’s attentions and demands.   In fact, you can see such trends in many ads.  Statements such as “Women earn more than their CEO husbands” often appear in ads aiming at career women, whereas “hot” girls predominate campaigns for products like underwear and jeans.  Therein lies the paradox.

The female gender myths in American society have two faces: the one stimulating women’s desire for freedom and power, and the other maintaining female objectification and societal patriarchy.  This contradiction is no accident.  In the past century, more females were educated, flooded into different fields of activities, and their economic status rose dramatically.  At one time, men were left feeling substituted and concerned, leading to the emergence of men’s crisis center and male unions.  This contradictory nature of American myths of females is nowhere written so clearly as in the signs that American advertisers use to manipulate consumers into buying their goods.  Ads aiming at females are created to show the superiority of women, say, their demanding attitude towards quality and wise choices of products and service.  Yet, appealing to men’s fantasies of traditional women, ads address societal patriarchy and maintain women’s status as a traditional caregiver or a quiet housewife.

  The struggle for females’ benefits and equality is reflected in Dior’s ad as Charlize Theron’s aggressive body language, coupled simultaneously with the sensuality of the image invoking the traditional woman.  While praising the images and virtues of pleasing women and devoted loving mother, Americans celebrate the self-determination of modern females.  This paradox will never end, as long as women strive for their rights and men long for male domination.  Faced with this discrepancy, we should have a fair attitude towards gender and a better understanding of the role of American culture in defining it.

What Defines Ideal Women?

—The Paradox of Female Gender Myths

Gender stereotypes are the entirety of accepted opinions and norms related to male and female behavioral norms, motives, and requirements.  Male stereotypes are thought to be professional, determined and assertive, whereas the feminine ideal is to be emotional, obedient and passive.  In addition, women are conventionally expected to be visually enticing.  Ads play to gender stereotypes, especially for women’s products such as clothes and perfume.  Most perfume ads refer to the traditional female as an object and a pleaser, but a lot of American women are against it and struggle for the same opportunities as men.  The latest version of Dior’s “j’adore” ad illustrates a combination of both aspects, drawing readers’ attention cleverly.  Charlize Theron is grabbing her diamond earrings and evening dress.  She tilts her head, looking away from the camera.  A French statement “j’adore”, meaning “I love”, is placed very close to her breast.  The background is a dimly lit hall, bare except for a crystal chandelier.  The brand name “Dior” is imposed upon the upper right corner of the image and a golden bottle of the perfume is displayed to the lower right.  Depicting Charlize Theron as an assertive individual and a sexual object concurrently, this ad presents the paradox of female gender myths, a conflict over the definition of ideal women.

Dior’s ad features Charlize Theron, a woman trying to get rid of the jewelry and clothes that have tied her down, revealing her desire for independence and dominance.  Why is she grabbing her earrings and dress? Why does she tilt her head with eyes looking down instead of directly facing the camera?  Diamond earrings, couture dress, and graceful body language are generally regarded as feminine, just as to be sensitive, submissive and dependent symbolizes the ideal feminine model.  With her rejection and opposition to those general features, the advertisement truly shows that modern females are endeavoring to turn over the stereotype of ideal females and beat the conservative gender myths.

Dior chose Charlize Theron because she is a cultural icon in a nontraditional way.  She is ambitious, aggressive, and successful in her career, having won an Academy Award for best actress.  It is her strength and her empowerment that defines the modern female.

Although the feminist movement has shown great impact upon the modern advertising industry, it still exploits men’s appetite for sex and anxiety over women’s threats to their privileges.  Dior’s ad keeps something consistent to the image of traditional women—sexual objects, pleasers and caregivers.  The obvious sexuality is demonstrated in Charlize Theron’s smooth skin, half exposed breast and well curved perfume bottle.  The sexual nature effectively lures males into their own sexual fantasies.  Furthermore, the golden color and the crystal chandelier in the background intentionally associate the perfume and beautiful women with wealth.  This correlation between sex and money perpetuates the ideology of the objectification of women.  As Steve Craig observes,

    Entire industries (automotive, cosmetics, fashion) are predicated on the assumption that men and women will continue behaving according to their stereotypes.  Commercials for women therefore act to reinforce patriarchy and to co-opt any reactionary ideology into it.  Commercials for men need only reinforce masculinity under patriarchy and, at most, offer men help in coping with a life plagued by women of raised conscience. (172). 

To be physically attractive and dutiful defines the other aspect of the ideal female, which satisfies men’s deep-seated fantasies and relieves them from a more feminine society.

Dior utilizes an opposing picture, engaging women’s and men’s attentions and demands.   In fact, you can see such trends in many ads.  Statements such as “Women earn more than their CEO husbands” often appear in ads aiming at career women, whereas “hot” girls predominate campaigns for products like underwear and jeans.  And therein lies the paradox.

The female gender myths in American society have two faces: the one stimulating women’s desire for freedom and power, and the other maintaining female objectification and societal patriarchy.  This contradiction is no accident.  In the past century, more females were educated, flooded into different fields of activities, and their economic status rose dramatically.  At one time, men were left feeling substituted and concerned, leading to the emergence of men’s crisis center and male unions.  This contradictory nature of American myths of females is nowhere written so clearly as in the signs that American advertisers use to manipulate consumers into buying their goods.  Ads aiming at females are created to show the superiority of women, say, their demanding attitude towards quality and wise choices in products and service.  Yet, appealing to men’s fantasies of traditional women, ads address societal patriarchy and maintain women’s status as a traditional caregiver or a quiet housewife.

  The struggle for females’ benefits and equality is reflected in Dior’s ad as Charlize Theron’s aggressive body language, coupled simultaneously with the sensuality of the image invoking the traditional woman.  American’s celebrate the freedom of modern females, while still praising the virtues of the pleasing woman and devoted loving mothers.  This paradox will never end, as long as women strive for their rights and men long for male domination.  Faced with this discrepancy, we should have a fair attitude towards gender and a better understanding of the role of American culture in defining it.

What Defines Ideal Women?

--The Paradox of Female Gender Myths

Ads play to gender stereotypes, especially for women’s product such as clothes and perfume.  Most perfume ads refer to the traditional female as an object and a pleaser, but a lot of American women are against it and struggle for the same opportunities as men.  The latest version of Dior’s “j’adore” ad illustrates a combination of both.  Using one of the most common paradoxes in American society—the female gender myth, Dior’s ad cleverly draws readers’ attention.

Charlize Theron is grabbing her diamond earrings and evening dress.  She tilts her head, looking away from the camera.  There is a French statement “j’adore”, meaning “I love”, very close to her breast.  The background is a dimly lit hall, bare except for a crystal chandelier.  The brand name “Dior” is imposed upon the upper right corner of the image and a golden bottle of the perfume is displayed to the lower right.  The struggle for females’ benefits and equality is reflected in Dior’s ad as Charlize Theron’s aggressive actions, in the simultaneous use of her sexy image signifying the traditional woman.  This ad raises an interesting question—what defines ideal women in modern American culture.

Dior’s ad presents Charlize Theron, a woman trying to get rid of the jewelry and clothes that have tied her down, revealing her desire for independence and dominance.  Why is she grabbing her earrings and dress? Why does she tilt her head with eyes looking down instead of gazing at the camera?  Diamond earrings, couture dress, and graceful body language are generally regarded as feminine, just as to be dependent, submissive, and emotional symbolizes the ideal feminine model.  With her rejection or opposition to those general features, the advertisement truly shows that modern females are endeavoring to turn over the stereotype of ideal females and beat the conservative gender myth. Dior chose Charlize Theron because she is such a cultural icon in a nontraditional way.  She is ambitious, aggressive, and successful in her career, having won an Academy Award for best actress.  It is her strength and her empowerment that defines the modern female.

 Although the feminist movement has shown great impact upon the modern advertising industry, it still exploits men’s appetite for sex and anxiety over women’s threats to their privileges.  Dior’s ad keeps something consistent to the image of traditional women—sexual objects, pleasers and caregivers.  The obvious sexuality is demonstrated in Charlize Theron’s smooth skin, half exposed breast and well curved perfume bottle.  The sexual nature still draws readers' attention, especially males’, by luring them into their own sexual desires.  Furthermore, the golden color and the crystal chandelier in the background intentionally associate the perfume and beautiful women with wealth.  This correlation between sex and money perpetuates the ideology of the objectification of women.  As Steve Craig observes, “Entire industries (automotive, cosmetics, fashion) are predicated on the assumption that men and women will continue behaving according to their stereotypes.  Commercials for women therefore act to reinforce patriarchy and to co-opt any reactionary ideology into it.  Commercials for men need only reinforce masculinity under patriarchy and, at most, offer men help in coping with a life plagued by women of raised conscience”.  Dependent and submissive women satisfy men’s fantasies and relieve them from a more feminine society.

Dior utilizes an opposing picture, engaging women’s and men’s attentions and demands.   In fact, you can see such trends in many ads.  Statements such as “Women earn more than their CEO husbands,” often appear in ads aiming at career women, whereas “hot” girls predominate campaigns for products like underwear and jeans.  And therein lies the paradox.

The female gender myths in American society have two faces: the one stimulating women’s desire for freedom and power, and the other maintaining female objectification and societal patriarchy.  This contradiction is no accident.  In the past century, more females were educated, flooded into different fields of activity, and their economic status rose rapidly and dramatically.  At one time, men were left feeling substituted and concerned, leading to the emergence of “men’s crisis center” or “feminism-is-dead”.  This contradictory nature of American myths of females is nowhere written so clearly as in the signs that American advertisers use to manipulate consumers into buying their goods.  Ads aiming at females are created to show the superiority of women, say, their demanding attitude of high quality and wise choices of products and service.  Yet, appealing to men’s fantasies of traditional women, ads address societal patriarchy and maintain women’s status as a traditional caregiver or a quiet housewife.

American’s celebrate the freedom of modern females, while still praising the virtues of the pleasing woman and devoted loving mothers.  This paradox will never end, as long as women strive for their rights and men long for male domination.  Faced with this discrepancy, we should have a fair attitude towards gender and a better understanding of the role of American culture in defining it.

What Defines Ideal Women?

--The Paradox of Female Gender Myths

An advertisement for Dior’s “j’adore” perfume found in a collector’s edition of “Vanity Fair” is an image of Charlize Theron, grabbing her diamond earrings and evening dress. She tilts her head, looking away from the camera. There is a French statement “j’adore”, meaning “I love”, very close to her breast. The background is a dimly lit hall, bare except for a crystal chandelier. The brand name “Dior” is imposed upon the upper right corner of the image and a golden bottle of the perfume is displayed to the lower right. When mentioning perfume ads, people always refer to flowers, pleasure or aristocrat. But this ad gives a different picture.

In traditional female gender myths, women should always be graceful, humble and submissive, but this ad challenges the ideology. In fact, “Vanity Fair” readers have been unconsciously schooled in one of the most common paradoxes in American society--the female gender myth.

Dior’s ad presents Charlize Theron, a woman trying to get rid of the jewelry and clothes that have tied her down for a long time, revealing her desire for independence and dominance. Why is she grabbing her earrings and dress? Why does she tilt her head with eyes looking down instead of gazing at the camera? Diamond earrings, couture dress and graceful body language are generally regarded as feminine, just as to be dependent, submissive and emotional symbolizes the ideal feminine model. With rejection or even opposition to those general features, the advertisement truly shows that modern females are endeavoring to turn over the stereotype of ideal females and beat the conservative gender myth, as Gloria Steinem, one of the best-known icons of the women’s movement, wrote when she finished the original version of the “sex, lies, and advertising”.

“Goodbye to Moral Majority.

Goodbye to short articles and short thinking.

Goodbye to ‘post-feminism’ from people who never say ‘post-democracy’.

Goodbye to the national boundaries and hello to the world.

Welcome to the magazine of the post-patriarchal age.

The turn of the century is our turn!”

Dior’s choice of Charlize Theron is such a cultural icon. She is ambitious, aggressive and successful in her career, having won an Academy Awards for best actress. It is indubitable that part of what defines a modern female is her strength and empowerment.

Although the feminist movement has great impact upon the conventional advertising industry, it still exploits men’s eager for sex and anxieties over women’s threats. Dior’s ad keeps something corresponding to the image of traditional women—sexual objects, pleasers and caregivers. The obvious sexuality is demonstrated in Charlize Theron’s smooth skin, half exposed breast and well curved perfume bottle. The sexual nature still draws readers' attention, especially males’, by appealing to their physical needs. Furthermore, the golden color and the crystal chandelier in the background intentionally associate the perfume and beautiful women with wealth. This correlation between sex and money perpetuates an ideology of the objectification of women. As Steve Craig observes, “Entire industries (automotive, cosmetics, fashion) are predicated on the assumption that men and women will continue behaving according to their stereotypes. Commercials for women therefore act to reinforce patriarchy and to co-opt any reactionary ideology into it. Commercials for men need only reinforce masculinity under patriarchy and, at most, offer men help in coping with a life plagued by women of raised conscience”. And this concludes the rest of the modern female gender myth, which is to be sexy and unsophisticated.

The struggle for females’ benefits and equality is reflected in Dior’s ad, in the simultaneous use of assertive and submissive behavior. In fact, you can see such trends in many ads. Statements such as “women earn more than their CEO husband” often appear in ads aiming at career women, whereas “hot” girls predominate campaigns for products like underwear and jeans. And therein lies the paradox.

The female gender myths in American society have two faces: the one stimulating women’s desire for freedom and power and the other maintaining societal patriarchy. This contradiction is no accident. In the past century, more females were educated, flooded into different fields of activity, and their economic status rose dramatically. At one time, men were left feeling substituted and concerned, leading to the emergence of “men’s crisis center” or “feminism-is-dead” key on the typewriter. This contradictory nature of American myth of females is nowhere written so clearly as in the signs that American advertisers use to manipulate consumers into buying their goods. Ads aiming at females are created to show the superiority of women, say, their demanding attitude of high quality and wise choices of products and service. Yet, appealing to men’s fantasies of traditional women, ads address societal patriarchy and maintain women’s status as a traditional caregiver or a quiet housewife.

We American celebrate the freedom of modern females, while still praising the virtues of pleasing women and loving mothers. This paradox will never end, as long as women strive for their rights and men long for male domination. Faced with this discrepancy, we should have a fair attitude towards gender and a better understanding of the role of American culture in defining it.