Professional Documents
Culture Documents
David Ogilvy (1911-1999) was the founder of what is now one of the largest
advertising agencies in the world. The Ogilvy enterprise consists of 497 offices
worldwide, spanning multiple facets of the marketing industry. David Ogilvy has written
three books on advertising. One of these books, Confessions of an Advertising Man, has
displays Ogilvy’s views on many of the social issues that advertising relates to. In the
opening paragraph of this chapter, Ogilvy makes clear that he is not a philosopher, but
that he is able to see that the question should be asked (Ogilvy, 1963, 179). So, should
simply informing the consumer without downplaying the competition (182). He writes of
advertising politics, “the use of advertising to sell statesmen is the ultimate vulgarity”,
and claims that it would be unfair to persons of different political beliefs who may be
employed by his agency (190). However, Ogilvy does believe that it is good to do
advertising for “good causes of a nonpolitical nature”, such as for the American Cancer
Society (190). Ogilvy also notes finding himself “between a rock and a hard place” when
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potential, but states “as a private person, I would gladly pay for the privilege of watching
So, how does one of the world’s most famous advertisers come to these
conclusions about advertising? How is it possible that a man who made his vast wealth
in advertising determine that televised commercial interruptions are a bad thing, or that
advertisements should not combat competing brands, and find disgust in advertising
politicians? If nothing else, David Ogilvy opens the eyes of his readers by helping to
shine a light on some of the ethical concerns regarding, what many people have called an
evil, advertising.
Is advertising evil?
Ogilvy (1963, 179) quotes of, socialist labor politician, Aneurin “Nye” Bevan,
that advertising is “an evil service”, and of economic historian, Arnold Toynbee, who
could not “think of any circumstances in which advertising would not be an evil.” He
further noted that Harvard economist, Professor Galbraith, held that “advertising tempts
on public works” (Ogilvy, 1963, 179). However, on another note, David Ogilvy writes in
another book, Ogilvy on Advertising, “nobody suggests that the printing press is evil
because it is used to print pornography. It is also used to print the Bible. Advertising is
Adbusters magazine, entitled São Paolo: A City Without Ads, describes a recent decision
by the Brazilian city to ban outdoor advertisements. The city’s mayor, Gilberto Kassab,
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complained of advertising’s “excess”, but said that the main reason for the ban was for
letter from, what appears to be, the editor near the beginning of this magazine, which
prides itself on being ad-free, describes advertising as “brain damage” and “mental
pollution”, and claims that the more than 3,000 “invasive advertising” messages that the
“average North American” receives each day are causing stress in people’s lives (Kalle,
While David Ogilvy delves little into the ethical concerns regarding women and
advertising, he does caution readers and potential advertisers to tell the facts. Ogilvy
states, “the consumer isn’t a moron – she is your wife”, and then advises that advertisers
not “insult her intelligence” (124). Ogilvy often uses feminine articles to refer to the
target audience of advertisements because at the time of the writing of his book, most
advertisements were typically written for a female audience. This is because at the time
this book was written, in the early 1960s, the mother/wife was usually the person who
shopped for the family. Moreover, the women’s movement had not yet begun; therefore,
while the ethical issues concerning women and advertising indeed existed, they were not
The following will explain some of the ethical concerns regarding the broad topic
of advertising and women. The topics that will be covered are the portrayal of women
women.
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Sport advertising is a good place to start when examining the portrayals of women
in advertising, because as Cuneen and Spencer (2003, 143) report, “sport ads appear to be
assessment of sport-related advertising shows that ad photos and visuals are, for the most
part, gender-biased and have been so since at least the 1930s.” Cuneen and Spencer go
on to note that sport advertisements often portray women as “inactive, fragile, non-
individual sports rather than in competitive or team sports” (2003, 143). This means that
stereotypes that exist in the also broad topic of women and sport. When female athletes
are displayed in advertisements within their sporting context, athletes from sports that are
socially conceived as feminine are more often chosen (i.e. figure skating, gymnastics)
than from neutral sports (i.e. tennis, basketball). Female athletes are rarely, if ever,
sports (i.e. football, baseball). However, all of this may depend on the context of the
advertisement, the message that is being displayed, and the target audience. For example,
an advertisement that is trying to sell boxing gloves to female boxers would likely not
hold back from having a female boxer in the advertisement, even though boxing is widely
However, as Cuneen and Spencer (2003) suggest, female athletes are often
removed from a sporting context altogether, displayed as sexual objects, and occasionally
as weak and fragile. Rinehart (2005) notes that advertisements sometimes “infantilize”
women. The author analyzes an advertisement for a skateboard apparel company, which
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displays a topless young woman in an explicitly sexual pose next to a picture of a young
girl in braces, who was standing in front of a backdrop of hearts and holding a
woman next to a young innocent is arresting to the eye, but it also poses a troubling
possibility (in this magazine) of the infantilization of female skateboarders and the overt
Kilbourne (1999) suggests that, on top of all of this, women have also been
which simply shows a cartoon man holding a gun to the head of a cartoon woman, with
the word bitch written above the image (277). Kilbourne suggests that violent images in
Infantilized, weak, sexualized, objectively: these are some ways that women are
portrayed in advertisements. The portrayal of women, however, is not the only ethical
concern facing advertising. Some advertisements exploit popular feminist ideas for their
own capital gains. Following is a situation regarding athletic attire company, Nike.
After seeing Reebok’s success in the female market, Nike decided to swallow its
masculine pride and advertise to women. The first Nike advertisement targeted
specifically toward the “women’s fitness market” was released in 1987, and “featured
triathlete Joanne Ernst moving through a grueling workout and a voiceover continuously
repeating the ‘just do it’ directive” (Cole & Hribar, 1995, 360). The advertisement did
effectively portrayed her in a manner consistent with the sport that she was representing.
However, the advertisement concluded with an insulting tagline that the authors suggest
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that Nike meant to be humorous, and which ultimately “failed to seduce women
consumers” (360). The tagline: “And it wouldn’t hurt if you stopped eating like a pig”
(360).
Nike’s solution was to hire women to produce a new advertising strategy targeted
toward women. Nike apparently found success in the new advertising campaign, which,
according to Cole and Hribar (1995), consisted of “multiple pages of poetic verse and
glossy images of transcendence” (360). The authors state of the Nike advertising
campaign, “when we read the ads, we feel as if we have found a friend who understands,
who can see from our point of view, who knows what it is we want” (360). The new
campaign went into effect in 1990, and that year Nike’s sales increased 25%; the
following two years saw further increased sales of 25% and 28% respectively (360).
another way. Cole and Hribar (1995, 365) state “the alliance between Nike and women is
(365), because Nike acts and positions itself as “pro women” and as “socially
responsible” (366). However, Nike is meanwhile acting in a manner consistent with the
“expansionist politics and practices that are characteristic of capitalism” (363). It could
therefore be implied that Nike has exploited feminism as a means to raise profits. Cole
and Hribar suggest, “Nike rewrites feminist history, identity, community, and solidarity
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Denotation can be described as describing in the most basic language the various
the various elements in the advertisement. The following is a brief connotation and
advertisement was developed by the same agency that helped to transform Nike’s image
and position them as “pro women” in the late 1980s, Wieden & Kennedy, of Portland.
“I Feel Pretty” features professional female tennis player, Maria Sharapova and
former male tennis star John McEnroe, among numerous extras. In this advertisement,
Maria Sharapova is shown in fitness attire, while getting ready for and traveling to a
tennis match, in which she will be playing. All the while, various bystanders sing the
lyrics to the song “I Feel Pretty”, as the lyrics have appeared in the Broadway musical
West Side Story. These lyrics are sung until the final scene of the advertisement in which
Maria Sharapova, now shown in tennis attire on the tennis court, aggressively returns and
scores on, what appears to be, her opponents first serve with a shrieking grunt. At which
point, John McEnroe, who was seen in an earlier scene as an announcer gleefully
partaking in the song, says in a surprised tone “wow.” Finally, Maria Sharapova is
shown getting into a “ready” stance as the Nike “swoosh” symbol and tagline “Just Do
sport. Furthermore, it shows the naïveté of those beliefs and that they do exist. However,
after viewing the song’s lyrics on the “Official West Side Story Web Site” (n.d.), I
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quickly noted that the lyrics used in the advertisement were from the stage version of the
musical “West Side Story”, and not from the movie version, which uses the term gay – in
reference to happiness. In choosing to use the stage lyrics, thus replacing the ambiguous
term gay with the word bright, the advertisement reinforces that Maria Sharapova is a
heterosexual female. This downplays the idea that female athletes, especially those who
play aggressively, are lesbians, but contrastingly, helps to sexually objectify the female
athlete as someone who is available to men. Furthermore, this might suggest that while
sport holds a place for both men and women, the available space may be dependant on
the athletes’ sexual preferences, and that sport can only accommodate those athletes who
are heterosexual.
for Canadian Club whisky (see attachment at end) is exemplary of sexual objectification
agency, there are numerous photographs of men and women. The primary photograph
displays a man sitting in a chair holding a drink with a woman in his lap. Next is a man
with two women sitting next to and leaning on him. Third, is a photograph of a man and
woman kissing, again with a drink in the front of the photograph. Fourth, is a picture of a
man and a woman at, what appears to be, some sort of social function. The woman
center frame is posed in a seemingly seductive manner and appears to be leaning against
the man, while the man is standing closely behind her and holding a drink. The last
picture that appears in the advertisement is cut off so as to only show a portion of the full
picture. The visible portion of the picture shows what appear to be a woman’s legs
dangling over the side of a chair. Each of these photographs, both in picture quality and
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judging by background scenery and fashion, appear to be replicated from old photographs
The advertisements headline boldly states, “your mom wasn’t your dad’s first”
and is followed by a sub-headline, which states, “damn right your dad drank it.” The
supporting copy (text) reads, “He went out. He got two numbers in the same night. He
drank cocktails. But they were whisky cocktails. Made with Canadian Cub. Served in a
rocks glass. They tasted good. They were effortless.” Finally, in the bottom right of the
advertisement is visible the Canadian Club logo and a drink that appears to be a Canadian
Aside from the fact that the photographs all look old, other parts of the
advertisement are designed to look old as well. To the right of the primary picture a
stamp is visible, which reads, “Jun 65”, suggesting that the advertisement actually is from
a previous era. Even the layout and color choices of the advertising appear old. Many
advertisement does. However, one thing does tie this advertisement into current times.
The warning to “drink smart”, followed by information regarding the alcohol content of
the product being sold is displayed on the right hand side of the primary photograph.
Interesting to note from a design standpoint, is the fact that while the text would have
been easier to read if placed on the white background to the right of the image, it appears,
almost hidden, running down the side of the photograph, as if the advertisers did not want
the reader to notice this information, which I believe is a legal requirement for alcohol
advertisements. In fact, the advertisement is so recent that it apparently has not yet been
published. Creativity magazine’s website had this to say of the advertisement, “to
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men from the '60s and '70s, Canadian Club reminds consumers that their dads were once
cool and, you guessed it, they also drank Canadian Club” (Creativity Online, n.d.).
The role that the women play in this advertisement is stereotypical of the role that
women were expected to play in 1960s American culture. Women are portrayed as
objects, while men are displayed as dominant. The women in this advertisement appear
as if they would not exist without the men in the images. Each of these men could be
imagined in the same poses that they are in, without the women, but it would be difficult
for the women to appear in most of these images in the positions that they are in, without
the men. Each of the images objectifies the women in them. Furthermore, in two of the
The copy in this advertisement suggests that the reader’s father had sexual
relations with women before the reader’s mother. It is suggestive of a James Bond idea
of masculinity, where alcohol makes a man and women are things that men use and toss
masculinity.” Perhaps, the kind of old-time masculinity that Rinehart (2005, 245) might
interpret as suggestive that this was “a more sensible and controlled world when females
knew their place as flesh-tools for male use” (in reference to caricatures of scantily clad
So how does all of this affect women? Jean Kilbourne (1999, 260) states, “sexual
images in advertising and throughout the media define what is sexy and, more
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disappointment since products can never fulfill our sexual desires or meet our emotional
needs” (1999, 271). David Ogilvy did not write about objectification, but nonetheless
found that many of the uses of sex in advertising are irrelevant and unnecessary (1983,
25), and cautions advertisers against using certain images that may shock people (1983,
28). Ogilvy further notes that relevance is key, and that showing “nudes in
Kilbourne argues that portrayals of violent acts against women act to objectify
women, and that objectification creates a disconnection, in that women begin to feel like
objects and men begin to think of women as objects. She states, “objectification and
(278). This suggests that these objectifying images of women may ultimately lead to
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References
(AN SPHS-908024).
numbers available.
Kilbourne, J. (1999). Can’t buy my love: How advertising changes the way we think and
(n.d.) Official West Side Story Web Site, The. Accessed 17 November 2007.
http://www.westsidestory.com/
Rinehart, R. (2005). “Babes” & boards: Opportunities in new millennium sport? Journal
of Sport & Social Issues, 29(3), 232-255. Retrieved from SportDiscus database
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