Essay plan

"How are women represented in TV/print advertising that promotes beauty/cosmetic products?"

Introduction -
definition of represented.
print and television advertisement. 
State my opinion 

In this essay I will be talking about how females are represented in television and print advertisements that promote beauty/cosmetic products. The reason why I have chosen to have this a my essay topic as I feel strongly about how females are represented as many people look up to models that are represented within the media. The majority of females models within the media have a good body image eg they are skinny etc etc. this makes viewers feel as through that is want a women should look like. Whereas I believe that is not the case, as many of the this that we are show in beauty/cosmetic products advertisements have been edited extremely. Knowing this I will be talking about the Dove real beauty campaign the reason for this being a this is one of the campaign that adverts natural beauty through their television and print advertisement whereas other advertisements that promote beauty/cosmetic products, which contain the images being edited that don't look real as they have been airbrushed etc. 

- Within this first paragraph I will be talking about print advertisements. I will be giving examples of print adverts that I have analysed and then stating how females feel about them. i will be talking about text that I have analysed from the 50s, 60s, 70s and to how print advertisement are now. I will be talking about how the role of females have changed through the years. For example in the 50s they would be seen as housewife and now more a glamorous independent women. I will be talking about how certain this have changed for example the clothing that are worn in the advertisements. In the 50s wo     

- This paragraph I will be  to a whole campaign that I have analysed. 
I will be talk about the dove real beauty campaign. 
I will talk about a the history of the brand and the campaign. 

The Dove Campaign for Real Beauty

·         It was launched in 2004.

·         Includes advertisements, video, workshops, sleepover events and even the publication of a book and the production of a play.

·         The concept of the campaign is to celebrate the natural beauty embodied by all women and inspire them to have the confidence to be comfortable with themselves.

·         Dove's partners include Ogilvy & Mather, Edelman Public Relations, and Harbinger Communications (in Canada).

·         The campaign featured women of different shapes and sizes.

·         The campaign was shot by the British portrait/fashion photographer Rankin

·         Rankin has made a career out of fashion photography and has also produced several books

The reason I will be talking about this is down to the fact that it goes against the normal stereotype advertisement campaigns. The Dove real beauty campaign advertise models with their natural skin, there is no airbrushing and not any heavy editing. 
In result to this I will be talking about how the representation of the models in the dove real beauty campaign and other advertising campaign. And how this has a different affect on females audience watching. However I will also me talking about how the male gender react to the dove real beauty campaign and other campaign that use editing software and airbrushing. 

Dove real beauty Print advertisements example - 

This is a print advertisement front the dove real beauty campaign. This print advertisement  will create a positive affect on target audiences as it shows that the dove campaign are being real with them. 

For example this advertisement is of a beautiful young woman. This image has not been Photoshop meaning that their has been no airbrushing this shows the target audience that its a real life image of the mode, and if they were to see the image of the model and then the model in real life they will be the same. 

This will be an attraction for the females as they know that the real dove campaign is being true with the audience which is an attraction. The audience are able to see the models skin and the imperfection that she has. The smile on her face connotes that she is happy with her skin and that the target audience should see that and be happy with their own skin. 

conclusion -  
 my option and the answers the question how all my secondary research as supported my option 

Historical text

David Gauntlett media gender and identity 

One of the most obvious developments in recent pop culture has been the emergence of the icons and rhetoric of 'girl power', a phrase slapped into mainstream culture by the Spice Girls and subsequently incorporated into the language of government bodies as well as journalists, educationalists, culture critics, and pop fans themselves. Magazines for young women are emphatic in their determination that women must do their own thing, be themselves, and/or be as outrageously sassy and sexy as possible (see chapter nine). Several recent movies have featured self-confident, tough, intelligent female lead characters (chapter four). Female pop stars sing about financial and emotional independence, inner strength, and how they don't need a man; and the popular mantra of self-help books is that women can become just as powerful as these icons, if they cultivate their confidence and self-belief, and draw up a plan of self-development (chapter ten). This set of reasonably coherent messages from a range of sources - their clarity only disturbed by the idea that women can be extremely tough and independent whilst also maintaining perfect make-up and wearing impossible shoes - seems to have had some impact on the identities of young women (as the Britney Spears and Destiny's Child fans quoted in chapter ten would attest), as well as being very successful within pop culture as an image/lifestyle idea.

Popular feminism, women and men

The discourses of 'girl power' are today's most prominent expressions of what Angela McRobbie calls 'popular feminism' - the mainstream interpretation of feminism which is a strong element of modern pop culture even though it might not actually answer to the 'feminist' label. Popular feminism is like a radio-friendly remix of a multi-layered song, with the most exciting bits sampled, and some of the denser stuff left out. As McRobbie notes

To [many] young women official feminism is something that belongs to their mothers' generation. They have to develop their own language for dealing with sexual inequality, and if they do this through a raunchy language of 'shagging, snogging and having a good time', then perhaps the role this plays is not unlike the sexually explicit manifestoes found in the early writing of figures like [feminist pioneers] Germaine Greer and Sheila Rowbotham. The key difference is that this language is now found in the mainstream of commercial culture - not out there in the margins of the 'political underground'. (1999: 126).