A Semiotic Analysis of Diesel Commercial Essay
Diesel is a modern-day. luxury nouveau genre Italian design vesture company whose patronage is the immature grownup market. Throughout the old ages Diesel has established its name partially through an array of flooring controversial advertisement runs. such as Be Stupid. Misopolis. which promotes women’s right to abortion. and eventually. Fuel for Life Women Merely designed to publicize their latest aroma for adult females. The latter has launched a series of commercials and streamers which feature immature gorgeous females merely. If one considers other typical aroma commercials such as Calvin Klein and Dolce & A ; Gabbana to call a few. one may detect that there is a changeless overtly sexual male-female relationship portrayed throughout their run to sell their merchandise. nevertheless Diesel has opted for a different attack.
While Fuel for Life Women Only flirts with provocative issues such as rebellion against patriarchate and the thought that adult females are unmanageable existences. female independency. and female sexualisation. it does so in such a beautiful posh manner that the issues promoted seem hardly flooring at all. In this semiotic analysis I will reason and explicate how the adult females show that they are arising against patriarchate through marks of female sexualisation. rebellion against gender functions and female independency. Finally I will analyze what this reveals about our civilization.
As a get downing point of analysis. it is compulsory to concentrate on the advertizement itself. The spectator is presented with what seems to be a scenario taking topographic point in modern South West Europe because of the aesthetic expression of the house where they are and because of the architectural nature of the streets shown throughout the picture. It appears to be of modern times because of the metropolis visible radiations and the autos perceived behind the balcony outside. At first sight the decor of the house seem rather severe and typical of the 1930’s. nevertheless it is arguable that this manner of house is still really outstanding in states of South West Europe. but non in North America. Another of import item is that there are perfectly no work forces throughout the advertizement. merely immature gorgeous white adult females.
The music manner is classical. and the instruments played are soft and cello. The picture instantly yields a message of high category ladies who exhibit the perfect combination of feminism and amorousness. marginal contrariness. The scenes are really abruptly as they all last less than four seconds and are joined together each portraying the women’s actions. such as playing cards. glancing through a cardinal hole. destructing a sleeping room. etc. The merchandise being sold is a bottle of aroma from Diesel designed for adult females merely. hence the ground why no work forces are being portrayed throughout. At the terminal of the picture the bottle is being shown for the first clip. first held in the custodies of the three females. and so presented on its ain. The overall length of the picture is 1 minute. and the bottle is being seen for the last five seconds.
There are several intensions promoted here. and in every instance these intensions demonstrate a refusal of the patriarchal system. The first one establishes a refusal of patriarchate through the presentation that adult females are highly cognizant of their gender. In his book entitled Ideology. Myth and Magic: Feminity. Masculinity. and “Gender Roles” . Allen Johnson declares that “in pattern. feminity applies merely to women’s topographic point in heterosexual relationships. And we handily ignore everything else. In characteristic patriarchal manner. the entireness of women’s being is reduced to their ties with work forces. peculiarly lovers and husbands” . ( 63 ) By overtly exposing their gender. the adult females break the regulations of patriarchate by demoing that they are sexual existences and do non necessitate a adult male to remind them that they are so.
The most obvious sexual intension is when the adult female in the white satin frock who is on the balcony uses her organic structure linguistic communication to demo that she is presently being given unwritten sex and appears to be making flood tide when she acts as if she is holding an climax when she twists her organic structure. breathes to a great extent and look down at an fanciful individual while seize with teething her underside lip. Furthermore. opened gender is encouraged when two of the adult females are depriving down naked in the streets and express joying about it. demoing no attention whatsoever. Equally. one may construe the breakage of the pearl necklace as a mark of gender. In common yearss. a pearl necklace is at occasions compared to a adult male blurt outing on a woman’s cervix. In the picture. the adult female who is seen have oning a pearl necklace decides to interrupt it off her cervix and the witness sees it detonating in million pieces on the floor.
Finally. at some point in the picture one can see that there are two adult females who are glancing through a cardinal hole to gaze at the other adult females who are playing card games. This act of voyeurism is an ultimate mark of sexualisation. as adult females are playing the function of Peeping Toms staring at other adult females. In his article Notes on ‘The Gaze’ . Daniel Chandler argues that “to stare implies more than to look at – it signifies a psychological relationship of power. in which the gazer is superior to the object of the gaze” . In add-on. he claims that frequently. in picture characteristics. the act of voyeurism serves to exteriorize the female characters. However. in our instance the female characters are being gazed at by other adult females. which defeats the object of a male/female power relationship where the adult female is being objectified. reduced to being a mere sexual object to function a intent for the adult male. By moving consequently the adult females claim back their gender and demonstrate that they are non reduced to their function towards work forces.
Similarly. Diesel Fuel for Life Women Only embraces issues of rebellion of gender functions associated with patriarchate and the thought that adult females are unmanageable. This clip Johnson. when explicating patriarchal functions provinces that
“Everyone needs to keep a comparative stable sense of who they are and that they have a unafraid topographic point in the universe. Given the importance of gender individuality in patriarchal societies. assailing people as being insufficiently masculine or feminine can make a batch to command them because it both challenges their sense of who they are and makes them experience like outsiders” ( 68 ) .
The commercial clearly establishes that the adult females are in a province of rebellion against their assigned function. An interesting point of focal point is that the adult females seem to get down arising from the fortieth 2nd onwards when the music alterations. whereas before that clip they seem to be deriving scruples and demoing merely mild marks of rebellion. One of these milder mark is the black nail Polish worn by all of the adult females. Black nail Polish “instantly means labelling its wearer “goth” or “punk” . black nail gloss is rebellion in a bottle ( … ) This [ black nail Polish ] creates a expression that is evocative of a bad girl” . Likewise. the lone words spoken by the adult females are “Are you alive? ” and “Unlimited” . Right after the first words are spoken the attending is focused on a adult female who is opening her eyes.
This may propose that the adult female is speaking to another adult female. most likely the witness. inquiring her if she is alive can mean that if she is non alive she needs to wake up. hence her eyes opening. to ‘gain conscience’ on what is go oning to her. Equally. the word ‘unlimited’ may mean that feminine strength is illimitable. Uniting the two significances together seems to propose that adult females need to stand up together. be witting of their assigned function in society and since their strength is unlimited. they can arise and stand up against patriarchate. In the same train of ideas. there are several intimations of rebellion against gender functions through the rejection of have oning typical feminine outfits which would delight a man’s oculus.
This intension is reinforced when at the 9th second a adult female is seen rending off her frock. when two of them are depriving naked in the street and looking back. laughing. as if they are get awaying from something ; and eventually. when the black hairy adult female rips the gorgeous. feminine pearl necklace off her cervix. Simultaneously. rebellion and the thought that adult females are unmanageable are portrayed through the image of the bird in the coop. in which instance the animate being may be used as a metaphor to stand for a adult female who is trapped in a coop. The picture shows the bird who is fighting to get away. but go toing to make so anyhow. The association of a adult female to an carnal emphasizes abandon. unmanageable pique which is common to animate beings. Equally. white birds are normally associated with freedom. which reinforces the thought that adult females are trapped in a coop and are seeking for freedom from their relationship towards work forces.
Additionally. in my ain sentiment rebellion is emphasized when the black hairy adult female destroys the pillows. In our society the thought of ‘pillow talk’ means “private conversation. endearments. or assurances exchanged in bed or in intimate fortunes between partners or lovers” . In this instance. the action of destructing the pillows may be associated with the rebellion against those private minutes which are associated to a adult male and a adult female. To sum up. gender stereotypes of functions associated to adult females such as nurturer or as health professional are wholly dismissed when they decide to move as untameable wild existences. rupture up the pillows and the sleeping room or run half naked in the streets.
The last intension examined in the Diesel picture is the word picture of adult females as strong. independent existences who do non necessitate a adult male to last as they are self-sufficing. At the 16th second. the witness sees two adult females. one have oning an outfit somewhat more masculine than the other. playing card games. possibly a game which involves money. possibly non. the witness is non being told.
However. if the game involves money. it portrays the adult females as financially capable of supplying for themselves ; therefore it breaks the ties with the patriarchal indicant that work forces are the 1s who earn the money and should back up their adult female. Likewise. the spectator sees one adult female turn overing the die. in which instance this action is normally associated with “gambling. to take hazards. to populate on the edge” . Furthermore. this may look far-fetched but the fact that one of the adult female is dressed somewhat masculine may reenforce the thought that non merely is she an independent strong adult female. but she does non necessitate a adult male as she can play the function of being both adult male and adult female.
Equally good as selling us a merchandise. this perfume commercial sells us an thought and lets us in on some important information about our society. The myth which would be associated with this advertizement is that modern-day adult females have reached foremost and 2nd moving ridge feminism and are now ready to to the full carry through their function defined by 3rd wave feminism. First and 2nd moving ridge feminism demand adult females cardinal rights such as vote. equality of rewards. of reproduction. of household. etc. whereas the 3rd moving ridge women’s rightists seek to “embrace diverseness and alteration ( … ) third-wave women’s rightists believed at that place needed to be farther alterations in stereotypes of adult females and in the media portraitures of adult females every bit good as in the linguistic communication that has been used to specify women” . Another myth associated with this advertizement is the thought that today’s adult females are ready to reject the oppressive patriarchal system practiced in our society. and that the thought of rebellion is widely valued by the immature grownup bracket of the population. which is Diesel’s targeted audience.
In decision. Diesel Fuel for Life Women Only exploits issues such as the refusal of patriarchate under different signifiers. While the women’s presentation of openness towards their gender may at first sight seem to be exploited to delight the viewer’s eyes. it in fact serves a much deeper cause: to turn out that women’s gender is non limited to the pleasance of the work forces.
Womans are complete sexual existences and must non be tied down to their relationship to work forces. Equally. the issue of rebellion and separation from gender stereotypes reinforced partially through the devastation of sexy and feminine apparels emphasizes the women’s refusal of suiting into patriarchal functions. Last. the presentation of independency and strength besides serve to convert the spectator that the adult females refuse to be referred to as subsidiary to work forces. Personally. I am trusting that this motivation broadcasted commercial will talk to both work forces and adult females and be used as a theoretical account for the support of feminism in our society.
Plants Cited List
ADVERTISEMENT DIESEL WOMEN ONLY: hypertext transfer protocol: //www. youtube. com/watch? v=sal5jadIsRc
Johnson. Allen. Ideology. Myth and Magic: Feminity. Masculinity. and “Gender Roles. ” The Gender Knot: Unraveling Our Patriarchal Legacy. Philadelphia: Temple UP. 1997. 53-74
Chandler. Daniel. Notes on ‘The Gaze’ . Web. Consulted on December 6 2012.
Skin care: Black Nail Polish. LovetoKnow Corp: 2006-2012. Web. Visited on December 6 2012.
Alvin Aigley: White Bird significance. Web. Consulted on December 6 2012. Definition of pillow talk. The Dictionary. com: 2012. Web. Consulted on December 6 2012.
Idiom Quest: Roll the Dice. Coral Tree Media: 2012. Web. Consulted on December 6 2012.
Tong. Rosemarie. 2009. Feminist Thought: A More Comprehensive Introduction ( Third Edition ) . Boulder: Westview Press. pp. 284–285. 289. ISBN 978-0-8133-4375-4.
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