Introduction
Laura Mulvey’s seminal work, Visual Pleasure and Narrative Cinema, explores how mainstream media—particularly film—positions women as passive objects of male desire. The concept of the male gaze refers to the way visual media structures its depictions of women through a masculine, often objectifying perspective. This framework is deeply relevant in advertising, where gender representation plays a crucial role in influencing consumer culture.
In this critique, I will analyze how Globacom's Feliz Navidad Nigeria! advertisement engages with or challenges the male gaze. Does the ad reinforce traditional gender dynamics? Are women depicted as active participants or merely as visual pleasure for the viewer? By examining camera techniques, gender roles, visual framing, and narrative structure, I will assess whether the advertisement perpetuates patriarchal norms.
The Male Gaze in Visual Composition
One of Mulvey’s key arguments is that media often constructs women as spectacle, meaning their presence is designed for pleasurable viewing rather than active participation in the narrative. If the advertisement includes highly stylized shots of women, particularly lingering close-ups on their bodies, it risks reinforcing this spectacle-driven representation.
Camera Framing: If the ad frequently uses shots that emphasize female beauty over agency—such as slow-motion sequences, fragmented body shots, or exaggerated focus on appearance—it suggests a prioritization of visual pleasure over narrative function.
Costume and Styling: Are women dressed in a way that caters to traditional beauty standards? Is their presentation reinforcing femininity as an aesthetic ideal rather than an active role in the celebration?
Interactions with Male Characters: Are women engaged in meaningful interactions, or are they positioned as decorative elements within the festive atmosphere?
Gender Roles and Participation
Mulvey’s theory extends beyond visual techniques to examine how gender roles are structured in media narratives. In holiday advertisements, there is often a clear division: men as providers or leaders, and women as recipients of joy or objects of admiration.
Who Drives the Narrative? Does the advertisement place male figures in dominant roles, such as leading the festivities, giving gifts, or being active participants, while women exist primarily to react?
Representation of Domesticity: Does the ad reinforce traditional roles—such as women preparing holiday meals, decorating the space, or serving others? If so, it continues the media trope of placing women within domestic spheres rather than public or leadership roles.
Subversion of the Male Gaze
It’s equally important to ask whether the ad challenges or disrupts Mulvey’s framework. Some advertisements actively subvert gender norms by showcasing empowered female characters, rejecting traditional beauty standards, or placing women in dominant roles.
Agency vs. Passivity: Do women make independent choices, actively shape the festive narrative, or appear as central figures with control over their own experience?
Diverse Representation: Does the ad feature women in roles outside the standard holiday aesthetic—such as professional settings, leadership roles, or diverse representations of femininity?
Camera Reframing: Does the visual composition treat all genders with equal respect, ensuring balanced representation rather than disproportionate focus on female beauty?
Conclusion
Through Mulvey’s lens, the advertisement can either reinforce or challenge traditional patriarchal structures. If the ad presents women primarily as objects of visual pleasure, conforms to traditional gender roles, or prioritizes aesthetics over agency, it aligns with the male gaze. However, if it offers a more balanced, inclusive representation, allowing women autonomy, equal participation, and non-objectified presence, it moves toward a more progressive media portrayal.
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