According to Naomi Wolf (1991), the “Beauty Epic” is a political weapon used in a backlash against feminism. She goes onto say that the reason the beauty myth is so important is because it is the last of many norms about femininity (like norms of motherhood, and marriage that do not continue on today). The beauty myth draws women into its web, promising them happiness if they strive toward physical perfection. Wolf believes that this has bound the women that the second wave of feminism had liberated.

According to the book Undressing the Ad in order for advertising to find its information to potential consumers, it must first construct a meaning for its products or services. Many of these products are then linked with cultural messages to help people signify their meaning. Inside of the ads they are injected with social roles and values. In the book, “Undressing the Ad” can be done by dissecting the three meanings of the Ad. There is a “surface meaning” that is read by the consumer when they discover the Ad. It is a basic listing of items present in the Ad, the backdrop, etc. Then there is the “intended meaning” or the pitch the advertiser is trying to deliver. It is usually about the product, but is also chubby of messages about society. The last way to dissect the Ad is by identifying the “cultural or ideological meanings” that rely on socialization of the viewer. This is where there are subtle messages put forth that express an ideological viewpoint. When you deconstruct the advertisement, the social relationships that earn the Ad can be analyzed. It is easy to see the social relationships once you can understand who is in power or control. If an Ad features a home food product (in the book it was cereal), who is cooking it and who is being served. These subtle messages communicate underlying beliefs about social roles. While the ad does not create the social message it does constantly reinforce it and advise it until it is truth.

In today’s advertising, sex sells. This was true however of the last century in the United States. Using sex to move products is something that started in the early twentieth century. According to Tom Reichert (2003), sexual themes were used in the early twentieth century to sell products. He assesses that sex in advertising is not just nudity, or women displayed in a sexual manner, but it is also the double entendre of images and ideas that promote the same sexual ideas. As far back as the 1860′s James Buchanan Duke began placing cards of women in provocative poses in various states of undress inside cigar packs. The cards became an incentive to buy his brand. At the same time, there were many brands that mature semi nude women as their logo or advertisement. The images typically were classical Grecian looking art, so the advertisers were not seen to be risqué. At the turn of the century there were vast expansions of advertising because of advances in printing technology. This is when images being branded with products became widespread. Reichert observes that with the roar in production of products, there was a need to differentiate brands. Advertisers had to not just tell the information about the product but also convince the consumer that their product was the best of its kind. This is when advertising became a “persuasion-based orientation”.

The sexual imagery of the advertisements rarely had anything to do with the product it was advertising. Sexual advertising was also used for products for women. Reichert found that most beauty products were sold with sexual images. These images usually revolved around cultural ideas of love and marriage. As an example there is the famous Listerine Ad’s in the 30′s 40′s and 50′s that are titled, “Often a bridesmaid, never a bride”. There was a fear placed in women to capture commodities for the body so that a man would love and eventually marry them. Depending on the audience, the sexual theme changes; if the Ad shows skin it will be marketed towards women for its beauty giving elements, but if it is for men it is former to inflame and to hopefully associate pleasure with the brand.

Many very provocative ads did not make an uproar, since they were rarely seen by women. Ads for Rockford Varnish Company in the 30′s 40′s and 50′s used women in very compromising positions (like a women in a towel that was falling off, or a woman with a dress that was flying up) to sell their varnish. Many of the sexy ads were barely linked to the product itself. According to Reichert, the ads “served to illustrate an unspoken dialogue between men: Hey look at this gal. We know that you, like all accurate men, like looking at sexy women, keep us in mind when it comes time to purchase, okay? “. He points out that not only were the consumers of the ads for Rockford Varnish Company males, but the person who made the ad was male and so was the person who published it. The reason they were okay with running risqué ads is because women would not see them. The leggy and busty drawn interpretations of the female form usually adorned male offices in the form of calendars or magnets and pins.

Television advertising revolutionized the industry. After televisions initial inception, advertising began to grow and change. In the early days of television there were single sponsored programs (Reichert gives the example of Kraft Music Hall). When televisions popularity and accessibility transformed, so did advertising, to multi sponsored programs, similar to today’s format. By the 1960′s marketing research was being done to dwelling brands against one another based on focus groups and consumer wants. At this time the president of Spring Mills, Elliot Springs was mainstreaming sex in advertising. The ads usually featured illustrations of women in witty humorous ways. Elliot believed that the trick was to not show everything. He thought it was the small glimpse of the forbidden (in this case garter belts or panties) that sucked people in.

The Playtex advertisements were another landmark in sexual advertising. It was the first time a woman was featured in a bra on television without something under it (like a leotard). In the 1970′s the advertising industry started a backlash against feminism. The ads for the Wonderbra were championed as being pro-woman because it was made by women. The advertisers said that the ads featured women empowered since they could confidently sexy. Feminist critics charge that while feminism is about choices, it is also about liberating women from being sexual objects for men. The Wonderbra advertisement frames (like many of the ads at the time and the present) femininity as something that still above all focuses on the male gaze. The reason the woman in the bra is confident is because her chest is up in the potential husbands face for his approval. This is one of many examples of how advertisers have used images of women, and sometimes their culturally prescribed goals as a taunting reward of using a product. They guarantee love and acceptance when purchased. These images can be especially damaging for young people who have not yet been able to understand social roles and especially expected gender roles.

According to Stevi Jackson (1998), feminists since the seventies have been familiar with Marxism, and in some cases, accepting of the ideals of Marxism. Marxist ideas led to a different analysis of oppression and the ways that it is institutionalized into a system. When feminists looked through this paradigms lens they saw that women’s subordination was social. They could explore that women’s roles were not based on nature or any or an unintended part of the relationship between males and females. Marxism had also been a theory that proposed changes in society. Feminists could use this theory as a stepping stone towards a more egalitarian society.

There has been a rift of sorts between feminists with different ideological viewpoints. A very well known debate is that of patriarchy vs. capitalism as the system of oppression. However, According to Jackson (1998), there was more of a continuum between the two viewpoints. Many feminists saw patriarchy as the system of oppression since it is androcentric and devalues women’s status. Other feminists believed that oppression was built into the capitalist system, where some groups were exploited for the gains of the few elites. There is truth to both of these theories, as is proven by volumes of social research. Many radical feminists believed that the system must be dismantled since it was created with the wealthy white man in mind, and it was built on the backs of women and minorities, specifically the lower class.

According to Juliet Mitchell (1974), women’s subordination had shifted from the institutional systems of oppression after goals were accomplished to derive equity for women to an ideological oppression that continues on today. She believed that the ideology of female subordination is constantly replayed and reinforced culturally. She believed that the only way for women to overcome patriarchy was to stage a “cultural revolution” (Jackson 21-23).

Postmodern feminism is a relatively recent theoretical paradigm. Postmodernism counters the ideals of the Enlightenment. Postmodernists believe that there is no precise ‘truth’ or actual ‘objectivity’ like the enlightened thinkers proposed. They instead believe that science and ethics are not somehow separate of all other cultural experiences and can not be judged as true and scientific. They also believe that the idea of ‘aesthetic’ is not a universal unchanging beauty, but is unbiased as culturally influenced as any other part of life. This makes sense for it to fuse with feminism since feminists have often been critical of claims of ‘truth’ and ‘objectivity’. According to Jane Flax, most of the truths used as universals are very androcentric in nature; even language itself reflects male domination. She points out that language itself does not unbiased define, but it constructs meanings socially (Jackson 23-25).

According to Sut Jhally (2003) before the industrial revolution there were other institutions that had much more control over society, such as family, community, ethnicity and religion. They mediated what was socially accepted. Their influence diminished when the society transitioned to a consumer society. The marketplace itself has taken the place of family, community, ethnicity and religion in the modern day.

It is suitable what Jhally says when he notes that advertising is all pervasive. Our lives are filled with their constant persuasions. Even our public spaces now don sponsors. It is the driving Force of television, as well as a staple at sporting events. Jhally believes that we need to peruse at the definitions of happiness and satisfaction in our lives to gain idea into the advertising industry (Dines 249-257).

Naomi Wolf believes that beauty standards are a direct gain of oppression to women. She notes that women’s identity must be shaped by her attractiveness so that she will be vulnerable to the opinions of others. This was not always moral of women’s idea of ‘beauty’. Ever since the 1830′s the beauty myth was created while the cult of domesticity took grasp.

The original illustrations of the lasting beauty myth are millions of images that reinforce the current ideal. Wolf talks of how these images are seen as sexual, when in fact they are political; a representation of misogynistic fear against female progress. The images tend to exploit the fears of women, and cause them to feel guilty for wanting to be something other than what is prescribed.

According to Naomi Wolf, women’s magazines have been the “most powerful agents for changing women’s roles”, while she also notes that “throughout that time- today more than ever- they have consistently glamorized whatever the economy, their advertisers, and, during wartime, the government, needed at that moment from women”.

Wolf believes that when the women’s magazines were stripped of their tried and true formula after second wave feminism brought female interests out of the domestic sphere. She thinks they invented a new hook for their readers by targeting women’s bodies. She says, “In a stunning proceed, an entire replacement culture was developed naming a “problem” where it had scarcely existed before, centering it on women’s natural state, and elevating it to the existential female dilemma”. She then gives a startling example. There were 60 articles published in women’s magazines in regards to weight loss and dieting in 1979. There were 66 articles about dieting in magazines in the month of January by itself in 1980. The steep rise continued, and by 1984 there were over 300 diet books published and available at bookstores. The articles in women’s magazines seem to have more of a startling impact on women than the articles directed at men in men’s magazines. The reason for this is theorized by Wolf as being because the culture is already area up for men and men’s interests so when a man reads an article in a magazine, it is one of many androcentric perspectives that he comes in contact with in his life. When a woman reads a women’s magazine, it is usually one of very few images of what women’s culture is. There is not a lot for females in popular culture, and the messages of how women should dress, talk, think, and consume tend to be the same; overwhelmingly negative towards their health and self-esteem.

Wolf argues that “what editors are obliged to appear to say that men want from women is actually what their advertisers want from women.” She goes on to indicate that women are taught to approach other women as competition, and that they do not have the same kind of community that men do with each other in all their fraternal organizations. It is interesting, however, that women are actually brought together by the fact that they are all alienated and trying to strive toward unachievable ideals.

Advertising always needs to push the envelope in order for it to be seen during the flood of images we remove in during our day. Wolf argues that rape has become the modern advertising metaphor in an effort to appeal to fetishism and to be extreme in imagery to capture the audiences’ interest. This is a dangerous set for women. The pornography industry makes over a million dollars a day. The advertisers understand how profitable exploitation is so they push the envelope by incorporating sexual themes into ads for everything.

According to Steven Heller (2000), “SEX is a fact of life and sex appeal is a matter of fact. It pervades every facet of mass communications, from art to commerce, and it is such a common component in advertising and graphic design that its existence goes without saying”. He goes on to mention that the ads themselves are ever escalating pornographically as the advertisers try to score their image seen. Images that were seen as shocking once picked up by advertising, become normal.

In the same book (Sex Appeal), Nancy Bernard, in her essay Monkey Business in the Erogenous Zone, discusses how advertisers use evolutionary psychology in their advertisements. She sights several books about anthropological studies on primates that are used by advertisers to put their product in our brain in a arrangement we can not avoid; by making it sexual. When studying evolutionary biology, we find that primates love having sex, remarkable more than other species. Using information from our closest living relatives, advertisers understand they need to prey on our primate instincts.

Also in the book Sex Appeal, Natalia Ilyin’s article (titled Perfection) talks about mass communications quest for the perfect. “The portrayal of sex itself in gain and advertising and television is about perfection: It is the pursuit of the perfect”. She believes that advertisers create need where there is none to inaugurate with. This creation has also led to brainwashing most women into not being happy inside themselves unless they are this abstract thing called perfect.

According to the article Commodity Feminism (1991), Feminist arguments are not fought by the advertising industry. In fact, the ideals of feminism are used to sell commodities that are supposed to represent feminism by their known associations in culture. They have transformed the ideas into fashionable items for consumption. At first, it seems to represent a greater diversity of ideals, yet they are contradictory since they serene represent the hegemonic views of dominant culture. Somehow they turned “feminist morality” into a cultural signifier that can match your outfit. Most often women descend prey to these styles because they have a desire to have a self-identity. Most women do not view these images as separate of the patriarchal ideas they are saturated in during their daily life. As this process the authors Goldman, Heath and Smith have identified the term “Commodity logic”,which by their definition, “consists of a series of interpretive maneuvers where we abstract a desired relationship out of a lived context, then place it into normal binary equivalence with a product image, and then associate the desire in terms of its object substitute-fetishism.” They believe that the term “postfeminism” became popular as a response to a culture of women who took for granted the oppression of their grandmothers, and demanding the rights that their grandmother’s wanted but not identifying as feminist. They want equitable treatment in all realms of society, but they do not want to be vilified as feminists.

According to the article “Commodity Feminism” (1991), the new message of advertising since the slow seventies strays away from previous ideas of female happiness as marriage or being a mother and moved the focus to the body. The message now states that if you “self-fetishize” yourself you can gain empowerment and happiness. All the advertisements really do is secure an audience of women melancholy with themselves physically. The authors state “Femininity has become widely synonymous with the intensive scrutiny of the signifiers created by this visual dissection of the female body into zones of consumption- lips, eyes, nails, hair, cheekbones, breasts, hips, waist, legs, to symbolize feminism, on the other hand, advertisers assemble signs which connote independence, participation in the workforce, individual freedom and self-control.” These two conflicting ideals are married through commercial advertising. The body is something you manipulate to establish your femininity and the clothes become the validation of viewpoint or showing a capability to live one’s own life. They unruffled present the overall message that properly tended body parts achieve worth in society. It is also suggested that happiness will follow, as well as a much smoother path to the top where strength is found in attractiveness.

According to the book Feminist Visual Culture (2001), the concern feminists believe is the creation, construction and constant repetition of gender stereotypes in advertising. They show that stereotypes themselves can give a lot of insight into the beliefs underlying them. The images targeting women are typically negative. The advertisers use the images that signify different cultural norms in order to convince people to regain interest, or need, in their product. The authors argue that “an advertisement can not invent meaning on its own- it has to be seen be viewers or readers whose own attitudes may tally closely with those depicted in the text. This sets up a discourse about what it means to be a woman under pressure to inspect and act like these two-dimensional representations.”

According to Naomi Wolf, the pictures of women we see in magazines and endlessly compare ourselves to are edited to be a certain look that staunch women can not finish. “‘Computer imaging’- the controversial new technology that tampers with photographic reality- has been used for years in women’s advertising…the hiss is not trivial. It is about the most fundamental freedoms: the freedom to imagine one’s own future and to be proud of one’s own life. Airbrushing age off women’s faces has the same political echo that would respond if all images of blacks were routinely lightened…to airbrush age off a woman’s face is to erase women’s identity, power and history”. It is interesting to note how commonplace computer imaging has become. The average photograph for a women’s magazine undergoes over twenty hours of editing. Typical editing includes, but it not limited to: elongating the neck, changing eye and hair color, whitening and straightening the teeth, shadow on cheekbones to appear thinner, discover brow purchase, breast enlargement, cleavage shadows, thinning of torso, arms and thighs, and general airbrushing of any blemishes or imperfections.

Wolf explains that the effect of dieting, or what she calls semi-starvation, is dramatic and often devastating. She talks of a study that was done on college students where their eating was slice in half, which is a normal female dieting technique. Once they lost 25 percent of their body mass all sorts of problems nettle. “The subjects became increasingly preoccupied with food and eating, …and showed abnormal food rituals, such as excessively dead eating and hoarding of food related objects. Majority suffered some form of emotional disturbance…depression, hypochondrias, hysteria, angry outbursts, and in some cases, psychotic levels of disorganization, they lost their ability to function in work and social contexts due to apathy, reduced energy and alertness, social isolation and decreased sexual interest…some succumbed to eating binges, followed by vomiting and feelings of self-reproach. Ravenous hunger persisted, even following tremendous meals and during refeeding…they became irritable, tense, fatigued, and rotund of vague complaints. Like fugitives (they) could not shed the feeling they were being shadowed by a sinister force. For some doctors had to prescribe tranquilizers. The subjects were a group of completely normal healthy college men.” I found this glance illuminating. It shows how this practice of cutting eating in half is common for women but is plagued with physical, psychological and social consequences. The fact that the study was conducted on men was very illuminating as well. Could it be that the stereotypes of women being emotional and illogical is just a reflection of their semi-starvation in effect? By women trying to gain control of their bodies and lives by dieting, they really stand to lose control of their minds.

Wolf argues that the “ideology of semi-starvation undoes feminism”. She makes a good point that what goes on with our body also goes on with our minds. If women’s bodies are somehow wrong in their natural state, in our dualistic reasoning men’s bodies are right. Wolf believes, “If a woman can be made to say, ‘I hate my fat thighs’ it is a way she has been made to hate femaleness.” The anorexic woman is trying to defy culture by controlling her body, but she ends up representing what male-dominated society wants; a woman who is physically “weak, sexless and voiceless and can only, with difficulty, focus on a world beyond her plate.” The popular culture offers up two views of women: one that is very pornographic and the other that is an anorexic. The first view is supposed to represent what men want from women. The second understanding is supposed to represent what women want from other women. Many women become anorexic because it is much more comfortable to inhabit a body that does not allow you to be a sex object.

Wolf argues that when women can not have an appetite like men and cannot eat the same foods, it just reinforces a sense of female social inferiority. Fat is seen as “female filth”. This does not come from any medical dialogue but instead from old fashioned misogyny. She shows that “girls have 10-15 percent more pudgy than boys.” She also makes a very interesting point while highlighting research from Michael Reece Hospital in Chicago that found that fat affects sexual desire for women. Subjects of their experiment stopped masturbating and having sexual fantasies by the time they got to 1,700 calories a day. It turns out that tubby women have more sexual desire.

According to Jean Kilbourne (2003), most teenagers are very sensitive to peer pressure, so they find it very difficult to oppose or investigate the messages that dominant culture passes onto them. Most women can agree with Kilbourne’s assessment that “when a girl enters adolescence, she faces a series of losses- loss of self-confidence, loss of a sense of efficacy and ambition, and the loss of her ‘voice’, the sense of being a unique and great self that she had in childhood.” Girls are socialized at adolescence to model themselves after women, who they usually encounter in current culture, especially in advertising. Even girls who grew up in supportive homes calm interact with a “toxic cultural environment”, where they are put at risk for a variety of dangers including, “self-mutilation, eating disorders and additions”. The society that young girls live in is drowning in advertising. The advertisers lure girls into adopting a false sense of self in order to snag that boy and ultimately do happiness. They need to become feminine, which can be interpreted as being sweet and passive, and valuing heterosexual relationships above everyone and everything else. This can harmfully impact girls later in life when they need to compete with men in the world of business, but have been socialized to be passive and non-confrontational. Somehow girls must be sexually alluring while very pure or virginal at the same time. These cultural demands make the awkward transitions of adolescence even harder for girls who are trying to live a contradiction.

Starting very young girls receive the message that they need to be “flawlessly beautiful, and above all these days, they must be Thin.” Worse, they get a clear message from advertisers that being flawlessly beautiful is achievable if they surrender themselves enough. There are so many girls who consume endless time and money on trying to execute something that does not even exist (novel models are airbrushed until they are fake computer images and not real women). Kilbourne believes that these ideals fit within the American ideals of self-transformation, only now it is something you can buy to transform yourself. Using this ideology they string along consumers promising an escape from the pain of not achieving cultural norms. Kilbourne reminds us that, “The magazines and the ads deliberately create and intensify apprehension about weight because it is so profitable. On a deeper level, however, they think cultural concerns and conflicts about women’s power. Real freedom for women would change the very basis of our male-dominated society…the obsession with thinness is most deeply about cutting girls and women down to size”. It is bright to note that periods of thinness as an ideal for women has happened during times when women’s freedoms increased; for example, when women got the vote in 1920, a period of small sized “boyish” bodies were popular. All the achievements of women are often trivialized by an increase in the regulation of the size of women’s bodies.

Girls are often not alone in believing that these images reflect truths. They do not exist independent of all the other socializing factors in a girl’s life. Often, the messages are echoed by others (family, friends, peers, doctors) who come in contact with the same systems and images, and come to obtain them as truth. They can reinforce beliefs inside of the girl, making societal claims seem more concrete.

Kilbourne points out that the dominant cultural message remains that a man having a healthy appetite is different than a woman, who should not have a massive appetite.

It is hard not to see advertising as an assault on women. Kilbourne reminds us that some of the seemingly harmless sexual innuendo and wordplay are completely formulated and intentional. Advertisers cannot play innocent when they pay so much money for psychological research and focus groups about products.

According to the article “Gender and Hegemony in Fashion Magazines” (Dines, 2003), feminists understanding dominant femininity as using male standards for female attractiveness, especially the physical self and their sexuality. Images that show the dominant view of femininity show women in “sexualized and demeaning poses”. Images in the media are androcentric and they relate male “expectations of women and of male-female relationships”. The norms for appropriate behavior vary between the genders. “Women, as a consequence of their inferior status, are expected to occupy less space than men and to exert greater control over their bodies and facial expressions”. Fashion magazines have a different agenda since the magazine has to first please advertisers, and then please consumers. Editorial disclose in magazines does not contradict its advertising, since the money advertising generated in the magazines lifeblood. The images used by advertisers become increasingly sexual; sexual cues like “closed eyes, open mouth, legs spread to reveal genital area and nudity or semi-nudity, particularly in the place of the breasts and genitals”. Many of the women in fashion pictures are put in poses that represent famous sociologist Irving Goffman’s term, the “ritualization of subordination”. It is not unbiased an image; it is a political statement about gender relations, one where women are supposed to represent male fantasies and little else. During their study, they were hoping to see what responses they would get from the different representations of gender in advertisements for clothing and in fashion photographs among women who were both young and middle passe, and who represented diverse ethnicities. After examining the photos, the women drew the conclusion that the pictures “relied on a diminutive number of stereotypical poses that have been interpreted by social scientists as demeaning to women”. The women responded to the pictures while being guided by their internal socialization. “The responses of most of the participants in the focus groups to images representing hegemonic femininity and feminine empowerment suggest that they had internalized venerable norms of feminine demeanor and perceived theses photographs as violating these norms”. The study suggests that women are not as affected by the advertisements they think do not apply to them. However, the younger females did admit to comparing themselves to the models (whom they could name) in the photographs. It seems that generational differences may have accounted for their varied responses.

In Susan Bordo’s book Unbearable Weight (1993), she examines feminism and western culture’s influence on the female body. She starts by analyzing Freudian theory and applying it to anorexia. Freud would see a young anorexic as suffering from anxieties of a psycho-sexual nature. She would be seen as delusional. When you really analyze society, however, many people do believe that the male-centered view presented in the media is there because it is true and natural. The young anorexic is not alone to assume that thin equals happiness and anorexia equals control over the body. Bordo talks about anorexia being on a continuum where all women find themselves victims to the constraints of femininity. She shows that since the 1980s and 1990s, the opinion of thin being beautiful has demolished any other cultural conception of beauty (including ethnic differences). Bordo says, “Men who were teenagers from the mid-seventies on, whatever their ethnic roots or economic class, are likely to view long, slim legs, a flat stomach, and a firm rear end as essentials of female beauty”.
Bordo discusses women’s appetite in her book Unbearable Weight (2000). She argues that the contemporary idea of women not eating like men stems from the Victorian era ideals of the Cult of Domesticity. Seeing a woman succumb to rich foods has been a taboo since those days. Bordo makes an interesting point when she explains that “When women are positively depicted as sensuously voracious about food, their hunger for food is employed solely as a metaphor for their sexual appetite”. It makes sense that the only arrangement a woman can be depicted enjoying food is when it still serves to maintain the hegemonic view of female roles in society.
It is radiant clear that advertising stands for making a dollar with little regard for the well being of women (especially those of color or lower socio-economic class). I do agree that beauty standards in the west are a direct form of oppression for women. I also think that it is a valid argument to say that the beauty myth or beauty standard is a political tool in a backlash against women and their historically recent progress. I think it was very involving to mention that women’s magazines can have some powerful sway over female consumers since they lack a variety of female viewpoints in favorite culture. The messages given to women seem to echo the same: lose weight, win the man’s heart, be jumpy in who you are. All of these images directed at women tend to send the same negative messages to women. They need to change who they are because they are somehow flawed. They need to even give up their genuine personalities so that men will glean and marry them. These messages are toxic and they leave women empty and unfulfilled. Every woman nowadays feels there is something about her that needs to be different. This is where the advertising industry wins. They have so many women concerned with trying to achieve the beauty standards that they have puny energy for much else. They find themselves endlessly interesting products that promise them ultimate happiness.

Not only do advertisers want women hooked in an endless cycle of consumption, but they want to keep women too weak to fight against it. The study that Wolf sites about college men whose food intake was cut in half was very interesting. It poses an interesting request in a day and age where women are gaining by losing. If psychological effects as well as obsessive eating behaviors are so easy for college men to fall into how much chance does an eleven year outmoded girl have?

References
Bernard, N. (2000). Monkey business in the erogenous zone. Sex appeal: the art of allure
in graphic and advertising originate. New York: Allworth Press. Pp. 14-20.

Bordo, S. (1993) Unbearable weight: feminism, western culture and the body. University
of California Press.

Carson, F., & Pajaczkowska, C. (2001). Feminist visual culture. New York: Harper
Collins.

Dines, Gail & Humez, Jean M. 2003. Gender race and class in media. (2nd ed.)
California: Sage Publications.

Goldman, R., Heath, D., & Smith, S. (1991). Commodity feminism. Critical Studies in
Mass Communication, 8 pp. 333-351.

Heller, S. (2000). Sex appeal: the art of allure in graphic and advertising design. New
York: Allworth Press.

Ilyin, N. (2000). Perfection. Sex appeal: the art of allure in graphic and advertising
design. New York: Allworth Press. Pp. 32-39.

Jackson, S. & Jones, J. (1998). Contemporary feminist theories. Novel York: University
Press.

Kilbourne, J. (2003). The more you subtract the more you add. Gender Race and Class
in the Media. (2nd ed.)

Reichert, T. (2003). The erotic history of advertising. Current York: Prometheus Books.
Toland Frith, K. (1998). Undressing the ad: reading culture in advertising. New York:
Peter Lang publishing.

Wolf, N. (1991). The beauty record. Original York: Harper Collins.

Advertisings Misuse Of Women Photo

Advertisings Misuse Of Women Photo

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Advertisings Misuse Of Women Pic

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Advertisings Misuse Of Women Pic