________ is the pоsitive emоtiоnаl bond thаt develops between а child and a particular individual.
This аdvertisement is а 1956 Lux аdvertisement, marketing bоth Lux and the upcоming film. Guiding Questiоn: To what extent is Lux brand communicating societal values and beliefs through specific visual and textual features in order to sell a product? Annotate, Outline, and Type Your Response Below. It will be graded according to the Paper 1 rubric. Complete your essay in class today. Here is your writing from yesterday (you should be able to copy and paste): societal values and beliefs: 1. idealized femininity 2. luxury 3. romance/courtship Lux is communicating the the aspiration of ideal femininity through luxury and romantic desirability. To achieve this, the advertisement uses a simple color palette and contrasts the image of the couple in the top of the advertisement with Kim Novak's portrait in the main section, linking the woman reading the ad to Novak as an aspirational figure via the product. idealized femininity The majority of the image is almost half composed of text and the other half of a large image of Kim Novak, with blond hair, strong makeup, and a commanding facial expression. Unlike the woman in the movie theater, Novak is facing down at the viewer, and appears to be making direct eye contact. This expression and posture toward the viewer heightens the fantasy of this movie star by positioning her in a place of power, beauty, and aspiration, and places the viewer in the position as a spectator, literally looking up to her. Her eyes, especially around her pupils and eyelashes, are much darker than the remainder of her face, and a similar color to the text. In coloring her this way, Lux gives her eye contact graphic weight and ensures that a reader immediately glancing over it is drawn to look at her, such that she commands their attention through her beauty. The upper fifth of the advertisement has two panels side-by-side, portraying a couple outside a movie theater. The woman has blond hair with a wavy updo, think dark brows, and red lipstick, and is getting into the car. In the first panel, she comments to the man that "that Kim Novak is beautiful" and in the second he leans toward her and replies "Exactly what I was just thinking about you". These the two figures are not given names, only referred to as "he" and "she". By keeping the couple portrayed anonymous, Lux opens it up for the reader to project themself into this situation, as "he" or "she". The woman's makeup and hair is very similar to the image below of Kim Novak, though her facial features are different, which both contributes to the overall visual cohesion of the image and makes a clear visual parallel from this seemingly regular woman and the film star. The text of their conversation is in the black font used as body text throughout the image, but the "he:" and "she:" are in a blue which contrasts strongly with the mostly warm-toned color palette of the rest of the ad, drawing attention to the text which is otherwise quite small, and highlighting that these two people are generally apart from the luxurious environment Lux is selling. Unlike the completely flat background where the product is placed, the woman and man are in the outside world, with blurred but textured backgrounds which clearly ground them in reality. As a result of these choices, Lux effectively uses the image of the couple to create a fantasy in which a young woman can project herself - of a regular woman like her being able to be as beautiful and desired as a movie star by emulating her cosmetic routine. The two worlds - the world of an archetypical couple and that of a glamorous movie star, are linked together by the heading of the article which falls above Kim Novak's face and below the panels where the couple are portrayed. This text, in pseudo-handwritten font, says "To him, you're just as lovely as a movie star". The phrase "to him" is underlined, as if to suggest that only through his eyes is the viewer elevated, and to frame a woman's beauty through the gaze of a romantic interest. This appeals especially to young women who are drawn to images of romance that exist in popular media, and so by linking a woman's beauty to being desired by a man, the ad cleverly integrates much larger scope of the tangible, achievable dreams of young women pushed in the 1950s - marriage and domesticity - into the narrative being sold.