Enjoli (1982). 'Cause I'm A Woman...'
https://www.youtube.com/embed/3N9K7eoVtm0
Point: the ad exemplifies the phenomenon known as 'gender coding' as an expression of and implied ideological perspective. In simple terms this tends to breakdown as either a perspective which understands gender to be something which is 'biologically innate' or something which is 'socio-culturally constructed' i.e. the product of our participation within culture. The following archived tweets provide a salient illustration of how narrow definitions of 'gender-coding' become polarised - in this case, as part of a process of 'identity construction' where a subject creates artificial boundaries around aspects of culture, which they approve of and, those, which they don't. http://trigg.gr/tag/TheoryCodedFemininityOver Concept: "Among the categories and classes that make up the American mythic consciousness, there is one unique and exquisite, located in a special place next to the heart, the one called 'Marilyn.' Marilyn Monroe is our collective representation of that which is most feared and desired in America - unrepressed feminine sexuality, a sexuality which thrives outside of domestic arrangements. If anyone had dared to ask her 'What do you do for sex?' she would have answered in her sweet little rinky-tink voice, 'Whatever pleases me,' an innocent-seeming formulation, but when it comes to American values it is more powerful than the atomic bombs that were being tested in the Nevada desert precisely coincident with her career. She continues to proffer more light and dark sexual potential than can be squeezed from the 1980s kid's version of this same slow revolution, 'girls just want to have fun.' Marilyn's is the promise of a primitive/cybernetic sexuality in which all women are so constituted that all men might love them, in which everyone's personal computer is compatible with, can be hooked up to, can 'talk to,' everyone else's personal computer. Of course, this is the ultimate logic of humanity that both pre-dates and post-dates the moral formulations of agricultural and industrial societies, but Marilyn appeared in the 1950s, not exactly a propitious moment for an insistence on return to the Real" (MacCannell, D., 1987). Bibliography: MacCannell, D. (1987). Marilyn Monroe Was Not a Man [Review of Marilyn: A Biography; Marilyn - Norma Jeane; Goddess: The Secret Lives of Marilyn Monroe; Marilyn in Art, by N. Mailer, G. Steinem, A. Summers, & R. G. Taylor]. Diacritics, 17(2), 114–127. https://doi.org/10.2307/464750
