Dissertation design

Chocoholic Exploring gender biased within current confectionary advertising

Lupton (1996, p36.)

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“Chocolate is culturally understood to as a highly emotionally coded food that inspires feelings of self-indulgence and hedonistic ecstasy.�

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Chocolate is a versatile product that can come in all shapes, sizes, colours and flavours. It has a long history of consumption throughout western society.

Most people will at some point, have consumed it, some even claim to be addicted to it (self-proclaimed ‘chocoholics’). However when examined in relation to gender associations it is commonly linked to women. Although chocolate advertising traditionally is perceived to differentiate along gender lines, appealing to either men or women it appears that in quite a few cases it is specifically targeting women. This paper aims to look at the focus of the female gender in the advertisement of chocolate on television.

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Introduction

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n relation to gender, the focus will be solely on chocolate advertising, looking at how companies sell their products to men and women. This paper aims to understand how companies such as Mars, Cadbury and Nestlé, the current market leaders in the UK market their products, specifically to western audiences with a demographic of around early 20’s to late 40’s.

As they are high quality yet affordable brands, advertising across a wide range of media the target audience must have accessible funds to buy the products and some way of accessing media that shows adverts

The aims of this paper are to explore the disparity in relation to the gender of the target audience within confectionary advertising, as well as the ways in which the different genders are portrayed within that band of advertising. Also exploring whether chocolate advertising reflects perceived gender roles within society or they do defer to past social gender roles. The objectives of this paper are to discuss the methods with which companies advertise confectionary and how they advertise it to men and women. It examines whether chocolate adverts broadcast on television are particularly female focused. From this, identifying why they are perceived to be female focused and the methods which they use through a semiotic analysis of two current television adverts.

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For research this paper aims to use information from a variety of sources, primary and secondary.

Some of the secondary research which has been most informative includes ‘Chocolate Delights: Gender and Consumer Indulgence’,( Belk, 1998).

This examines the gender views of chocolate as

well as emotional and psychological links with chocolate. It will help to explain some of the psychological aspects of why people like chocolate and the differentiation of gender in these aspects.

This in turn will help with the de-construction of adverts.

Another useful text is’ Gendered Bodies Representations of Femininity and Masculinity in Advertising Practices’ (Stevens ,2011). This journal article provides an analysis of women in advertising and is informative on the gender portrayals of advertising (especially in the area of chocolate advertising).

Other forms of secondary research that will be included are periodicals and news articles.

One such article is ‘Men buy Mars, women prefer Galaxy: Gender targeting is advertising industry’s secret weapon.’ (Cater, 2010). Books on gender in advertising and consumer culture provide further background information and increased understanding of those issues. As part of the argument three adverts will be deconstructed using semiotics as an academic framework. These adverts have been specifically chosen as they are for popular companies and popular products.

The adverts will include a Mars Galaxy advert with Audrey Hepburn (2013). This advert is included due to the use a famous female icon from the past in a modern day context. Also a Galaxy Minstrels advert entitled “Sophisticated silliness” (Liz Craig,2010).

This advert is interesting in terms of the male gender role as well as the focus on the perceived sexual desires of women.

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Chapter 1 Chocolate, why is it so good?

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hocolate introduced to Europe in the 1600’s and most commonly consumed as a drink. The first UK chocolate house opened in London in 1657.( Belk 1998, p 180.) It was not until around the 19th Century that the well-known brands such as Cadbury and Nestlé brought chocolate on to the mass market. (Eagle, Amble 2002,p 442.). These early sales however were not of the well-known chocolate bars but coco nibs or coco essence, it wasn’t until around 1905 when Cadbury brought out their famous Dairy Milk bar.

(Bradley 2008, p.36).

Currently the confectionary market is vast and as stated in a report ‘Brand Extensions in Confectionary; The Mars Delight’, “One of the most dynamic and innovative sectors in the UK food industry it comprises of two main sectors chocolate confectionary and sugar confectionary…

The chocolate confectionary market is dominated by Cadbury, Mars (Master foods) and Nestlé.” (Lane, Sutcliff. 2006, p 89)

BEWARE OF THE TRUFFLES!

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“Into the 19th century most Europeans believed chocolate to be an aphrodisiac.”

Lupton (1996, p 36.)

Although chocolate is seemingly omnipresent, commanding prime retail space in shops and supermarkets, it is classed as a luxury food.

The definition of luxury being a ‘rarely obtained pleasure’, for most chocolate is a rare pleasure, reserved for special moments such as birthdays and holidays or when the craving strikes for something sweet. It is that desire for indulgence that has helped the chocolate confectionary market become so large. As stated by Lupton, well into the 19th Century most Europeans believed it to be an aphrodisiac and those meanings still remain strong today. (Lupton 1996, p 36.) It is mass production techniques which have allowed for the exploitation of different demographics within the chocolate market.

When looking at the supermarket shelf there is an obvious price demographic with categories divided into the higher priced luxury products, often dominated by and well-known confectioners such as Guylian and Lindor. Then there are the mid-range priced chocolates, which are also often well-known confectioners where packaging tends to be less extravagant. Cheaper alternatives are usually a supermarkets own brand. Such a wide

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range of pricing allows chocolate to be a product that is available to all society.

The target audiences covered by these demographics are quite specific. The most expensive ranges are often presented as gift ideas or for those who want the quality regardless of price. They are targeted at those classed as high-income earners. The more mid-range to cheapest products are often targeted at those who still want the luxury but do not want to spend too much on an item, widely viewed as a non-staple.

This audience is often middle income earners and those identified as the middle or working class. In addition to this main pricing demographic, there are even smaller demographics based for example on chocolate type (white, milk or dark) or flavour.

All the chocolate within these demographics are produced with the intent that it will be consumed as it is.

At certain times of the year chocolate becomes almost a focal point, following certain seasonal trends. Two of the key seasons are Easter and Christmas. Easter is a season dominated by the Easter egg and Christmas by themed confectionary

and selection boxes. However it can be hard to define when a season starts, for the consumer a season typical starts when a calendar states the change of season. For the retailer the seasons often start well before the previous season is over, Sutherland states that

“For some products, seasonality is dictated by what the advertisers do or don’t do in the off season…if the marketers believe it is seasonal, this is likely to be a self-fulfilling prophecy.”

Sutherland,(2008, p 225.) This can be applied to certain current areas of the chocolate market for example Easter chocolate such as the Cadbury Creme Egg and the Maltesers Bunny have been noted on the supermarket shelf 6 days after Christmas. (Poulter 2014) noted this in a news article along with documented photographs that the products have already been put on sale well before the holidays of Valentine’s day and Mother’s Day. Although these products are extremely popular, who has decided that the Easter season starts in late December, is it the marketers that have tried to get ahead of the competition and build up their sales early or the consumers?

Easter chocolate such as the Cadbury Creme Egg and the Maltesers Bunny have been noted on the supermarket shelf 6 days after Christmas.

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“The mere mention of chocolate can make people smile, memories of its consumption are pleasurable, reliving experiences, even in the context of an interview, can be uplifting, without actual consumption taking place.”

Belk (1998, p.189)

For marketers to push the boundaries of these seasons there is an obvious demand for chocolate confectionary. However, for there to be a demand there must be some drive for the consumer to buy the products.

Chocolate is a product high in sugar and fat this categorises it as a non-necessity. Consequently when it is consumed it is often viewed as a treat.

This in turn invokes feelings of indulgence, wealth and prestige, especially if the product bought is an esteemed brand such as Thorntons, other feelings can include decadence and sinfulness. This has been noted by Belk in his study of chocolate consumption. He states that “The mere mention of chocolate can make people smile, memories of its consumption are pleasurable, reliving experiences, even in the context of an interview, can be uplifting, without actual consumption taking place.” Belk (1998, p.189)

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These emotive feelings can uplift people, taking them away from the real world for a short period of time merely by consuming a chocolate product. More often than not it is this perception of escapism that advertising companies seek to exploit. The way in which this escapism is exploited varies, with companies using a variety of media to advertise their products. Some examples are television advertisements, magazine adverts comprising of a one to two page spread, which are designed more towards viewer involvement.

Other forms of advertising which are more environmental, include billboards, posters in shops or on the outside of telephone boxes. They are not presenting something that the viewer is directly interacting with but rather planting an image that the viewer gets a passing glance of.

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Chapter 2 Gender in confectionary advertising

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dverts are classed as myth carriers; they often reflect a current society and their beliefs and values of the time, they can often be uses as carriers for deep historical beliefs. ( Hirshman 2000, cited by Stevens and Maclaran, 2008, p.169)

As discussed in the first chapter, advertising is utilised across a wide range of media. It is used as a way of making the public aware of a product/ products through imagery, and text such as well worded slogans and if applicable, catchy tunes.

In advertising people have always been used as vehicles for advertisement, men and women showing or demonstrating a particular product in an enticing way to induce people to buy it. Past advertisements have been known to have strong gender stereotyped roles, right up until the 1990’s stereotyping of men and women was typical of a more male dominated society. (Gauntlett , 2002, pp.56-81) discusses this past stereotyping of men and women. Stating that men were often portrayed as courageous and intelligent, whilst advertising and television reinforced the ideas of femininity and the perfect housewife. In this assessment of past gender roles, women were often romanticised and portrayed in the home, it is noted that often any adverts related to the home such as cleaning products were advertised by women whilst men

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were portrayed in authoritative roles and often at work. Gauntlett (2002, p.55) points out these trends carried on into the 1970’s and 80’s and it was not until the 1990’s that men were shown in domestic roles.

He then goes on to state that more modern advertisements are usually more equal. Although there are still unequal representations, advertisers today do not want to alienate any possible target audiences. Men and women are shown equally in domestic and work roles, men being in cleaning product adverts for example the Cillit Bang (2004) advert featuring the fictional Barry Scott. These adverts reflect a society that is more aware of gender bias and willing to take action against it.

In more recent confectionary advertising gender roles also seem to be on a more equal footing, showing women at their desks in an office or men at home on their sofa. Past gender roles are usually only used ironically or meant to add comedy value, however they do share some similar traits to their past counterparts. The predominant stereotype within confectionary advertising was the view that women are detachable.

Advertising and television reinforced the ideas of femininity and the perfect housewife.

Confectionary adverts in 1997 Elliot and Wootton (1997, p.439-441) noted this in their study of a number of confectionary adverts in 1997, they summarised that the women portrayed were able to detach from their surroundings and become absorbed in the act of consumption. Whilst for men consumption took place after an activity often to state the need for more energy. They were often characterised as unable to make decisions and incompetent, usually in humorous ways.

The use of showing a woman becoming absorbed in the consumption of chocolate has to some extent continued to be present in confectionary advertisements. They have now incorporated this visual of the modern woman at her desk being the social situation that she becomes detached from. Confectionary adverts aimed at men also continue to use past characterisation. One example being a recent Snickers advert where the man portrayed is being a ‘Diva’ until he eats a Snickers.

Women are constant consumers The main narrative that runs through these confectionary adverts is that women are constant consumers in most scenarios where the chocolate is instantly consumed. This leads to the woman’s detachment from the social environment in which she is situated. This constant consumption is classed as participating in a carnal pleasure.

Stevens and Maclaran (2008) discuss the way in

which advertisements employ the carnal appetite of women through sexually explicit and erotic narratives. Furthermore these narratives are based on the assumption that eating is a woman’s secret pleasure. In chocolate advertising, this is a recurring theme, as women are portrayed , not just eating chocolate but eating it in an erotic manner that suggests a sexual pleasure. Specific camera angles are employed for example focusing on the woman’s mouth as she eats the chocolate or the look of pleasure on her face. Slow motion, implying a desire to prolong the experience.

Another evocative technique used is to show the woman lying down.These techniques help to create connotations of sex. Most of the women that feature in these adverts are also highly attractive and slim.

In the advertising industry, they play upon societies ideals of the perfect body image. They then use these social ideals to enhance their adverts, often insinuating that if the audience buys the advertised product they can look like the ideal model presented in the advert. This is particularly rife across beauty advertising but not restricted to it. Across all boards of advertising, the women depicted are thought

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to be those most attractive in society, these women are usually slim with distinctive features and have a confident bearing. Confectionery advertisement is no different ,showing this perfect, confident woman with a flawless complexion consuming chocolate. This principle is by no means restricted to women the is applied to men. The perfect body image for a man is a strong muscular physique with slightly rugged yet attractive features. This physical perfection is not just utilised to attract the attention of men on an aspirational level, but also women through sex appeal.

One good example of this in confectionary advertising is the 2007 Aero ‘Bubbles’ Chocolate TV advert. It uses a semi naked male model, Jason Lewis, displaying him in a provocative and erotic manner within a sensual environment.

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Realistic body image However, it must be acknowledged that this is not always the case, sometimes a more realistic body image is used. These styles of advert using more large men or women often take on a more comedic feel, they usually have a bubbly personality and are always shown being very happy and confident in who they are and their body size. One example this in confectionary advertising is for Terry’s Chocolate Orange starring Dawn French. This advert is discussed by Stevens and Ostberg (2011, p.400). In the advert Dawn French uses the phrase “It’s not Terry’s its mine.” Inducing people to believe that it is too good to share. Another issue that discussed is that in the advert Dawn French is indifferent to the effects of over indulgence on body image, that she is a woman ruled by her

appetite and makes no excuses for it. They do point out however that in the more health conscious society especially involving obesity that the position the advert takes could be a difficult. They make the point that Dawn French stopped being the face of Terry’s in 2007 speculation is that it was due to social pressures. Although using a larger woman revelling in her appetite could be deemed as inappropriate within a society that is now more conscious of obesity, it does portray a more realistic approach to chocolate consumption.

That being of a woman who feel passionately about chocolate and does not want to share, is confident in who she is rather than a stick thin woman who eats it piece by piece whilst maintaining her perfect figure.

Semiotic analysis In addition, it is interesting to look at how these adverts actually attract their designated target audience without excluding any potential new audiences. To look in detail at this a case study will be performed using semiotics to analyse two televised chocolate adverts. As previously stated adverts construct myths, they have a constructed framework of meaning, building layers of communication to get the viewer to engage with the advert and de-code it. They create a relationship between the product advertised and the myth created so that the viewer creates immediate associations between the two in the real world. Using semiotic analysis will allow for a better understanding of the meaning interwoven in the layers and see how the adverts have the potential to be a solely focused on female market.

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Chapter 3 A semiotic analysis of female focused chocolate television adverts

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he first advert to be analysed is for Mars confectioners, Galaxy Chocolate bar Adpressive (2013).

It was first shown on TV during ITV’s Mr Selfridge in 2013 and is now broadcasted on all major channels such as Channel 4 and 5 as well as more popular Freeview channels. The BBC channels are excluded as they do not broadcast adverts. The advert is set along the Italian coast in the 1950’s. Its unique feature is that it stars Audrey Hepburn.

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Audrey Hepburn Audrey Hepburn is a well known iconic actress who starred in such films as Breakfast at Tiffany’s (1961) and My Fair Lady (1964).The late actresses’ son supported the advert; it was created using CGI and live actors. Three women were employed to play Hepburn each with similar feature to the actress. They were then blended together using CGI making her look as real as possible.

The advert opens with a shot of a car driving along a coastal road heading towards a seaside town, it then moves directly to what the viewer perceives is said town To viewers who are more familiar with Audrey Hepburn’s career this will create associations with the some of the settings for her films such as 1953’s Roman Holiday. Next the viewer gets to see a shot of an overturned fruit cart in front of a bus, the camera then closes in on the bus and the viewer gets their first sight of Audrey Hepburn’s face. As the advert progresses we see Hepburn sitting in the bus with a bar of Galaxy Chocolate in a bag next to her. Preceding this the camera pans out to

show a car pulling up next to the bus. The viewer instantly recognises the car as the one shown at the beginning of the advert driving into town. Inside the car is an attractive looking gentleman at the wheel, both the car and the man are visual signs.

Hepburn then catches the man’s eye and the song Moon River starts which Audrey Hepburn herself sang in her film Breakfast at Tiffanys. After she catches the man’s eye he gestures towards his car, assuming this to be an invitation she seems to accept and gets off the bus. ‘Hepburn then proceeds to take the bus drivers hat, place it on the gentleman’s head and gets in the back of his car. As they begin to drive off she looks down at the bar of chocolate with a look of pleasure and contentment.

It then proceeds to show the audience Hepburn opening the bar and eating a piece. The way this has been shot shows the bar being opened carefully. It then follows with a close up of a line of pieces being broken off then cuts directly to a close up of Hepburn’s mouth as she eats a piece of chocolate. Finally, the advert closes with a last shot of Hepburn’s face with a look of absolute contentment as they drive off. Then a graphic sign of the chocolate bar appears with the caption “Why have cotton when you can have silk?”

“Why have cotton when you can have silk?”

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Audrey Hepburn Galaxy Chocolat advert (2013)

Within the advert there are four signs, that of Hepburn, the gentleman, the bar of chocolate and the linguistic sign of Why have cotton when you can have silk?”

The image of Hepburn This image of Hepburn’s is a visual sign that relies on the viewer having cultural knowledge. Hepburn works as a signifier for the mythic signified classic feminine beauty. She creates strong positive connotations of femininity, gracefulness and an iconic influential woman. She also invokes the golden age of Hollywood in the 20’s to 50’s. This was a time that saw glamorous actresses and actors such as Marilyn Monroe and Humphrey Bogart and films such as Casablanca in 1942. For the female viewer the connotations presented will be on a more romantic level, as the films she starred in were mostly romances such as Roman Holiday.

The sign of the bar of chocolate functions as a signifier of the myth of luxury and indulgence.

When first introduced only a percentage of the bar is revealed , the denotation of the bar is that of a regular bar of Galaxy Milk chocolate. However, it is enough for the viewer to immediately recognise and create associations between the bar and personal experiences of eating chocolate.

As discussed in Chapter One the physical act of consuming chocolate can create a range of feelings.

It is the connotations of pleasure that the bar in the advert draws upon by using the social codes of

The golden age of Hollywood in the 20’s to 50’s. This was a time that saw glamorous actresses and actors such as Marilyn Monroe and Humphrey Bogart and films such as Casablanca in 1942.

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Galaxy Chocolat advert (2013)

wistfulness Hepburn shows on her face after seeing the chocolate. By placing the two signs together, the bar and Hepburn, a relationship is created , the mythic meanings of Hepburn are carried over onto the Galaxy bar so it becomes a sign that not only connotes pleasure but romance as well.

The driver The sign of the man especially in the car, creates connotations of class and wealth, reinforced when he wears the bust drivers hat and looks like a chauffeur. When the camera cuts directly to a close up of Hepburn’s mouth as she eats a piece of chocolate, the focus on the two signs reinforces a relationship that calls upon the

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viewer’s understanding of society to decode. It uses the ideology of Hepburn and the ideology of chocolate to create a myth of femininity, luxury and indulgence. By decoding this myth, it communicates the idea that even some of the great ionic feminine beauties indulge in a bit of luxury.

This endows the product of Galaxy’s chocolate bar with a social significance, that this mid-price range brand can give us a sense of luxury that is connoted in the advert. At the end, the graphic sign of the bar makes sure that the viewer is left in no doubt of what the advert is for. The placement of this sign draws the eye down to the syntagm of the linguistic sign. The denotation of the signifier brings to the viewer’s mind a direct comparison of cotton

and silk. The term silk is obviously a referent for Galaxy Chocolate. Silk being a higher quality product than cotton then creates connotations of superior quality. To understand the link between the scenario with Audrey Hepburnm the driver and Galaxy chocolate, identifying the target audience is essential.

The target audience The advert relies upon viewer’s understanding of other media texts and culture. First it presumes the viewer entitle recognises Audrey Hepburn, although she is dead her image is prominent in the media and many may recognise her face. A good understanding of some of the cultural background surrounding her, such as the films she has been in is required on a certain level. The implication of this is that the viewer has in some way has encountered Hepburn’s work before; this is displayed in the use of the song Moon River. This type of knowledge required assumes that the target audience is of a mature enough age to understand the codes Hepburn presents.

Romance On a another level the romantic feeling of the film , with the attractive man offering a lift to the attractive woman who happens to be a female icon suggests that this is directed a more female orientated audience. Whilst a man may understand who Hepburn is and the denotation of using her in the advert they may not fully be able to un-code some the connotations previously discussed that surround her. In addition, the actual release time of the advert during the program of Mr Selfridge has a high percentage of female viewers. In relation to the signified connotations present throughout the advert points to a strong, focus towards a female audience.

It employs female ideologies backed by signs that create specific connotations for women.

Although men may get many of the signs, they will not carry the same effect.

“The most important thing is to enjoy your life, to be happy - it's all that matters.”

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he second advert in comparison is much more forward in its focus on the female audience. It is a television advert for Mars confections Galaxy, for a sharing bag of Minstrels. The advert titled “Sophisticated silliness” Liz Craig(2010) was released in 2007 and is still being aired.

The advert opens by showing the viewer people sitting down in a theatre; the decor suggests an old classical theatre. The focus shifts onto two seated women both wearing bright colours; one is holding a visible bag of Minstrels. They being talking about the quality of their seating and the excellent acoustics, they go on to talk about the performance whilst eating minstrels form the shared bag. They make comments about the choreography and the director saying he is “Chief Director of the grand bulge” (saying grand and bulge with a French accent). Suddenly the lighting changes indicating the start of the show and they each lift up a pair of opera glasses. This reinforces the observation from the beginning that the theatre is an old classic theatre.

The Full Monty Straight away music starts and the camera angle changes so the viewer is now looking into the audience from the back of the stage. This presents the back of three men who proceed to rip off their clothes revealing a pair of skin tight underpants.

The men put their hands on their bottom and begin to dance; the camera is now facing the

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stage so that the viewer can see the men who are performing the Full Monty. Over the music is the sound of screaming women and the two women are still looking through their opera glasses, the camera focuses on their faces as they make happy expressions and begin to dance in their seats.

The advert then ends with an image of a bag of minstrels displayed before a stage curtain with the words “Sophisticated silliness” and at the bottom of the shot the line “Think chocolate, think Galaxy.”

The iconic sign The iconic signs in this advert consist of the two women the theatre and the male dancers.

There are also linguistic and graphic sings, the text Sophisticated silliness and Think chocolate think Galaxy; the graphic sign is of the Minstrels bag. Looking first at the sign of the theatre at the beginning of the advert, it sets the scene.The décor within the theatre is a direct representation of what one would believe a theatre to look like. It is a signified concept of the theatrical, it conjures images of classical plays and operas. The connotations of such a setting are of class, wealth

and sophistication, which link in with the caption of sophisticated silliness. These connotations are also emphasises by the dress style of the people in attendance and the two women. They are wearing visible jewellery and clothes that look smart, when talking they also emulate a posh voice using words associated with critiquing theatrical performances.

The audience is given no obvious hint about what the performance entails. From decoding the codes of the theatre and women and their speech the viewer’s natural assumption is that they are there to see a classical theatrical performance. The women do emulate a distinct cheekiness in their expressions and speech. This creates wariness in the viewer that everything is not what it seems.

This is proved correct with the appearance of the male dancers, when they start dancing the viewer immediately understands the hints given previously. When the camera focuses on the men, the viewer is faced with their immediate sexuality which reinforced by the screaming women. As soon as the clip ends and the bag of minstrels sign appears alongside the linguistic sign of ‘Sophisticated silliness.’ It creates a relationship between the Minstrels and dancing men, the linguistic sign encapsulates the whole of the advert, the setting reinforcing the paradigm sophisticated.

The paradigm silliness refers to the actual dance and the concept of the advert, yet it does not quite

sum up some of the sexuality produced by the men.

For the appearance of the men after the chocolate has connected the two in the viewer’s mind, they share connotations of desire and indulgence.

Target audience To understand the use of the signed concepts produced by the dancers the link with the chocolate the target audience must be considered.

Like the previous advert it does not start of seeming to be gender specific the setting is gender neutral. Even with the appearance of the women and their conversation it is still a gender neutral advert. It is not until the dancers appear that female codes and ideologies are employed. The men play upon the female ideology of the perfect man as well as social codes of manliness and good looks. It the concept that all that, the sexuality and readily availability of fun that is imprinted on to the sign of the Minstrels.

Unlike the first advert this second one is a lot more explicit in its focus on the female audience.

It uses blatant sexuality and female ideologies to create linking connotations between the chocolate and the male dancers. Whilst the first advert was more implicit, appealing to both genders, women will find more layered connotations thus creating a stronger relationship between the chocolate the advert and female consumer.

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Conclusion B

oth the above two adverts in some way focus on the female market. They do not deliberately exclude men and are not wholly gender biased, the adverts do allow men to understand a majority of connotations that they play upon.

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However, they may not have as deeper meaning for men as they do for women, which is what the advert relies upon when creating the relationship between the advert and the chocolate.

Using these two adverts as a basis, confectionary advertising is not extremely gender biased, they present codes that can be understood and decoded by men and women so that both genders enjoy the advert. They do sometimes employ gender stereotypes as explored in chapter two and they can implement certain ideologies, such as physically attractive man and feminine beauty. In most cases these uses are subtle for confectioners need to make a profit and do not want to exclude any market. However it can also be said the strong connotations that women have

with chocolate as explored in the first chapter is a key focus area for confectioners. Exploiting them allows them to have a deeper rooting in the female market insuring continuing sales of their products.

To some extent it can be said that confectioners have such a good understanding of the type of codes to employ in their adverts that they create seemingly non gender biased adverts, whilst maintaining a strong female focus.

However to come to a definitive conclusion other confectionary adverts should be explored.

The above two whilst for different products were for the same company and so cannot fully represent the whole market. They only provide an insight to the type of marketing used to attract female consumers. Nonetheless, the above paper does provide a case for the argument that the chocolate confectionary market predominantly targets their advertisements towards women.

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