Tag Archives: tropes

It’s All About You: Korean Air sells the virtue of American selfishness

At first, Korean Air’s “All About You” global ad campaign seemed like a fanciful satire. Orchestras and international landmarks glide across the heavens. The titular song (calculated to trigger James Bond flashbacks) lulls rich, white travelers to sleep while airline employees pamper them with serene smiles on their faces.

“At the heart of our world is you,” a female voice intones.

This had to be a joke…right?

Research and repeated viewings have since disabused me of that hopeful notion. While the commercial presents as tongue-in-cheek, its earnest undertones and ultimate endgame [read: profit] subverts any such satirical integrity. THIS IS NOT A DRILL.

The commercial (unwittingly?) lampoons the archetypal American business traveler, selling the airline by showcasing what is traditionally the subtext of American ads: the consumer as the center of a commodified universe. A be-stubbled white man closes his eyes, encased in headphones. A white woman plucks a giant shrimp from the sky with chop-sticks. Another makes meaningful eye contact with the folks at home before she (presumably) takes a sip of her freshly shaken martini. But not before her blue cocktail turns into a round pool featuring female synchronized swimmers, who in turn become the rods and cones of her blue eye.

It’s all about you, indeed.

It simultaneously celebrates and spoofs American travel fantasies, often at the expense of Korean women. Each of the travelers being served in the commercial are white. All of the airline employees occupying service positions (flight attendant, bar-tender) are portrayed by Korean women. Meanwhile, men exert their dominion in the cloudy kitchens. The shadowy background dancers–per James Bond standards–are all women, serving the voyeuristic eye of the casual American viewer. The commercial is selling its target consumers–business travelers and a (largely female) leisure class–what Korean Air presumes to be their ideal version of themselves, all while reinforcing a (racist) status quo that devalues the women serving them.

In short, the commercial nails white American entitlement by showcasing aspirational consumerism that trades in the tired trope of Korean women servicing white clients. The only “modern” twist is that many of these clients are themselves women.

*Note: This goes live around the fifth anniversary of the blog’s first “real” post, so I thought it only fitting to return to the blog’s roots of deconstructing commercials for gender trouble. Ah, nostalgia…

 

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Filed under Contemporary, Deconstructing Commercials, Gender Trouble, Racism

Mouthing Off: Using the Absence of Sex to Sell

Linguistic anthropologists do it with words. And so do advertisers.

“Practice Safe Breath.” That’s the tagline of an ad campaign for Dentyne Ice gum. It’s a clever conceit: in these commercials, couples are usually getting hot and heavy, or it’s implied that they want to. Then there’s the inevitable pause: did you, um…remember the, uh…? Shit, I’ll be right back. A race to the roommate’s room. Please, buddy, just this once, I’ll get you back. She’s super hot and what’s even better is that she’s actually on the couch. Disinterested roommate motions to the top drawer of his night-stand, where the hero gratefully extracts a…pack of gum. Whew! First base shenanigans can continue without fear.

This is all designed to evoke the culturally sanctioned practice of having “safe” sex with condoms. And this association is designed to be viewed as a clever twist on the familiar, thereby making consumers want to buy this particular gum because its ads are clever-funny. By triggering these now-ingrained cultural associations with the phrase “practice safe breath,” this commercial effectively implies the existence of sex by withholding it; by providing a twist ending to its little romantic vignettes: haha, dirty-minded viewers! You thought we were talking about condoms but we were really talking about gum! Aren’t we clever and hip?

The very existence of this ad campaign, and the reason its commercials work and make sense, is due to the fact that practicing safe sex has become mainstream–it’s solidified in our cultural vocabulary and social practice. So much so that it is now assumed that everyone knows they should (ah, prescriptive society…) use some sort of protection and shouldn’t have to be told via PSAs or Trojan commercials with pigs standing in for men who don’t carry condoms. (I will avoid digressing into a tirade on the use of nonhuman animals as representative of negative human character attributes, so count yourselves as lucky. This time.)

On another level, these commercials work (in that they may contribute to a rise in the company’s sales) by catering to the social fear of ruining one’s romantic chances with a perceived bodily imperfection. Our bodies, our anxieties. Advertising has a long history of creating problems for which there just happens to be a commodified solution–and ads are so ubiquitous that they end up influencing social opinion and practice by hammering at these invented problems.

Take our cultural obsession with fresh breath, to which this Dentyne Ice campaign owes its existence. The social problem of “bad breath” was effectively produced by advertisers in the 1920s, and maybe earlier, I’m just too lazy to check my sources on this. A slew of print ads ran in highly circulated magazines and newspapers showing beautiful but sad-looking young women in front of mirrors, wondering why they weren’t being courted like their friends. What’s wrong with me? Alas, it was because of an invisible problem: halitosis! Thankfully, there were products to cure her of this (invented) ailment. And she got knocked up happily ever after. Thanks, advertising!

In this sense, the language in advertisements is perlocutionary–the phrases work performatively to create the problem for which the product being advertised is the solution in situ. Saying it makes it so.* I’m not claiming any of this is my idea (see Marchand 1985 and Strasser 1989 for the ad stuff, and Austin 1962 for the problematic performativity thing)–I’m merely pointing to the Dentyne Ice campaign as a recent example of it.

To go back to the first point, where the idea of safe sex has been taken up and re-worked within the context of the campaign to evoke both its origin (safe sex) and to mean something different that still lies within the parameters of canoodling. It’s a wink to everyone in the cultural know: see what we did there? We changed one word and made you think of gum as a conduit to sex. The implication is that “safe breath” leads to “safe sex” even as it remembers it as its phraseological parent. Or at least a second date and maybe second base, for which there are other commercially advertised products that can answer to even more invented bodily “problems” you will encounter there.

Dentyne Ice’s website even has a large banner now that expands on the whole play-on-PSAs/Trojan commercials trope: Society for a Safe Breath America! This is your mouth on ice. All the familiar phrases are there “responsibly,” “taking a stand,” “show your support.” It’s like a MADD-AntiDrug-PlannedParenthood mashup of slogans over there. All being taken up, placed in a new context, given newish meaning, (and effectively made fun of) to sell gum. Language and our very cultural concepts are here but tools of the capitalist machine, placed in the hands of advertisers to help us see the error of our ways and offer us help to correct them…for just $1.49

So keep worrying about your bodies, everyone, because we your friendly advertisers all know what you really want (sexy fun times) and we aren’t afraid to feed all these anxieties we’ve so generously given to you so we can offer relief in the form of commodities. You’re welcome.

*I’m ignoring the other, very important side of this, which is uptake, because this analysis is a reading only, not an exploration of how people interact with these advertisements. This aside has been brought to you by the wish to nip a certain intelligent PhD candidate’s inevitable critique of my half-hearted analysis in the bud.

References

Austin, John L. 1962. How to Do Things with Words. Oxford: Oxford University Press

Marchand, Rolland. 1985. Advertising the American Dream: Making Way for Modernity 1920-1940. Berkeley: University of California Press.

Strasser, Susan. 1989. Satisfaction Guaranteed: The Making of the American Mass Market. Washington: Smithsonian Books.

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Filed under Contemporary, Deconstructing Commercials, Wordplay