Bounty Advert (2009)

iMAP

josephlandrethsmithcmp — Wed, 11 Nov 2009 00:06:24 +0000

Mapping Out My Research

Essay writing plan.

josephlandrethsmithcmp — Tue, 10 Nov 2009 03:42:12 +0000

Paragraph 1

Facts about the Clip and the people involved.

Blogs to refer to; The Figures and the Facts…

The Bounty Kitchen Roll’s (or the renamed ‘Plenty’ Kitchen Roll from February 2009) ‘Carry on Cleaning’ advertisement campaign was released on 12th July 2007. The television commercial is strongly based on the ‘CO’ Films that started in 1958 and disintegrated slowly after they became extremely popular throughout the 1970’s. The advertisement was edited at Rushes Studios in association with Plunge films, after only two days of filming and replicating each lighting set up only 7 shots where used. ETC

Paragraph 2

Facts about the ‘Carry On’ films and the people involved.

The film that director Simon Delaney links to most is ‘Carry on Loving‘ from 1970. Most of the films starred Kenneth Williams, Joan Sims and Barbara Windsor ETC. favoritism with the public was not only due to it’s tongue-in-cheek humor or its early rebellion against the common political and cultural content. But each film took on fairly sexual content or ‘nudge-nudge’ humor for it’s time. It’s downfall began when sexual innuendo’s became natural for television and much of the regular cast and crew had moved on. The advertisers chose the theme because… ETC

Paragraph 3

History of Performance and the Theatre.

Blogs to refer to: Opera Singers and Food Flingers and Carry On Shakespeare!

The link between Commedia Dell’Arte and Shakespeare (Stock plots and characters)

The link between Shakespeare and the Pantomime (Specific characters)

The link between the Pantomime to the Carry On Films/COC clip (Dame)

Paragraph 4

Circus and Pantomime signifiers

Blogs to refer to: Bounty’s behind you! and The Greatest Show on Earth

Audience Participation refer: (http://www.bbc.co.uk/dna/h2g2/A47629416)

(Non-diegetic sound) The sound becomes more unnatural throughout, with SFX of splats when a pie hits a face, glistening chimes when Bounty is unrolled and rolling bass when the housewives’ rear ends collide. The countess activities, embellished sounds and ongoing trumpet fanfares add to the mayhem that can also be found in the pantomime and the circus. Both events are known for mass appreciation because of the family focused atmosphere.

Overall fictitious?

Paragraph 5

Link Previous 2 paragraphs specifically with the Clip.

If a traditional Pantomime contains the patchwork of any ‘topical’ issues, ‘theatrical effects‘, ‘lunatics‘ and ‘cross dressers‘ then it is possible to suggest that the ‘Carry On‘ Films and the following ‘Carry on Cleaning‘ advertisement, have been using the blanket of elements. Observing the ‘Carry on Cleaning‘ text:

▪ The ‘topical‘ content being the ‘Carry On’ genre (‘Carry on London’ is currently in pre-production) and the promoted kitchen roll that will literally ‘Carry on Cleaning’.

▪ ‘Theatrical effects‘ are the integrated CGI images.

▪ The ‘lunatics‘ appear mostly in the final scene after minor food abuse turns into chaos and hooliganism.

▪ The ‘Cross dressers‘ are our protagonists Audrey and Brenda.

(Fun for all the Family)

Paragraph 6

What is unethical about the Clip.

Section 1: The buyers assumption that, even after the huge mess that is being made throughout the commercial, Bounty will just keep on cleaning it up. The mess created relates to the typical antics in the ‘Carry On‘ films that Bounty have chosen well to mimic.

Section 2: Blogs to refer to: Representing the Cross-dresser., Cross-dressing, Past and Present. and Dame, set and Match.

The CO films have been using the themes of sexuality and gender exploration since they first began. Protagonist Kenneth Williams created a ‘camp’ screen personality (Gays and Film by R.Dyer), using feminine mannerisms and also appeared as a cross-dresser in ‘Carry on Matron’ (1973). Continue with further representation of the cross-dresser in the PRESENT.

Paragraph 7

Positive aspects of the clip.

Female/housewife representation/non-idealistic ARGUMENT unlike Desperate Houswives 04

‘Bounty’, or the remodeled ‘Plenty’ Kitchen Roll has had an advertisement campaign that has assaulted the late 2000’s. The non-diegetic sound effects within the circus and pantomime like impression throughout the everyday house hold tool advertisement, make it family orientated and therefore more popular due to the wide audience admiration. Consumers of all ages have been enthralled by the advertisement’s from the first ‘Carry On Cleaning with Bounty’ parody in 2007 to the ‘One Sheet does Plenty’ Matrix spoof in late 2009. Refer to Blog Conclusion.

Paragraph 8

Detailed: representing English Culture in English Film and TV, MORE EXAMPLES.

The CO Films and therefore The Bounty COC Advertisement both highlight the two main stereotypes in British Culture. The Cockney, and the Posh or more appropriately: the low class and the high class.

IRONY: VOICE OVER AT HIGH CLASS GATHERING

Blogs to refer to: The Great British Voice Over., ‘Englishness’ and the High Class. and ‘Englishness’ and the Lower Class

Conclusion.

Blogs to refer to: Conclusion

More personal, remember to focus on an essay conclusion not for the blog.

The blend of habitual kitchen cleaners with concurrent film texts has enabled ‘Bounty/Plenty Kitchen roll’ to join the festoon of enchanting advertisements that battle for a fresh reception. This I salute, and I hope British Advertising, both moving image and outdoor stills, rise up and continue to discharge genuine creativity. ETC.

Diary of How I Studied.

josephlandrethsmithcmp — Tue, 10 Nov 2009 02:11:19 +0000

When I first started my blog I knew I needed to keep it simple. This is so I could easily return to it, to either watch the clip again or refer to the first basic questions that came into my mind incase I hit a block. I wanted to keep referencing the clip in all of my posts, although did not anticipate the struggles I could face. After my first post, the cogs only started turning after I had watched the clip a further dozen times and really soaked in the experience the producers wanted to create.

The post titled ‘Facts and Figures’ was running low on creative juice, but I was not worried because it was primarily for a more personal purposes: Getting my history and getting educated. I noticed the actors in the films have become iconic to British Television and really so I wanted to focus on English symbols. Inessential, it was surprising to discover how engrossed I am now involved in MacBook culture, although the majority of other students have more entries then me.

The next two posts, on November 3rd, where drafted next to each other previous to posting. This is largely due to the fact that I wasn’t ready for the separate ideas to socialize as they both had a possibility to flourish in different directions. Then during entry ‘Englishness and the Lower Class’ I realized the work I was doing, was increasing in substance and points that where interesting. It was in the Library, at the stroke of midnight, when i noticed I had developed a passion for my subjects, joined by other eager bloggers and a couple of cups of coffee I worked through the night surrounded by books. This is also when ideas and theories began to blossom on all branches of my tree of information. I began writing short sentences about all the directions I would like to go in, sometimes I felt like I was going off on a tangent but I found myself going back to each idea as a foundation for following entries. I found that writing any kind of questions either before or after a post was a great way to learn wether I answered them officially or not.

I hit a road block on November the 7th, I found myself returning to the library that afternoon for more comfortable, enlightening surroundings, hoping to recreate the outpouring of ideas. Sacrificing all social activities that weekend was disappointing but after backtracking a bit the breakthroughs where well worth it and I seemed to be moving more steadily then others. I kept up the pun’s and fun titles to curb my enthusiasm and add an individual flair, and rewarded my study filled Saturday with a glass of wine over pizza!

‘Bounty’s behind you’ was a fascinating discovery that I conjured up from sprawling historic research and theatre knowledge across my work area. Delving into possibly the most famous fictional writer’s works ever, Shakespeare was one of the last things I thought I’d be reading. But it was stimulating to discover the relationships between theatre across the centuries. To see it all posted as my own findings made me proud to the extent that I felt a bit geeky! There’s a first for everything.

November the 9th was a remarkable day, as I woke it was as if I had been dreaming of blogging, my fingers gently typing on my duvet. I had a fresh idea and had already mapped out ways in my mind of bringing it all together in a conclusion. I settled down after the days lecture with a certain freedom in how the conclusion was going to work. I let my imagination prance across the keyboard and was surprised to even slip in a couple of recent texts I had seen on television.

My process involved me wrestling with spelling and grammar which is a big issue for me. But in general, I stunned myself with the energy I surrounded myself with. The more I did the more I thought I could keep going forever. I found working in the warmth and silence of the library and the competition of the student bloggers around me really helped me to keep my head down. So for assignments in the future I will continue to work in the library and tempt myself with small rewards for meeting deadlines.

Bibliography

josephlandrethsmithcmp — Mon, 09 Nov 2009 23:40:35 +0000

BOOKS

Dovey, J. First person Media and Factual Televsion

Dyer, Richard, Gays and Film (Revised edition)

Bullough Vern L. & Bullough, Bonnie, Cross Dressing, Sex, and Gender

Mcadam, Geraldine, Carry On Culture 1992

Shakespeare, William, Hamlet, 1600

Shakespeare, William, Romeo and Juliet, unknown

Shakespeare, William, The two gentlemen of Verona 1590-91

NEWSPAPERS

Clarkson, Jeremy, The Sunday Times Newspaper ‘Englishness’ November 25, 2007

Unknown, The Sunday Times Newspaper Article ‘Islamic Britz’ November 4 2007

ONLINE

http://www.imdb.com/name/nm0646751/

http://www.imdb.com/title/tt0042788/

http://www.itv.com/Lifestyle/LooseWomen/default.html

http://www.e4.com/skins/

http://www.newworldencyclopedia.org/entry/Monarchy

http://www.carryonlauging.co.uk/index.html

http://en.wikipedia.org/wiki/Widow_Twankey

http://www.limelightscripts.co.uk/scripts/history.htm

http://italian.about.com/library/weekly/aa110800b.htm

http://www.socialistworker.co.uk/art.php?id=8010http://www.icons.org.uk/theicons/collection/pantomime/features/cross-dressing

http://www.shane-arts.com/commedia-stock-characters.htm

http://www.bbc.co.uk/dna/h2g2/A47629416

http://www.apple.com/trailers/fox/bigmommashouse2/

MOVING IMAGE

Angelo Abela, ‘My Parents are Aliens’ (CITV 1999-2006)

Attenborough, David ‘Life on Earth’ (BBC 1979)

Attenborough, David ‘Sharing Planet Earth’ (BBC 2007)

Brittain, Jamie, ‘Skins’ (E4 2007)

Chris Columbus, Mrs Doubtfire, 1993

Dassin, Jules, ‘Night and the City’ 1950

Dow, Tony, ‘Only Fools and Horses’ (BBC 1981)

Gerald Thomas, Carry On Loving, 1970

Gerald Thomas, Carry On Sergeant, 1958

Gerald Thomas, That’s a Carry On, 1977

Kominsky, Peter, ‘Britz’ (C4 2007)

Loose Women, (talk-show) 1999

McKay, David, ‘The New Basil Brush Show’ (CBBC from 2002)

Reed, Carol, ‘Oliver!’ 1968

Ritchie, Guy, ‘Snatch’ 2000.

Simon Delaney, Carry On Cleaning (Television Advertisement) 2007

Shaw, Larry, Desperate Housewives, series 1, episode 1, (C4 2004)

Whitesell, John, Big Mommas House 2, 2006

Conclusion

josephlandrethsmithcmp — Mon, 09 Nov 2009 23:24:14 +0000

‘Bounty’, or the remodeled ‘Plenty’ Kitchen Roll has had an advertisement campaign that has assaulted the late 2000′s. The non-diegetic sound effects within the circus and pantomime like impression throughout the everyday house hold tool advertisement, make it family orientated and therefore more popular due to the wide audience admiration. Consumers of all ages have been enthralled by the advertisement’s from the first ‘Carry On Cleaning with Bounty’ parody in 2007 to the ‘One Sheet does Plenty’ Matrix spoof in late 2009.

Other reasons I am confident that Bounty has successfully secured an effective advertising campaign because they have created and maintained a brand identity or brand image, whilst increasing the buzz-value of the brand and the company therefore sustaining product sales. One will admit that what Bounty claims is quite a strong persuasive technique and the risk of demoting other kitchen roll in the adverts and on their website is a brave step:

‘Because it’s strong when wet and really absorbent, you can wring out and reuse a sheet of Plenty rather than grab sheet after sheet to get the job done.’ (http://www.plenty.co.uk/)

This is due to the buyers assumption that, even after the huge mess that is being made throughout the ‘Carry On Cleaning’ commercial, Bounty will just keep on cleaning it up. The mess created relates to the consequence of the typical antics in the ‘Carry On‘ films that Bounty have chosen well to mimic.

Another problem Bounty could have with their ostentatious advertisements is with the representation of women, or the ‘Housewife’. In this representation, are they suggesting housewives are less attractive then single, more care free females? Or are they deliberately and more then obviously improving all women’s self esteem but using non-idealisitc personalities? Unlike less cheery depictions in the tense ‘Desperate Housewives’ C4 2005 and many television commercials for other kitchen appliances. Although, on a decisive, more positive side, the equally represented low class and high class are merry making, fun charactures.

The blend of habitual kitchen cleaners with concurrent film texts has enabled ‘Bounty/Plenty Kitchen roll’ to join the festoon of enchanting advertisements that battle for a fresh reception. I think Bounty enlisted in original advertising in a humorous, dramatic and even a propagandist strategy where other companies fail at doing so. They join a league of advertisers that promote a better quality of life using celebrity endorsed perfumes, advantageous cars and waterfalls of alcohol. Even though these small, disposable dry wipes are taken for granted every day. This I salute, and I hope British Advertising, both moving image and outdoor stills, rise up and continue to discharge genuine creativity.

The Greatest Show on Earth…

josephlandrethsmithcmp — Mon, 09 Nov 2009 12:44:36 +0000

What other, more simple advertising signifiers, has the director used in the advertisement and why?

Commercial director Simon Delaney had to simulate what was used in the ‘Carry On Loving 1970‘ mise en scene so the audience would barley notice the CGI. The colours are numerous and range between bright and slightly pale with hardly any dark colours. As it’s set at a wedding, the men are in suits and the women in matching dresses and hats. This is very typical signifier of the 1970′s ‘Sunday best‘ culture, therefore the ‘new’ characters Brenda and Audrey wear the appropriate attire not only to disguise a females, but for a formal occasion. However, the unmissable burly physiques and clear stubble centers the audiences attention on the story revolving around Brenda and Audrey rather then the original ‘Carry On‘ characters who suddenly seem ‘normal’. This is provide a commanding focus on the product that Audrey and Brenda later promote.

The breed of ‘Carry On‘ films is known for its over the top, slapstick moments, not only found in Pantomomime’s but also in the circus, where many happenings are taking places in the same arena. The cuts increase in pace, to people falling or getting food thrown into their face. The music begins at the same time the doors open, the tittle ‘Carry On Cleaning‘ rises up and is sprawled across the screen in a yellow, cartoony font. It is a trumpet, that crescendo’s until the voice over begins and other musical instruments enroll. The sound becomes more unnatural throughout, with SFX of splats when a pie hits a face, glistening chimes when Bounty is unrolled and rolling bass when the housewives’ rear ends collide. The countess activities, embellished sounds and ongoing trumpet fanfares add to the mayhem that can also be found in the pantomime and the circus. Both events are known for mass appreciation because of the family focused atmosphere.

Soon we see a close up of a packet of ‘ordinary towel‘ in matching ordinary packaging, wet tissue is thrown around it in disgust and in haste. Next to this, calm and collective, a single, neat and tidy sheet of ‘Bounty’ is placed over a spillage. The extreme close up shows it literally soaking up the liquid with ease before it then shown ‘mopping and ringing‘. Glamorizing the product, by making life look easier with it manipulates the audience into thinking that their lives could be better with ‘Bounty Kitchen Roll’.

Could the producers be suggesting that the ‘Carry on’ mayhem is similar to the household meal times? Further more, can bounty really clear up all the mess at the end of the film?

Bounty’s behind you!

josephlandrethsmithcmp — Sun, 08 Nov 2009 14:14:55 +0000

Stage productions and theatre companies for entertainment date back long before TV and film, can we still link the theatrical ingredients used then to today’s texts?

When exploring the subject of Pantomime, we can observe another relationship that the ‘Carry on Cleaning’ Advertisement shares with Shakespeare.

“The audience for British pantomime is an integral part of the action, explicitly acknowledged by almost all of the characters and with particular functions to perform”. (http://www.bbc.co.uk/dna/h2g2/A47629416)

A fair amount of Shakespeare’s scripts use the dramatic component called an ‘aside‘. Most commonly seen in ‘Hamlet’ (1600 approx). This is when the actor directs their attention to the audience and reveals a certain emotion/happening. This is used for dramatic irony which pulls the audience in and is usually for empathetic or humorous effect. The first time Hamlet speaks in ‘Hamlet’ is an aside, he describes his true feeling toward the new king as “a little more kin, and less then kind” (act 1, scene 2, line 66). Meaning his uncle is now related more closely to him now he’s married Hamlets mother but is also unkind towards him, this is both informative and humorous. When Shakespeare’s plays where first performed in the Globe Theatre, it is common knowledge that the audience where welcome to harass the actors by throwing fruit if they are displeased.

The same theatrical ingredient of audience participation can be found in the brew of today’s seasonal Pantomime’s. Throwing out sweets, asking the audience questions and inviting the younger members up on stage to sing are all seen as traditional elements. Hurling verbal harassment’s such as ‘he’s behind you’, ‘awwww’ and ‘oh yes he is’ make the audience feel like they just as an important part as an actor. All these plus more are a way of identifying, engaging and appealing to the mass audience for an all round success.

Similar to Shakespeare’s Globe Productions and the modern day Pantomime, the ‘Bounty Carry on Cleaning’ advertisement uses examples of audience address or engaging through informality. They are primarily used to inform the audience and promote the product and secondarily used to entertain and make it memorable. The informal ‘cockney’ voice over communicates with the audience directly, most apparent when, after the visual spillage, he says ‘right ladies…(cough cough) let’s see how New Bounty…‘. The coughing implies that he knows they really aren’t ‘ladies‘ so is therefore indirectly addressing the ‘ladies’ watching the advertisement at home. The adjective ‘New’ tells the sudience they are yet to try this product.

Our kitchen roll ‘hero’ who is using Bounty and not “ordinary kitchen roll” is Brenda, who looks down the lens of camera at least twice through during the advertisement. First, at 0:13 when she/he reveals their “single” sheet of Bounty Kitchen roll she will be using to literally “Carry on mopping and ringing”. Dominantly showing the story of Brenda with Bounty puts the audience in a supporting, following or more imporatantly: focusing position. The second time she/he acknowledges the audience is at 0:28 when a close up of her/him giving a smug glance into the camera. This communicates to the consumer that there is now need for competition and that “Blimey, Bounty’s much better value”.

Carry On Shakespeare!

josephlandrethsmithcmp — Sat, 07 Nov 2009 21:00:34 +0000

I am confident that the ‘Carry on‘ genre and it’s components of theatrical history can be magnified for greater evaluation.

The link to Commedia Dell’Arte becomes more and more tenuous as we explore the panto tradition in the 20th and 21st centuries specially when we reflect on the dames and principle boys, and what the expectations are of the characters involved. (http://italian.about.com/library/weekly/aa110800b.htm)

Firstly, we need to make the link between Commedia Dell’Arte and Shakespeare. The bard shares similar stock plots and characters that original Commedia Dell’Arte troupe pioneered as play-wright foundations. This backbone of plots and characters suggests that almost every play, text or TV drama consits of these concepts. They can be seen more obviously in dramas for a younger audience from legendary Punch and Judy shows to contemporary TV like ‘My Parents are Aliens’ (CITV 1999-2006) and ‘The New Basil Brush Show’ (CBBC from 2002). Below are just a small amount of the Commedia Dell’Arte stock characters that I have selected and abbreviated from ‘www.shane-arts.com/commedia-stock-characters.htm‘.

Arlecchino: acrobatic, witty, childlike and amorous.
Brighella: Arlecchino’s friend, roguish and sophisticated, and will do anything for money.
Il Capitano: or the ‘captain’ was a bold, swaggering, and solider like.
Il Dottore: or the ‘doctor’ was a caricature of learning.
Pantalone: a merchant, rich and retired, mean and miserly, usually with an adventurous daughter.
Pedrolino: was a white–faced dreamer and the forerunner of today’s clown.
Pulcinella: was a dwarfish humpback with a crooked nose, the cruel bachelor who chased pretty girls.
Inamorato: the lover, handsome and poetic.
Inamorata: his female counterpart.
Inamortata’s servant: Witty, bright, and given to intrigue.

Shakespeare clearly shows the style of character development in many of his plays wether it was intentional or not being as they where both around at similar times and possibly know about each other seeing as Shakspeare set many of his plays in Italy (The Two Gentlemen of Verona 1591 and Romeo and Juliet, unknown) where the company formed. This is most famously apparent in Romeo and Juliet. Notice the character ‘Pantalone‘ can be mirrored by Lord Capulet, ‘Inamorato‘ is in this case Romeo and ‘Inamorta‘ is Juliet, who also has a ‘witty’ servant. The servant or as Juliet calls her, ‘nurse’, has wise-cracking remarks such as ‘thou hadst suck’d wisdom from thy teat’ (Romeo and Juliet Act 1 Scene 3 Lines 67-68) and can therefore be described as our Commedia Dell’Arte servant.

This same ‘servant’ is usually played by someone older and ugly due to the character Mericutio’s insults “ancient lady”and “hide her face; for her fan’s the fairer face” (Romeo and Juliet act 2 scene 4 lines 107 and 143). The motherly characteristics and what is revealed of her appearance by other characters has an uncanny resemblance to the Pantomime dame. This is just an example of how to create a flow starting at the famous works of Shakespeare and ending at ‘The carry on Cleaning Advertisment‘ after going through Commedia Dell’Arte and the Pantomime Dame characters that we see in the commercial.

Opera Singers and Food Flingers

josephlandrethsmithcmp — Sat, 07 Nov 2009 18:21:45 +0000

Question to consider: Does the ‘Carry on’ saga or the ‘Carry on Cleaning’ advertisement contain any historic and tradditional of the threatical element’s?

The theatrical cross-dressing tradition might have more to do with the strange theatrical phenomenon at the time of women during the 19th century taking on male roles including famous performances of Hamlet and Romeo. Soon the tradition was lost and Pantomimes started casting male celebrities as the lead male character. It wasn’t until 1970, when Cilla Black played the role of Aladdin at the London Palladium, that the idea of the female playing a male was brought back and is now considered the long-standing ‘tradition’ and a defining element of this genre.

(http://www.icons.org.uk/theicons/collection/pantomime/features/cross-dressing)

Pantomime’s where once looked down on by the high class and considered a low form of Opera. This is because interval entertainers at Professional Operas abandoned their short appearances to pursue their own shows as they grew in popularity. Pantomimes evolved from a blend of traditional Commedia dell’arte techniques and Musical Theatre. In 1717, Harlequin’s where brought to the British stage under the name of ‘Lun’ for ‘lunatic’, they began performing wildly popular pantomimes. These pantomimes gradually became more topical and comic, often involving as many special theatrical effects. (http://www.limelightscripts.co.uk/scripts/history.htm and http://italian.about.com/library/weekly/aa110800b.htm)

So if a traditional Pantomime contains the patchwork of any ‘topical‘ issues, ‘theatrical effects‘, ‘lunatics‘ and ‘cross dressers‘ then it is possible to suggest that the ‘Carry On‘ Films and the following ‘Carry on Cleaning‘ advertisement, have been using the blanket of elements. Observing the ‘Carry on Cleaning‘ text:

▪ The ‘topical‘ content being the ‘Carry On’ genre (‘Carry on London’ is currently in pre-production) and the promoted kitchen roll that will literally ‘Carry on Cleaning’.

▪ ‘Theatrical effects‘ are the integrated CGI images.

▪ The ‘lunatics‘ appear mostly in the final scene after minor food abuse turns into chaos and hooliganism.

▪ The ‘Cross dressers‘ are our protagonists Audrey and Brenda.

Further Questions:

Why is it when men dress as women it is funny, but women dressing as men is more accepted?

Is it possible to suggest that the actresses playing the male parts are avenging pre-restoration of the theatre?

Dame, set and Match.

josephlandrethsmithcmp — Sat, 07 Nov 2009 17:59:45 +0000

The Pantomime Dame, has its roots in early theatrical tradition. The late 1600′s ‘Restoration Theatre‘ finally allowed women to take on women’s roles on the stage for the first time, when originally men played all the characters. However, for the comical parts, men still dressed up in bodices and wigs to portray irrepressible women.

Although there is not any rules and regulations to who plays which character within a theatre production, especially with more contemporary creators who explore their artistic licenses for the latest ideas. The comical portrayal of the ‘cross-dressing‘ male has been kept alive not only in Seasonal Pantomime’s but in Films such as ‘Mrs Doubtfire’ 1993.

Other example of Modern day ‘cross-dressing’ for comical purposes include ‘Big Momma’s House 2′ 2006 and advertisement campaigns such as the ‘USA T-Mobile Families talk free’ as well as the ‘Bounty Kitchen Roll Carry On Cleaning’. Director Chris Columbus‘ ‘Mrs Doubtfire‘ is a drama that merges together the comedy and the purpose of the cross dresser. Actor Robin Williams plays a middle aged father who completely changes his image to appear as a elderly home maker, therefore he is able to see his children without his ex-wife or the authorities knowing. However, seeing a Lady of a certain age mimicking guitar players, taking part in sports and indirectly revealing masculine mannerisms is highly amusing for the audience.

I believe this is a rational depiction of the ‘cross-dresser’, because although Robin Williams’ character doesn’t take on the gender disguise as a way of life. We see the desperation that led him to the decision which the audience warms too.

Cross-dressing, Past and Present.

josephlandrethsmithcmp — Wed, 04 Nov 2009 03:10:50 +0000

“Cross dressing is a simple term for a complex set of phenomena. It ranges from simply wearing one or two items of clothing to a full scale burlesque. From a comic impersonation to a serious attempt to pass as the opposite gender…”

(Cross dressing, sex and Gender by V.L. and B. Bullough, Introduction)

The Bullough’s assertion relates back further into to British Comedy roots, such as the traditional Pantomime drag queens or ‘Dames’ who dressed for ‘a comic impersonation’. These comical characters include ‘Window Twanky’ in the Aladdin Pantomime, believed to of first been portrayed 200 years ago (http://en.wikipedia.org/wiki/Widow_Twankey).

Whereas now, after today’s consumer’s hunger for the ‘freak-show’ television (First person Media and Factual Televsion by J.Dovey). Modern documentaries such as Extraordinary people (2005 C5), Big Brother (2000 C4) and Teen Transexual (2008 BBC) could all be described as a media ‘freak-show’. This is when under-explored sub-cultures or rare conditions are exposed in greater detail for the ordinary person to leer at.

In conclusion, due to the increasing exposure of sexual orientation and issues of identity throughout the media. I think the sensitivity of the subject has grown to new levels and some representations of cross-dressing in the media, Pantomime or not, could be seen as offensive. Therefore institutions will need to be more careful not to offend in the near future when depicting both ‘comic impersonations’ and ‘serious attempts’.

As the Pantomime is very British, is this just something we, as a culture, are oblivious to the hidden seriousness?

Why then, is the lead male character in long-established Pantomimes, for example Alladin or Peter Pan, played by a female and yet not comical?

Representing the Cross-dresser.

josephlandrethsmithcmp — Wed, 04 Nov 2009 03:07:31 +0000

Another subject matter that connects to the theme of representations in ‘Carry on Cleaning’ or in this case the general Bounty Advertisement campaign, are the cross-dressing ‘housewives’ “Brenda and Audrey”.

During Blog entry ‘Figures and Facts’ I described how the sexual content in the ‘Carry on’ films was ahead of its time, here, Balchin’s Blog also describes:

“From this I also wish to argue that in issues relating to sexuality, the Carry On films were far ahead of their contemporaries, especially in their depiction of the gay male.” C. Balchin, Online Blog.

The ‘Carry on’ films have been using the themes of sexuality and gender exploration since they first began. Protagonist Kenneth Williams created a ‘camp’ screen personality (Gays and Film by R.Dyer), using feminine mannerisms and also appeared as a cross-dresser in ‘Carry on Matron’ (1973). I strongly believe that both examples where clearly for comical purposes. Both of these comical objectives are extracted and used in the ‘Carry on Cleaning’ commercial, “Brenda and Audrey” pull very feminine expressions through their stubble, which is amusing because of their poor attempt to hide their gender.

Does the level of attempt to cross-dress reflect wether the purpose is for comedy value or not?

Are gender and sexuality dominantly watched emphasized as comedy or looked through in drama?

Is the portrayal of the Housewives “Brenda and Audrey” Offensive to women?

‘Englishness’ and the Lower Class

josephlandrethsmithcmp — Wed, 04 Nov 2009 00:07:24 +0000

(In association with previous blog entry ‘The Great British Voice Over’)

The fusion of representing the lower class and higher class cultures in the ‘Carry on’ films and ‘Carry on Cleaning’ parody results in a wider audience appreciation. The ‘cockney’ ideologies is so widely recognized because of earlier texts such as ‘Oliver!’ (1944, 1968) and Night and the City (1950) that contain strong examples of the media generated representation and have continued in texts like ‘Only Fools and Horses’ 1981 and the attribute in Guy Ritchie Films such as ‘Lock, Stock, and Two Smoking Barrels’ 1998. Similar informal language, direct audience confrontation and slang is heard in ‘Carry on Cleaning’ such as “Cor’ blimey”, “Just look at that then” and “one in the eye for you”. This displays the ‘happy-go-lucky’ positive side of the culture that those involved would be satisfied with, as well as the mischievous side as seen in Oliver!.

Personally, I think I’ve anticipated my blunt, one sided view of how British stereotypes are portrayed, because I myself am English. I believe my mood has been sparked by the simple and internationally-friendly depiction of British cultures previous to the 21st century, such the ‘Carry On’ films. This is when English film and television where not yet comfortable illustrating people of Scottish, Irish, different sexualities and the immigrants. This is different to more contemporary British texts such as ‘Britz’ (2007 Channel 4) a drama following lives of British Muslims, ‘Loose Women’ (first broadcast 1999) a day-time chat show featuring working class females and ‘Skins’ (2007 E4) circling middle class dominating teenagers. Concluding in more racially and socially current issues that we, as modern consumers, can relate too.

www.imdb.com/name/nm0646751/

www.imdb.com/title/tt0042788/

www.itv.com/Lifestyle/LooseWomen/default.html

http://www.e4.com/skins/

Sunday Times ‘Islamic Britz’ November 4 2007

Further Questions:

What other groups are portrayed in the advertisement?

Are these groups, plus the ones already researched, represented positively or negativley?

‘Englishness’ and the High Class.

josephlandrethsmithcmp — Tue, 03 Nov 2009 21:54:07 +0000

‘The Carry on‘ Films and therefore ‘The Bounty Carry on Cleaning‘ advertisement both highlight the two main stereotypes in British Culture. The Cockney, and the Posh or more appropriately: the low class and the high class.

The high class is usually associated with Royalty, the United Kingdom is renowned for it’s Monarchy as it recognizes 16 nations in it’s Commonwealth (www.newworldencyclopedia.org/entry/Monarchy). The Queen’s stereotypical activities and the phenomenal propaganda that follows her, has been captured, revamped, and twisted by the remaining high class. The movement practices afternoon tea, country walks and manor gatherings among other events. In the opening of ‘Carry on Cleaning‘ we see the gathering in the large manor house highlighted by the grand double doors opened by a butler type character. We are also exposed to the extravagant wedding cake and typical array of items found during classic, English afternoon tea. This not only establishes the occasion in ‘Carry on Loving’ (1970), in which the advertisement is rooted, but also brings ‘Englishness‘ (word from Sunday Times November 25, 2007, by Jeremy Clarkson) to the spot light.

The Great British Voice Over.

josephlandrethsmithcmp — Tue, 03 Nov 2009 20:43:55 +0000

English Film and Television, particularly in documentary has been recognized for it’s iconic non-diegetic voice overs. In particular the upper-class voice of Sir David Attenborough who can be heard over the famous nature documentaries he wrote and presented including ‘Life on Earth’ (BBC 1979) and ‘Sharing Planet Earth’ (BBC 2007). An example of popular lower-class English voice overs could be the New Brit Gangster Films in which director Guy Ritchie uses a first person descriptive analysis from a actor speaking a cockney accent such as the protagonist ‘Turkish’ in ‘Snatch’ 2000. Geraldine Mcadam, in her dissertation ‘Carry On Culture’ agrees that “the British cultural images are supported by it’s language” (page 27)

To exercise the legendary theme of the ‘Carry on’ films whilst delivering the information needed in an advertisement, creative producers used very British representations and ideas throughout the commercial. For example the cockney voice over, or low-class describes the mise-on-scene before becoming even more casual and obvious stating. He starts by setting the scene and introducing the characters ‘Brenda and Audrey’, both are key to Bounty’s advertising campaigns to date.

The voice over uses the phrase ‘in a right two-and-eight‘, this is common cockney rhyming slang for ‘in a state‘, referring to being disorganized or chaotic. This is indirectly suggesting that life with Bounty Kitchen Roll is easier. The rhyme also highlights the dialect for the one of the two internationally portrayed English sub-cultures: The cockney or the Posh. Also known as the low class or the high class, which ‘Carry on‘ films express famously.

Further Questions:

What are the signifiers of the common British Stereotypes?

How do the British think they are represented compared to international television?

The Figures and the Facts

josephlandrethsmithcmp — Tue, 03 Nov 2009 20:39:13 +0000

The Bounty Kitchen Roll’s (or the renamed ‘Plenty’ Kitchen Roll from February 2009) ‘Carry on Cleaning’ advertisement campaign was released on 12th July 2007.

The television commercial is strongly based on the ‘Carry on‘ Films that started in 1958 and disintegrated slowly after they became extremely popular throughout the 1970′s. The film that director Simon Delaney links to most is ‘Carry on Loving‘ from 1970. Most of the films starred Kenneth Williams, Joan Sims and Barbara Windsor who have arguably helped create the stereotypical Carry On.

It’s favoritism with the public was not only due to it’s tongue-in-cheek humor or its early rebellion against the common political and cultural content. But each film took on fairly sexual content or ‘nudge-nudge’ humor for it’s time. It’s downfall began when sexual innuendo’s became natural for television and much of the regular cast and crew had moved on. The advertisement was edited at Rushes Studios in association with Plunge films, after only two days of filming and replicating each lighting set up only 7 shots where used.

(www.carryonlauging.co.uk/index.html)

‘Carry on Cleaning’ with Bounty

josephlandrethsmithcmp — Thu, 22 Oct 2009 20:34:06 +0000

After Watching the Bounty Kitchen Roll Advertisement, I can note several of my first thoughts and feelings.

First Observations:

Overall dated style, but with Computer Generated Images of recent footage embedded throughout the text.
Font is yellow and circus-like, appears to mimic the same text as the iconic ‘Carry on‘ films.
Two middle aged men dressed as women called ‘Brenda and Audrey‘.
Random food throwing and spilling.
Voice over with London/cockney accent, plus comical and saxophone based audio track. Sound effects throughout inc. laughter, splats and magical glistens.
Huge, messy ‘food-fight’ scene to close.

Here are the first few questions that spring to mind, which I could use as foundations for further research:

Why did Bounty Kitchen Roll choose this theme for their advertisement campaign?
When where the ‘Carry On‘ films introduced and popularized?
What are the main links to the films that Bounty has also adopted?
Why are the men dressed as women, and why are they late?
Why are the other characters shown in close up shots also?