hollygraphics: MAD MEN SEASON 5 POSTER // THE ULTIMATE GAZE? The new season poster for the internationally acclaimed “Mad Men” continues to place the show in the realms of truly formidable television, not to mention social and political critique. I am a huge fan for a number of reasons, which of course include the brilliant aesthetic values of the show and formidable acting performances.  However this poster is a perfect encapsulation of a program which takes things to another level. “Mad Men” is successful in presenting a thoroughly accurate portrayal of a modernising political and domestic landscape (the attention to detail in terms of historical events, set dressing, appropriate colloquialisms and social discourse is unrivaled). However this setting is viewed through contemporary sensibilities, and herein lies the fascination. “Mad Men” presents an environment of chauvinists and social inequality but is self-reflexive in it’s presentation. As the viewer we are met with this outdated and often horrifying lifestyle and yet are aware of the writers’ sensitivity when exploring the subject matter, nothing is over simplified or trivialised, the most important factor is it’s complexity. It’s also a huge relief to see a show where female characters are equal in their exposure and development, and not simply decoration (particularly fascinating when regarding the premise of the show). Peggy, Joan, Betty, Dr. Miller and Sally (to name a few) a fully functioning and complex characters. None are used as simple puppets for unfounded metaphors of sexism, women’s liberation or accessories to male pysche. Sadly the same could not be said for shows such as “Boardwalk Empire” (a real shame as it’s fantastic apart from this vital flaw) and the sickly sweet and fairly disasterous “Pan Am”. To speak of the poster then, this is an arresting image to any viewer, but my immediate reaction is to deconstruct it in term of the gaze. Here there is the classic view of not one, but two men looking at the nude female figure. A huge amount of readings could be made from this process of viewing. Here Don Draper, a character who is idolised by many a successful and outrageously charismatic ad executive, portrays his key characteristics, and gives an indication of what we are to expect from the series: As Draper looks into the shop facade he views the male figure. This mannequin is aspirational in terms of the old world order: the boys’ club, the successful gentleman in the smoking jacket alludes to a world led by social and monetary status, in which material possessions is an important asset. As viewers we know Draper struggles hugely with his impoverished past, and his over all identity (and deceit). By viewing the male mannequin Draper is assured of his aspirations and everything he wants to be. At the end of the last series he began to unravel, is this an indication that ferocious ambition will finally beget him? Secondly, Draper looks at himself, his reflection in the glass. This is his real character, flawed and human. In this instance there is the comparison of the ideal and also Draper’s constant status as a mysterious outsider, the man who cannot be placed or tied down. He is always a displaced and separated individual.  Now we have the nude female mannequin. In terms of it’s relation to the male mannequin, the figure relates to sexual availability. This scene depicts a situation Draper is familiar with: objectifying women in terms of sexualised objects and fulfilling his desires due to his status and charismatic personality.  However more can be read into this. The scene behind the glass would seem as growing outdated in terms of 1960s New York, perhaps a display in an outdated department store. Draper is looking in on an old world which is fading, and which he was once, or perhaps has always desired to be, a part of. The symbol of the nude woman can also be read in other ways. Here Draper looks in on a scene which perhaps he wants to depart from, he is getting remarried after all, (although I wouldn’t count on it.) The nude could also be a metaphor for how he, as well as other male counterparts, use women as a means to shape their existence and displacement or lack of confidence and satisfaction (see Roger Sterling). The naked woman is a vessel for male insecurities. Lastly, and perhaps an interpretation that I would find most exciting, is that these two male gazes are both focused on the woman, undoubtedly sealing the status of the female character as an all important factor in this series. As the old-fashioned mannequin and mid-life crisis ridden ad man look on, it is the WOMAN at the forefront, and clothed or not, she’s going to make an impact. If in doubt of such an interpretation just view this Season 5 teaser…

hollygraphics:

MAD MEN SEASON 5 POSTER // THE ULTIMATE GAZE?

The new season poster for the internationally acclaimed “Mad Men” continues to place the show in the realms of truly formidable television, not to mention social and political critique. I am a huge fan for a number of reasons, which of course include the brilliant aesthetic values of the show and formidable acting performances. 

However this poster is a perfect encapsulation of a program which takes things to another level. “Mad Men” is successful in presenting a thoroughly accurate portrayal of a modernising political and domestic landscape (the attention to detail in terms of historical events, set dressing, appropriate colloquialisms and social discourse is unrivaled). However this setting is viewed through contemporary sensibilities, and herein lies the fascination.

“Mad Men” presents an environment of chauvinists and social inequality but is self-reflexive in it’s presentation. As the viewer we are met with this outdated and often horrifying lifestyle and yet are aware of the writers’ sensitivity when exploring the subject matter, nothing is over simplified or trivialised, the most important factor is it’s complexity.

It’s also a huge relief to see a show where female characters are equal in their exposure and development, and not simply decoration (particularly fascinating when regarding the premise of the show). Peggy, Joan, Betty, Dr. Miller and Sally (to name a few) a fully functioning and complex characters. None are used as simple puppets for unfounded metaphors of sexism, women’s liberation or accessories to male pysche. Sadly the same could not be said for shows such as “Boardwalk Empire” (a real shame as it’s fantastic apart from this vital flaw) and the sickly sweet and fairly disasterous “Pan Am”.

To speak of the poster then, this is an arresting image to any viewer, but my immediate reaction is to deconstruct it in term of the gaze. Here there is the classic view of not one, but two men looking at the nude female figure. A huge amount of readings could be made from this process of viewing. Here Don Draper, a character who is idolised by many a successful and outrageously charismatic ad executive, portrays his key characteristics, and gives an indication of what we are to expect from the series:

As Draper looks into the shop facade he views the male figure. This mannequin is aspirational in terms of the old world order: the boys’ club, the successful gentleman in the smoking jacket alludes to a world led by social and monetary status, in which material possessions is an important asset. As viewers we know Draper struggles hugely with his impoverished past, and his over all identity (and deceit). By viewing the male mannequin Draper is assured of his aspirations and everything he wants to be. At the end of the last series he began to unravel, is this an indication that ferocious ambition will finally beget him?

Secondly, Draper looks at himself, his reflection in the glass. This is his real character, flawed and human. In this instance there is the comparison of the ideal and also Draper’s constant status as a mysterious outsider, the man who cannot be placed or tied down. He is always a displaced and separated individual. 

Now we have the nude female mannequin. In terms of it’s relation to the male mannequin, the figure relates to sexual availability. This scene depicts a situation Draper is familiar with: objectifying women in terms of sexualised objects and fulfilling his desires due to his status and charismatic personality. 

However more can be read into this. The scene behind the glass would seem as growing outdated in terms of 1960s New York, perhaps a display in an outdated department store. Draper is looking in on an old world which is fading, and which he was once, or perhaps has always desired to be, a part of.

The symbol of the nude woman can also be read in other ways. Here Draper looks in on a scene which perhaps he wants to depart from, he is getting remarried after all, (although I wouldn’t count on it.)

The nude could also be a metaphor for how he, as well as other male counterparts, use women as a means to shape their existence and displacement or lack of confidence and satisfaction (see Roger Sterling). The naked woman is a vessel for male insecurities.

Lastly, and perhaps an interpretation that I would find most exciting, is that these two male gazes are both focused on the woman, undoubtedly sealing the status of the female character as an all important factor in this series. As the old-fashioned mannequin and mid-life crisis ridden ad man look on, it is the WOMAN at the forefront, and clothed or not, she’s going to make an impact.

If in doubt of such an interpretation just view this Season 5 teaser…


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