the myth of monolithic capitalism
So there’s this Campari ad that people have been talking about lately. Mostly over on Skyscraper but also on Barbelith. A lot of the discussion centres on whether the ad is meant to read as ‘queer’, rather than resolving into heternormativity — particularly at the end, when the protagonists reveal to each other that they are in drag, oppositely ‘dragged’ you could say. There’s also some critique of the way that this ad makes genderbending into a game, rather than a real, daily-life thing. (Well, what can one expect from an ad for Campari, anyway? Advertisements are hardly going to present the material conditions of gender-bending as a way to convince people they want Campari.)
Some people are arguing that there’s a normal heterosexual, normatively gendered spectator out there who will merely read the ad on its surface, as a playful hetero game; that there’s no deep message buried in the ad about genderfuck being good, or okay, or sexy (Indeed, the ad is perhaps too sexy and objectifying.) Skyscraper writes:
from the onset i’ve considered it in the context of merely being a regular, one-dimentional campaign to get people to buy a certain product, that normally would not provide for complex analytical content and would not prompt complex, multi-level, educated interpretations.
It’s obviously a regular ad. And I don’t know if any hint of queerness here could be described as a ‘deep’ message, as if only two readings were possible, your ’surface’ and your ‘deep’ (your superficial, and real). Seeing the masculine chest of the one in the dress, and seeing the bound chest of the one in the suit, doesn’t necessarily tell us anything about their ‘real’ gender or their ‘real’ desires. It shows — it doesn’t tell.
But I hesitate to agree that normal ads are always one-dimensional or heteronormative. And I hesitate to agree that ‘yer average viewer’ is actually average, or normal. I think more ‘avergage’ people have gender variant desires or fantasies than anyone suspects. Many of them may only play out their fantasies in the privacy of their homes (or minds) — does that render them categorisable only by their sham surface normality?
And I definitely disagree with the assumption that reading ambiguity into that particular advertisement requires a gender studies degree; with the assumption that there are any ‘normal’ viewers here who aren’t capable of complex analysis. It seems quite clear to me that anyone who watches TV is evidently capable of complex analysis. Television narratives (and film, and pretty much any visual medium you care to name) can be read as always ambialent, ambiguous. That’s why people talk about television shows at the mythical ‘water cooler’, right? Because interpreting layers of meaning into narratives is what hooks us as spectators, or readers, in the first place. Complexity keeps us watching, tracking episodes, noticing the various installments of marketing campaigns, reading novels, reading narratives of all kinds, visual, textual and both/neither. Besides, isn’t it an insult to people who aren’t university-eduated to suggest that they aren’t capable of complex readings?
Therefore it’s impossible to know if the ad is meant to mock, or celebrate, or both at once. For me, the ad’s effectiveness at inciting debate here in the blogosphere only proves its indeterminacy and ambivalence more.
All this, of course, doesn’t make it any more or less than an ad for a bitter, clear, red aperitif that actually tastes rather foul. But I think it’s dangerous political territory to assume capitalism works in a linear, monolithic fashion with heteronormativity and/or gender-normativity. If that were the case, how could we start critiquing gay marriage, for example?
(I really want to quote Samuel Delany here, for some reason, because he does a similar thing with narrative and complexity and the refusal to assume people aren’t perverse or queer. But the quote I’m thinking of is from The Madman. But in looking for the quote I did find this awesome thread on ILX. If you met him, what would you ask Samuel Delany?)


