Masculinity And Gender In Kannada Television Advertisements: A Content Analysis

Media in India is a powerful institution shaping cultural values, social practices, and collective imagination. Television, with its wide reach and visual appeal, plays a unique role in influencing everyday life by not only entertaining but also informing, educating, and reflecting social norms. As one of the largest television markets globally, India places advertisements at the core of this ecosystem. Advertising today goes beyond selling products; it constructs social realities by embedding cultural values and normative behaviours. Thus, television advertisements become a key site for examining how gender, power, and identity are portrayed, reinforced, or challenged.

Historically, Indian television advertising has sustained gendered stereotypes through simplified narratives. Women were routinely cast as homemakers, caregivers, or beauty-conscious individuals, while men appeared as authoritative breadwinners, rational and strong. Campaigns for detergents consistently portrayed women as housewives, fairness cream ads framed beauty as women’s ultimate goal, and financial products relied on male figures for credibility. Such portrayals normalized restrictive roles and instilled ideas of “appropriate” masculinity and femininity.

In Kannada television advertising, women’s identities remain narrowly framed. They are often shown as devoted mothers, dutiful wives, or ideal daughters, and frequently sexualized in ads for beauty, food, fashion, and childcare products. Emphasis on fairness, slimness, youth, and beauty side-lines women as professionals, leaders, or independent individuals. These portrayals perpetuate exclusionary standards and marginalize those who do not fit these ideals. Masculinity, meanwhile, is depicted through authority, dominance, and strength. Men often appear as protectors, achievers, or rational problem-solvers. In regional contexts, these representations are amplified by cultural traditions and family structures. Kannada advertisements thus reinforce national patterns while embedding stereotypes in local values. Still, a few regional ads have begun to challenge these portrayals by presenting women in leadership roles and men in caregiving contexts, suggesting slow movement toward inclusivity.

Over the last decade, Indian advertising has experienced a shift, influenced by feminist critiques, globalization, and digital media. Campaigns now increasingly feature men sharing domestic responsibilities and reject the idea that household work is solely a woman’s duty. Beauty brands highlight self-acceptance rather than rigid ideals, while women are more often depicted as decision-makers and professionals. Similarly, masculinity is diversifying, with men portrayed as sensitive, emotional, and nurturing, especially in narratives of fatherhood. These shifts reflect global demands for socially responsible and inclusive representations.

Despite these changes, traditional stereotypes remain dominant. However, younger audiences, empowered by social media and global exposure, are critical of regressive portrayals, pressuring brands to adapt. Against this backdrop, the present study examines portrayals of masculinity and gender in Kannada television advertising, seeking to uncover whether these ads reinforce stereotypes or reflect inclusive practices, thereby contributing to broader debates on media, gender, and identity in India.

LITERATURE REVIEW

Deogirikar Sonali and Bobhate Prathamesh Rajesh Anagha (2024) carried out a study on Empowerment or objectification? An analysis of female representation in modern Indian media. They opined that the objectification of female representation in modern Indian media requires a multifaceted approach, promoting more diverse and authentic portrayals of women, and challenging stereotypes and gender norms. Additionally, media literacy programs can help audiences critically analyze and deconstruct harmful representations of gender in media, fostering a more inclusive and equitable media landscape.

Shikha Smriti and Vaidya Manjiree (2024) carried out research on "Deconstructing gender roles in Indian advertising and Media" and revealed that women are presented as either objects of desire or objects of domesticity, with little room for the multifaceted reality of the female experience. This not only reinforces gender stereotypes but also hinders progress towards a more equitable society. However, there are signs of a new movement emerging within the advertising symphony. Brands are increasingly recognizing the importance of diversity and inclusion.

J Jeyarania and R Vasanthan (2023) in their review research on “The evolving Image of Women in Indian advertisements” found that although women in India were portrayed as conventional and stereotyped characters, today, the shifting difference in their image and the product categories they advertise is clear and superior. The review highlights that there is an increased representation of women and girls across age, class, color, and other diversity indicators. At the same time, more women and girls are portrayed as leaders, especially in the public sphere, and there is a visible positive growth in gender norms.

Sarma Sriya (2022) in her research on “Objectification of women in mass media advertisements” opined that there is a great difference between the depiction of men and women in advertisements according to their socially constructed gendered roles. Men are always engaged with advertising car companies whereas women are seen in the ads of household products along with a fabricated domestic environment. She also asserts that the representation of women in most of the advertisements is seen in the form of a kind mother, loyal wife, and a hyper-sexualized object through erotic images of legs, hips, lips yes, etc.

Sree Pavani Vanteddu (2021) studied the role portrayal of women in Indian television commercials and its impact on consumer buying behaviour. The findings reveal that women’s portrayal influences brand recall and creates positive product opinions. Independent and professional roles impact buying in home care and food & beverages, while the beauty symbol role influences personal care products. Though women are shown as decision-makers, their power is confined to home and personal care. She concludes that respondents dislike depictions of women as sex objects, preferring portrayals aligned with real societal roles.

Gajsinghani Khatri Nee Asha (2020), in his study on “Portrayal of women in advertisement in India” found that advertisements through electronic media have enhanced glamour through attractive presentation of female physique. He said the figure of women is being shown in advertisements to promote the sales of products related to cosmetics, jewelry, physical fitness etc. The survey findings reveals that female feels pressure from advertisements to have a perfect body shape to look beautiful.

NEED FOR THE STUDY

Advertisements significantly shape perceptions and reinforce cultural norms, with Kannada television playing a major role in influencing gender portrayals. These ads often reinforce traditional stereotypes, shaping public attitudes toward identities and expectations. In a society where gender roles are evolving, it is crucial to examine how masculinity is represented in regional media. This study explores the construction of gender roles in Kannada advertisements, showing women depicted through beauty, domesticity, and dependence, while men embody power, authority, and emotional restraint. The research underscores advertising’s deep influence on viewers, advocating for diverse, inclusive portrayals that challenge stereotypes and encourage progressive social change.

Purpose of the Study:

The purpose of this study is to examine gender discrimination and the portrayal of masculinity in advertisements on Kannada television channels. In society, unequal distribution of gender roles and behaviours often leads to serious consequences, including crime and violence against women. A key factor underlying these issues is the persistence of masculine attitudes, ideas, and opinions, shaped by social upbringing and reinforced by media representations. Since media plays a powerful role in accelerating such gendered notions, this research takes a unique approach to analyse how masculinity is constructed and perpetuated through television advertisements.

Statement of the problem:

"Masculinity and Gender in Kannada Television Advertisements: A Content Analysis”

Objectives of the Study

1. The facets of gender disparity as highlighted and downplayed by the Kannada TV advertisements.
2. To assess the impact of advertisements upon men and women in the construction of masculinity.
3. Traits of Advertisements and their masculine impact on men regarding masculinity and feminism can be understood.
4. To study the positive and negative aspects of the portrayal of women in Kannada TV advertisements.

RESEARCH DESIGN AND METHODS

For the present study, five Kannada television channels were purposively selected to represent different genres with the highest TRP ratings: Zee Kannada (Entertainment), TV9 Kannada (News), Udiya Movies (Movies), Udiya Music (Music), and Star Sports Kannada (Sports). Advertisements telecast on these channels during the study period were chosen using purposive sampling technique. The selection was based on two key criteria: (i) advertisements belonging to popular brands, and (ii) categories of advertisements that recorded the highest frequency of telecasts. To ensure systematic analysis, a coding framework originally developed by media professionals and subsequently modified by the researcher was employed. The selected advertisements were then examined in depth to understand patterns of masculinity and gender representation.

Variables: Dress Code, Age, Race/Skin, Body Language, Camera Angle, Voiceover

RESULTS AND DISCUSSION

Freedom Refined Sunflower Oil

Visuals - 4.1

The television commercial featuring the Kannada film industry’s power couple, Radhika Pandit and Yash, is captioned Enno Badalaagide (translated to "Something has changed") and subtly explores hierarchy and gender roles in a typical household. The ad begins with actor Yash energetically working with a grass cutter while singing “I feel great” early in the morning. He highlights his extra energy and physical power, attributes often associated with masculinity, as he juggles jogging, household chores, and carrying extra luggage with enthusiasm. Meanwhile, Radhika Pandit is shown in the kitchen, reinforcing her association with traditional household responsibilities. When Yash comments that “something has changed,” she reveals her switch to Freedom Sunflower Oil, emphasizing a shift toward a healthier lifestyle. Despite featuring two equally popular actors, the ad subtly positions the woman as the decision-maker for kitchen-related and household purchases. The man, though active, is portrayed as a passive beneficiary of her decisions, underscoring the conventional belief that maintaining the family’s health is the woman’s responsibility. The ad also highlights how the benefits of the product cater predominantly to the fitness and energy of the husband, aligning with traditional notions of machoism. The camera focuses on Yash’s strength and dynamic body language to convey his physical vitality, while Radhika is shown feeling validated for her choice. Ultimately, the commercial reinforces the conventional household setup, assigning caregiving and domestic decision-making to women while presenting men as beneficiaries of these efforts, maintaining traditional gender roles.

Swastik Gulab Jamun Mix

Visuals - 4.2

The Swastik Gulab Jamun commercial challenges traditional gender norms by casting popular Kannada actor Puneeth Rajkumar as the lead protagonist, a role typically reserved for women in kitchen product ads. The narrative opens with Rajkumar surrounded by children, who eagerly ask for Gulab Jamun. He proceeds to cook and serve it, introducing the brand while showcasing a nurturing, caregiving side of men that is often absent in mainstream advertisements. This portrayal subverts the typical association of men with hyper-masculinity and emphasizes that cooking and caregiving are not gender-specific roles. Additionally, the ad features a dusky-skinned male actor, breaking the beauty and skin color stereotypes often perpetuated in media. By casting Rajkumar, known for his family-oriented fan base, the brand positions itself as trustworthy liked by children and endorsed by a figure who defies conventional gender roles. The ad sends a progressive message, suggesting that nurturing qualities and domestic responsibilities are shared by both genders.

The Swastik Gulab Jamun ad effectively challenges traditional gender roles by portraying Puneeth Rajkumar, a male actor, in a caregiving and nurturing role, typically reserved for women. This progressive portrayal promotes the idea that domestic responsibilities and nurturing traits are not confined to one gender, promoting equality and breaking stereotypes.

Kurkure

Visuals - 4.3

The Kurkure advertisement featuring popular actress Samantha portrays the story of ‘Mrs. Chandralekha Mohan,’ a protagonist thrilled to start her new business after her MBA results. However, she faces opposition from her mother-in-law, who embodies stereotypical patriarchal views. The mother-in-law dismisses Chandralekha’s ambitions with the remark, “Forget the business, this is the age to play with kids, not start a business,” reflecting societal expectations that dictate marriage and child-rearing as women’s primary roles at a certain age. This character symbolizes women who have internalized patriarchal norms, perpetuating them across generations. Although no male characters appear in the ad, the deep-rooted patriarchal mindset upheld by the mother-in-law is evident. Despite the resistance, Chandralekha stands firm in her aspirations, eventually convincing her mother-in-law by sharing Kurkure Munch Masala, symbolizing the brand’s tagline of triggering ‘fresh thinking.’ Here, fresh thinking challenges the conventional notion that women should solely focus on domestic responsibilities and child-rearing. The advertisement positions Kurkure as a bridge between traditional and progressive mindsets, advocating for change through a small but meaningful act. However, the narrative takes a diplomatic turn towards the end, with the mother-in-law stating, “You can do business and also play with kids.” This conclusion subtly reinforces the expectation that, despite professional aspirations, women should not abandon their caregiving roles. It reflects the ongoing tension between societal norms and women’s professional ambitions, highlighting the gradual yet complex shift in gender roles.

Pampers

Visuals - 4.4

The Pampers advertisement features a young mother and an infant with a female voiceover. The ad reinforces women's role in childcare and raising kids whereas the male counterpart plays no role throughout the film. The advertisement is in a musical format with a female normal voiceover focusing on the narrative of a mother's efforts positioning her as the primary caregiver, excessively portraying the mother-infant relationship. The woman primarily taking care of the child's needs along with the absence of the men in the family emphasizes the notion that childcare is a woman's duty and how a man's role in parenting is secondary, usually associated with traditional societal expectations. The ad only embraces femininity linking it with gentleness, patience, and motherhood aligning with the cultural expectations in parenting, it becomes a product that the mothers approve of, relegating the role of a father in childcare. By portraying only women in the advertisement related to childcare, it becomes inevitable to notice that it is targeted at mothers and not everyone responsible for childcare. Moreover, the brand with the narrative features a fair-skinned mother and a baby reinforcing the colourism existing in the society with lack of inclusion.  This entrenches the societal bias making only fair skin tone an appealing one to the audience. The overall tone of the ad is positive, building trust as they connect the product to the uninterrupted sleep of the baby which makes the targeted audience a reason to buy the product.

Denver Perfume

Visuals - 4.5

The Denver Perfume television commercial features popular actor Kiccha Sudeep focusing on hyper-masculinity through sexual appeal. The commercial starts with the actor claiming that he usually never wears perfumes, but when he does, it ends up not being ‘usual’, stating his dominance over his environment. He then goes around wearing the Danver perfume as the plot starts to appeal to the gender stereotype from this buildup of the narrative. After he wears the perfume, a woman arrives at the scene, visibly charmed by the actor's presence, adding to his 'manliness'. Here, the hyper-masculinity of the actor associated with the product is shown as the reason she feels captivated by his presence. The whole tone of the commercial weighs on sexual appeal, where the fragrance of the perfume is shown as a tool to attract women, while the woman featured in the ad does nothing other than being hyper-feminine in a sexual manner, in awe of the actor's presence. Here the role of women boils down to an object of desire, with no talent or dialogues. Luring attention towards the product by objectifying women is blatant throughout the commercial, strongly associating it with stereotypes of masculinity and femininity. Moreover, the ad attributes to the conventional beauty standards portraying a woman that caters to the fair 'skin- skinny body type' appearance who is also portrayed as submissive. In contrast, the male protagonist attributes this to the dominant hyper-masculine figure as he lionizes his ability to attract women to a perfume.

Sugar Cosmetics

Visuals - 4.6

The Sugar Cosmetics television commercial featuring actress Tapsee Pannu highlights the use of makeup to boost confidence and beauty, targeting women by evoking emotions of self-esteem and bravery. The ad opens with Pannu saying, “Mirror, mirror on the wall, when will you stop judging us all,” aiming to challenge societal judgments. While the narrative seeks to promote self-assurance, it adheres to traditional beauty standards by casting a fair-skinned, tall actress, continuing the long-standing association of beauty with hyper-femininity in cosmetic advertisements. Tapsee Pannu’s confident demeanor positions her as the epitome of an empowered woman, yet this empowerment aligns with conventional traits of femininity tied to fair skin and flawless appearances. The ad visually reinforces these ideals by excluding diverse body types and skin tones, failing to promote representation and inclusivity. It perpetuates the societal notion of an “ideal woman,” emphasizing smooth, blemish-free skin achieved through makeup, and neglects to challenge the stereotypical image of beauty.

The Sugar Cosmetics commercial featuring Tapsee Pannu reinforces traditional beauty standards by emphasizing fair skin and hyper-femininity while neglecting inclusivity and gender neutrality. Despite promoting confidence, it fails to challenge societal norms, limiting representation and missing the opportunity to embrace diverse definitions of beauty.

Clinic Plus Shampoo

Visuals - 4.7

Advertisements with children and childcare usually feature a mother with her child and this clinic plus ad is no different when a child features on their ad. The product used the emotional appeal of motherhood, womanhood associating it with the product. In the commercial, the child complains about the bullying she faces in school where the mother is seen encouraging the child to be strong and confident, reflecting the nurturing caregiver role usually the mother plays in a child’s life. The setting and the buildup of the film depict the mother preparing the child for the day, the after-bath look along with the packing supports the fact that it is morning. The absence of a male counterpart of a father with no role in the environment marginalizes the father's role in childcare and nurturing emotional support as a parent aligning with the cultural expectations. The clinic plus shampoo is connected to the child's strength and a mother's guidance encouraging kids and everyone to use it. The product is biased towards gender roles, as they focus on targeting women and girl children. Visually analyzing it further, the ad provides an environment showcasing a mother in a supportive environment once again reinforcing the idea of the cultural expectation that a mother must instill values and principles in a child. Even though shampoo is a unisex product, the placement of the product anchors towards the women viewers and buyers. The overall tone of the commercial is empowering, with a confident body language while also upholding the gender roles in raising and empowering children in the society which is weighed on mothers or women in the family.

Colgate Toothpaste

Visuals - 4.8

The Colgate television advertisement highlights the need for strong teeth through good oral care. Anchoring the ad’s narrative to masculinity and strength, the plot starts with actor Santhosh Pratap breaking a tender coconut with his bare arms, as a matter of flexing his physical strength which is linked to masculinity. However, as soon as he takes a bite of the coconut his masculine power gets undermined by a toothache, hunting it down to how his teeth are not as strong as his physique, challenging the narrative associated with strength portrayed in the beginning. The next moment, popular actress Samantha Ruth Prabhu arrives as a reporter and questions him: Do you have salt in your toothpaste? Indicating the absence of the important ingredient in his dental weakness. The plot brings a shift from masculine power to oral wisdom with her role as a problem solver. She gives him the solution for strong dental care with the introduction of Colgate active salt toothpaste for him to attain overall strength including effective oral care. The commercial subtly diverts the conventional idea of strength associating it with a man to strength is something that requires overall care. The visual cues of Colgate Oral Care fighting off the germs with a fist depict a masculine approach toward dental problems. The advertisement brings out a new approach to strength, subtly questioning the machoism, that even a physically strongest individual needs good oral care and strength needs a comprehensive approach as it includes overall strength that includes self-care.

Santoor Gold

Visuals - 4.9

The Santoor Gold television commercial perpetuates traditional beauty norms by emphasizing fair, blemish-free skin as an essential aspect of beauty. The ad features a young woman playing a tourist guide, whose flawless appearance becomes the focal point, reinforcing the idea that beauty defines a woman’s worth. Her fair skin and youthful look garner admiration from her tourists, with a comment highlighting how her beauty overshadows the Taj Mahal, further feeding insecurities among other women. The ad promotes unrealistic beauty standards by portraying an idealized image of femininity—youthful, fair-skinned, and slim. The use of warm colors and the portrayal of smooth, clear skin, despite the product's claim of using natural ingredients like sandalwood and Kesari, present an ironic contradiction. The ad enforces the societal pressure for women to conform to rigid beauty standards, neglecting the idea of natural beauty and reinforcing the superficial value placed on appearance.

The Santoor Gold commercial reinforces societal beauty standards by associating a woman's worth with her physical appearance, specifically fair, flawless skin. It promotes unrealistic beauty ideals, creating insecurities among women. Despite claiming to use natural ingredients, the ad paradoxically presents an idealized image of femininity, emphasizing superficial beauty and disregarding the concept of natural beauty.

Comfort Fabric Conditioner

Visuals - 4.10

The Hindustan Unilever Limited’s New Improved Comfort commercial features popular actor-couple Sneha and Prasanna in a household context. The advertisement starts with Sneha walking in the kitchen while Prasanna is seen cutting the onions, an unusual scene in mainstream ad films. His presence in the kitchen without any amount of glorification sets the tone of the rest of the plot emphasizing the breaking of constructed gender stereotypes when it comes to household chores. “Looks like cutting onions is my daily routine in lockdown", Prasanna mumbles in a light-hearted complaining tone, implying this is an everyday phenomenon. The ad normalizes the involvement of both partners in household chores without demeaning or glorifying any gender, particularly emphasizing that life skills are not assigned to any gender. Hearing his distress Sneha asks if he is okay and goes on to make him feel better playfully putting the dupatta over his face. The fragrance from the cloth changes his mood instantly elevating the entire mood of the environment to a playful romantic moment between the spouses. The relationship between the couple making their mundane activities filled with fragrance and warmth portrays a balanced relationship that breaks the cultural expectations of both genders.

Surf Excel Matic Liquid

Visuals - 4.11

The New Surf Excel Matic Liquid commercial introduces a new product while reinforcing traditional gender stereotypes. The ad features two mothers and their children, a boy and a girl. It begins with the children walking home from school when a mud-covered football rolls toward them. The boy bravely stops the ball with his chest, portrayed as a “savior” protecting the girl, reinforcing gendered roles over parental responsibility. The girl, concerned about the boy’s dirt-stained shirt, hears him casually assert that his mother can clean it effortlessly with “three fingers.” This narrative underscores laundry as a woman’s responsibility, despite the product being usable by anyone with basic knowledge of a washing machine. In the next scene, the boy’s mother explains the product to the girl’s mother, framing such knowledge as exclusive to women, further reinforcing their domestic roles. The mothers’ contrasting attire-the boy’s mother in modern casual wear and the girl’s mother in traditional salwar-highlights societal binaries of modernity versus tradition but reduces both to caretaking roles. By depicting the boy as a hero and the woman as passive, the ad perpetuates patriarchal norms and gender biases.

The New Surf Excel Matic Liquid ad reinforces traditional gender roles, portraying women as primary caretakers responsible for laundry. Depicting a boy as a "savior" and women exchanging household tips perpetuates patriarchal norms. Despite contrasting modern and traditional attire, both mothers are reduced to caregivers, reflecting entrenched stereotypes.

RIN

Visuals - 4.12

The New Rin television commercial promotes women's empowerment by portraying its lead protagonist as a confident, strong, and financially independent woman. Set in a government office, the ad showcases the protagonist’s female colleagues enviously admiring her bright saree. When a male figure attempts to bribe her for approval, she firmly rejects his offer, maintaining her integrity. This interaction emphasizes that women can be financially and ethically strong, challenging male authority. The ad’s slogan, “Get bright like your clothes wash after wash,” links the protagonist's clean conscience with her clean clothes. The commercial avoids glorifying masculinity or diminishing the woman’s image by presenting both characters on equal power levels. The choice to cast a middle-aged, non-fair and non-skinny woman makes the ad more relatable to a wider audience, focusing on her intellectual and professional qualities rather than her physical appearance.

The New Rin commercial reinforces the idea of women's empowerment by portraying a female protagonist as confident, professional, and ethically strong. It challenges traditional gender roles by presenting her as an equal to the male character, focusing on her intellectual qualities and integrity. The ad highlights empowerment through actions rather than physical appearance, making it relatable to a broader audience.

Table 4.1: In-depth Analysis of Selected 12 Advertisements