I saw an advert for Werther's Original on television last night. It was very much unlike the adverts for Werther's that used to run when I was younger. I remember old ones featuring a grandfather with his grandson on his knee. Apparently they swapped grandfather for father in a subsequent round of advertising. The latest incarnation of the advert features a female narrator telling us about how she remembers having her first Werther's at five. Whilst we are told this, a stunning girl (supposedly meant to be the five-year-old, but who is clearly somewhere between eight and ten) in plenty of make-up (tastefully done, but alluringly adult, much like the Disney advert girls) enters a shop that looks like a cross between Hamley's and Willy Wonka's Chocolate Factory, and is handed a sweet by the male figure, who is now neither grandfather nor father but simply a shopkeeper, though he's dressed like one of the chocolatiers on a Lindt advert (it's very similar in style to the Lindt adverts, so it's clear Werther's are trying to lend their product a touch of class). The only major interaction between the male figure and the girl is now a shot of his hand holding out the sweet and her hand taking it; it's gentle and benign, there's a slight pause when both are holding the sweet at the same time (but this pause is to allow the viewer to take in the sight of the product) and we get a sense of the old grandfatherly affection between old man and girl which is then reinforced by a shot of him looking down at her with a beaming smile and fondness in his eyes, looking over a pair of half-moon spectacles in a way that only an entirely asexual grandfather figure could.
What interests me is the way that the male figure has been increasingly distanced from the child figure in the subsequent incarnations of the advert, both physically and emotionally. From sitting on knee to father-son conversation to having a male figure who is simply a shopkeeper handing over a sweet. And at the same time, the child has become more 'sexualised' (for want of a better word - it's the word some hysterical members of the general public use whenever a ten-year-old girl features in Vogue in high heels and make-up, cf. the case of Thylane Blondeau). So on the one hand we have increasing sexualisation of the child and on the other increasing distance in the adult-child relationship. I'm not saying this is effected deliberately in terms of consciousness about sexuality and the erotic aspect of the adult-child relationship; in fact, I think
this short article in the Daily Telegraph from 2006 shows how, ostensibly, the decision to adjust the role of the adult figure has been a product of changing perception of the necessary degree of formality in adult-child relations. Incidentally, I may have missed out on other incarnations of the advert (I lived abroad for quite a few years). But I do perceive here and in general a trend towards increased sexualisation of children and an increase in the distance required in the adult-child relationship to preserve an acceptable degree of chastity, these two trends being contemporaneous (perhaps coincidentally, but I doubt it) with soaring levels of moral panic and paranoia. Which begs the question: are we overprotective because we're afraid of the bogeyman
out there or are we really denying the erotic potentiality of the young whilst at the same time affirming it?
The effects are interesting. For me, seeing young girls dressed and made-up like classy, elegant and beautiful little adults (this Werther's advert, but cf. the catalogues of clothing companies like Boden) evokes not so much what I'd want my hypothetical daughter to look like as what I would myself like to look like. When I see the girl on the Werther's advert, I see an approximation (a diminutive one, but only just on the right side of that fence) of what I would like to be. The girl appeals more to my insecurities and desires than to my idealised notion of childhood, which is only enhanced by the fact that the standard Werther's story is always narrated by an adult remembering childhood in a tone of fond nostalgia. Indeed, the advert was running late evening - a time when five-year-olds are in bed. This puts the advert in the same bracket as the ones for Sheba cat food, which feature a stunning, smiling model sashaying across the screen as she feeds her cat, with the silky smooth voice of the female narrator and seductive language appealing more to our taste, wants and needs than to those of a cat. I think we sexualise children in advertising and marketing material because we ourselves are sexual, and it is this imagery that speaks to us subconsciously and appeals more powerfully to our vanity and insecurities more than any image of idealised childhood. The child - like the cat - is rendered an extension of our own self-image, our own ego. And the increase in distance required to keep this chaste is perhaps a corollary of our unease at this process of sexualisation, at this teasing out of the erotic potentiality in children.
Just as an addendum, my cousin was recently told at his daughter's nursery play that he wasn't allowed to take photos 'in the interest of the children's safety'. Although the nursery were quick to point out that it was a general policy and not aimed at any individual, this vapid statement raises a lot of questions itself. Taken as an utterance symptomatic of prevalent sociocultural attitudes, what is being expressed here? Who is afraid, and of what?