Tide, Kiss of the Vampire & Super Human

The provided sources outline three distinct promotional texts—Kiss of the Vampire, Tide, and Super. Human.—which illustrate how media language and representation evolve to reflect their specific social and cultural contexts.

The Kiss of the Vampire (1963) poster is a quintessential example of the Hammer Horror aesthetic, using gothic iconography like bats and shadowy architecture to signify mystery. It relies on traditional gender binaries: a vulnerable female in a white gown symbolizing purity and a dominant male vampire embodying threat. The jagged, blood-red typography reinforces a narrative of violence and peril designed to attract audiences through a blend of fear and seduction.

In contrast, the 1950s Tide print advert targets the post-war "housewife" by promising domestic perfection. Using a Z-line composition and bright primary colors, the advert connotes positivity and modern innovation. It employs hyperbolic language ("World’s whitest wash!") and technical bullet points to establish brand leadership. Like the vampire poster, it reinforces stereotypes; the main character acts as a role model of domestic servitude and "shared conceptual road maps" of 1950s femininity.

Finally, the Super. Human. (2020) audio-visual advert for the Paralympics marks a significant shift toward progressive representation. Unlike the earlier texts, it avoids "victim" or "hero" stereotypes, instead focusing on the "human" realities of disabled athletes, such as the struggles of training juxtaposed with everyday tasks like eating breakfast or giving birth. By using an upbeat soundtrack (So You Want to be a Boxer) and the provocative slogan "there’s got to be something wrong with you," the advert challenges misconceptions and aims to broaden the audience's understanding of identity.

Together, these adverts track a journey from highly stylized gender archetypes to a more realistic, inclusive portrayal of the human experience