Ways of Seeing, Publicity and Perceived Value
Ways of Seeing, Publicity and Perceived Value
John Berger’s book Ways of Seeing (1972) expanded on ideas first introduced through the BBC television series of the same name. This essay focuses on Berger’s ideas in Chapter 7, “Publicity”, and explores how images, advertising and visual culture shape perception, desire and ideology. The methodologies used to examine this visual text are Marxism, semiotics, particularly paradigms and binary opposites, and visual culture theory.
What interested me most about Berger’s writing was not simply the critique of advertising itself, but the way he explained complex ideas around power, value and consumer culture in a way that was accessible and visually engaging. His work raised questions about how images influence aspiration, identity and social behaviour — questions that continue to feel highly relevant today.
According to Sturken and Cartwright, “Marx thought of ideology as a kind of false consciousness that was spread by dominant powers among the masses, who are coerced by those in power to mindlessly buy into the belief systems that allow industrial capitalism to thrive.” This concept relates closely to Berger’s argument that publicity and advertising are not neutral forms of communication, but systems that encourage individuals to aspire towards lifestyles and identities linked to consumption.
Berger states:
“Glamour cannot exist without personal envy being a common and widespread emotion. The industrial society which has moved towards democracy and then stopped half way is the ideal society for generating such emotion.” (Berger, 1972:148)
The word “glamour” carries connotations of attractiveness, status, desirability and social visibility. It is associated with celebrity culture, fashion, luxury and admiration. Berger contrasts this with implied binary opposites such as insignificance, invisibility or failure. Publicity depends on this tension. The viewer is encouraged to compare themselves not only to others, but also to an idealised version of themselves that remains just out of reach.
Berger’s use of paradigms such as “fully conscious”, “overthrow capitalism” and “powerlessness” reinforces a Marxist reading of society. He suggests that individuals either become aware of the structures shaping their lives and resist them politically, or remain trapped within cycles of envy and aspiration fuelled by advertising. His argument positions capitalism as a system that relies upon dissatisfaction in order to sustain consumption.
However, Berger’s position can also feel absolute. Althusser’s theories offer a more nuanced perspective. Rather than assuming people are entirely unaware, Althusser argued that ideology becomes embedded through family, education, media and institutions, shaping what people perceive as normal or natural. Awareness exists on a spectrum, and individuals often participate in systems while simultaneously questioning them.
This distinction remains important when considering contemporary media culture. Berger notes that “publicity turns consumption into a substitute for democracy” (Berger, 1972:149). Since the 1970s, advertising and publicity have become significantly more pervasive through digital media, social platforms and algorithmic content. The same ideological messages are now repeated across multiple channels and formats, increasing their redundancy and normalisation within everyday life.
Berger also strengthens his argument through the juxtaposition of images. One example from the chapter places an image of a refugee family in Bangladesh beside an advertisement for luxury bath products featuring a woman sexualised for the male gaze. Individually, each image carries its own meaning. Together, however, they create moral and ideological tension.
The contrast forces the viewer to confront two vastly different realities existing side by side: poverty and luxury, displacement and consumption, survival and indulgence. Berger writes:
“The shock of such contrasts is considerable: not only because of the coexistence of the two worlds shown but also because of the cynicism of the culture which allows them one above the other.” (Berger, 1972:152)
This use of juxtaposition demonstrates how context alters meaning. Images do not communicate in isolation. Their placement, surrounding content and cultural associations all influence interpretation. Berger encourages viewers to question not only what they are seeing, but why they are seeing it and within what system those images are operating.
These ideas became especially influential in my own practice because they encouraged me to think more critically about visual communication, aspiration and perceived value. Berger’s writing demonstrates that images are never passive. They shape behaviour, reinforce ideologies and influence emotional responses. Even today, many luxury and lifestyle brands rely on carefully constructed visual worlds that communicate identity and status as much as they communicate product.
Overall, Berger’s chapter on publicity remains highly relevant in understanding how advertising shapes contemporary culture. His exploration of glamour, aspiration and consumer ideology continues to resonate within modern digital environments, where publicity has become more immersive, constant and psychologically integrated into daily life. Berger’s work has influenced the way I think about images, branding and visual culture, particularly in relation to how meaning and value are constructed through design and media.
Author: Marie-Jane Fennessy/Mannion. Date originally submitted: 26th November 2021.
Bibliography
Althusser, Louis. (1972) Lenin and Philosophy, and Other Essays. Translated by Ben Brewster. New York: Monthly Review Press.
Berger, J. (1972) Ways of Seeing. London: Penguin Group.
Cothern, M. & D’Alleva, A. (2021) Methods & Theories of Art History. Third Edition. London: Laurence King Publishing.
Sturken, M. & Cartwright, L. (2005) Practices of Looking: An Introduction to Visual Culture. New York: Oxford University Press.
Wolff, R.D. (2019) Understanding Marxism. Kindle version: lulu.com.