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This advertisement for aftermarket Mustang suspension parts exists in a middle ground between The Seductress and The Body. The woman shown here is The Seductress to a certain extent, because she poses with the car in order to draw the viewer in. However, it is the language of the ad that places it in the category of The Body. Though we see the whole woman, the ad copy reduces her to "sturdy legs." She is not really a woman, she is a pair of legs, and those legs are made equivalent to the car's springs. The ad's language renders the woman into certain body parts, which are then conflated with the auto parts being sold.
This advertisement is one of the more egregious examples of the women being reduced to her body. She is not The Seductress because she hardly even a person. The disembodied arms and legs mesh with the car parts being advertised, and both exist in this advertisement for visual appeal. This is not exactly sex appeal because it is too abstract. Instead, it is a reduction of femininity to The Body, absent of her humanity. Her face is notably excluded from the ad, and, though the ad is continued on another page, her face is never shown. In this trope, women have the least agency, because they are barely depicted as people.
Yes, there is actually a woman in this ad. Look more closely—on the left, we see a woman's hand, presumably belonging to the man's wife. This ad is all about the male driving experience. It's about what happens "when a man steps away from his Cadillac." For a man, it's "a prideful thing" to be "in command" as a Cadillac owner. So, with an intended audience that is male, why even include this fraction of the woman's body? The disembodied hand serves as another visual marker of the ideal man. You want to be like this man—he is powerful, he is wealthy, and he has a loving wife. The personhood of the woman is not important. What is important here is the fact that the man seems to possess her.