This study is about the facial expressiveness and the cult of the eternal youth, exemplified by the images of the individuals in the media culture. Here, we turn the lenses to the females bodies throughout history and in the contemporary society, digital and narcissist. It is noteworthy that even though in the 20th and 21st centuries these bodies were socially accepted and with the sexual revolution became more independent including the main advertising and media, sometimes the women bodies are still stereotyped and subdued. In an actuality whose corporeity is mediatized and millimetrically controlled, women s bodies with wrinkles are many times excluded from the advertising spaces, perhaps from the public space, and directed to play very specific and often stereotyped social roles. In this case the body is presented as an object of desire that wears out over time. So we seek to identify the pictorial resources and significacionais used in ads, as well as understand how these resources are organized in order to produce identification in public (GOMES, 2004). The semiology of Barthes (1990) and concepts of Aumont (2000), Jolie (1996), Dondis (1997) and the understanding of social forms, in dialogue with Formismo - the game of appearances - proposed by Maffesoli (1988) , p.29), understanding that form allows the seizure of the image and its prägnanz the social body We observe also the physically and sexually liberated bodies of women in advertising, fashion and films, becoming more and more charged with connotations and object of investment, consumption and obsession. In some cultures the whole body is face and this body-face is the subject s most human place, where the senses of identity crystallize and the recognition of the other is established. In our contemporary society, advertising presents itself as the capitalism s official art (Harvey, 2005, p.65). It is a result of the historical context to which it belongs, not an isolated phenomenon. Today the advertising is a hybrid element and assumes an important economic and social role in a reality focused on mass consumption. This work observes the connection between the absence of the faces without wrinkles and marks of expression in the advertisements and their migration to the cosmetic clinics, consequently to the streets and the social places to where these faces are routed. As a result, it can be observed that the models of women presented by advertising in the 21st century mostly still propagate the idadismo and the exclusion of the marks of the time in the faces media, in the printed media as in the electronic media. The experiences provided by the passage of time, successes, joys, failures and achievements; living loves, born children, affective losses, produce transformations that should not be on their faces.