For my production, Iâm creating a double page spread based on how women are portrayed in magazines, in comparison to men. The aim is to determine why theyâre portrayed in a certain way. The target audience will be 16-24-year-old women. Some of my magazine references are outdated, however it was difficult to find any recent articles regarding magazines.
Magazines: An overview
Many magazines meet similar needs for readers but also may serve special interests or unique segments or populations. People depend on magazines as a source of infotainment, a combination of information and entertainment for the reader. Itâs predominantly known for its bad criticism. Goldman (1992) suggests that advertising in magazines is a main social and economic institution that pursues to uphold cultural hegemony by providing us socially constricted ways of seeing and making sense of society. Carilli and Campbell (2005) argue women play a crucial role in advertising. It encourages women to see themselves as âmerchandisesâ as an object. This leads to women being a sexual objectification, meaning theyâre shown as sex objects for men. Sexual objectification is achieved by exploiting their sexuality, or by fragmenting the female body into eroticism zones, for example lips, hair, face etc.
Mills (1995) tells us that the fragmentation of exposing womenâs bodies has two effects. The first one is âthe body becomes âdepersonalisedâ, objectified and reduced into partsâ and the second one is the female model in the imagery cannot be seen as a âunified conscious living being, the scene cannot be focused from her perspective.â (Mills 1995 p. 172). Then thereâs Kuhn, arguing that this cultural perspective of a womanâs body as a sex object has originated from âwhenever we look at painted, drawn, sculpted or photographed images of women; itâs important for us to remind ourselves that images of women have traditionally been the prominence and property of menâ. Kuhn also relates this to the male gaze, a commonly used term amongst feminists suggesting the role of a female is for a sexual objectification of a male spectator. The âMale Gaze was originally used in Laura Mulveyâs essay âVisual Pleasure and Narrative Cinema, and when she uses the term, she related to the women spectacle in film. Kuhn states that âthe male gaze is shown in photographic images is on an extension of how men see women in the streetsâ (Kuhn 1985).
The main issue with the male gaze is that men âasses, judge and make advances based on these visual impressions.â This results in the patriarchal culture that âmales will feast his eyes on any female object that catches his âfancyâ. This therefore pressures women to âbeautify themselves, make themselves desirable and âsiren likeâ to catch the malesâ attentionâ (Carilli and Campbell 2005)
During the past few decades, fashion magazines have increasingly targeted young women as a speciality audience. Angela McRobbie has suggested that âin media and cultural studies, scholarship on magazines has occupied a less central and prestigious place than scholarship on other media (1997: 192). Unsurprisingly, itâs mainly women who research into magazines. In her study âInside Womenâs Magazinesâ (1987), Janice Winship has discussed the âdouble-edgedâ nature of researching womenâs magazines, which she claims prevented her from engaging with a serious study of the genre for a long time. As a feminist, she felt a âsimultaneous attraction and rejectionâ towards Womenâs magazines on the one hand finding pleasure their escapist quality and recognising their mass popularity, but on the other, feeling a strong sense that to be a feminist, one must reject the construction of womanhood put forward by most popular womenâs magazines:
âMany of the guises of femininity in womenâs magazines contribute to the secondary status from which we still desire to free ourselves. At the same time, it is the dress of femininity which is both source of pleasure of being a woman [âŚ] and in part the raw material for a feminist version of the future.â (Winship, 1987: xiii)
Social class is also something to think about with advertising/magazines, as well as in general. Social class refers to the system of stratification of the different groups of people in a society. These different forms of classification are, in most instances, based on gender ethnicity and age. Social class makes everyoneâs lives extremely different. For example: How long one can expect to live. In a wide range of ways, from success, to oneâs health class, social class influences peopleâs lives (Grusky,2003). Historian David Potter says in People of Plenty that “the most important facts of this powerful institution (advertising) are not upon the economics of our distributive system; they are upon the values of our society.
Over the years, âchavâ has become a new word to define the white working-class. In The Anatomy of Disgust, William Miller argues that:
Emotions are feelings linked to ways of talking about these feelings ⌠Emotions, even the most visceral, are richly social, cultural, and linguistic phenomena ⌠Emotions are feelings connected to ideas, perceptions and cognitions and to the social and cultural contexts in which it makes sense to have these feelings and ideas ⌠They give our world its peculiarly animated quality; they make it a source of fear, joy, outrage, disgust, and delight. (1997, p. 8)
What we should note is the term animation is particularly provoking. To animate something is to breathe life into an inanimate figure. The idea that emotions are animating is a useful way of analysing how figures are brought to life and endowed with affect through mediation (see Ngai 2002). One of the ways in which social class is emotionally mediated is through repeated expressions of disgust for those deemed to be of a lower social class. As Miller argues, disgust sustains âthe low ranking of things, people, and actions deemed disgusting and contemptibleâ (1997, p. xiv). Davidson’s invocation of âdole-scroungers, petty criminals, football hooligans and teenage pram-pushersâ illustrates how the chav figure comes to embody in a condensed form a series of older stereotypes of the white poor. As Hayward and Yar argue âthe âchavâ phenomenon recapitulates the discursive creation of the underclass, while simultaneously reconfiguring it within the space of commodity consumptionâ (2006, p. 16).







