GQ: Language and Representation

Language: Media factsheet

Complete the following tasks using Media Factsheet 252 - The Codes and Conventions of Print Magazines available in our Media Factsheet archive here. Answer the following questions:

1) What are the different magazine genres highlighted on page 2 and how do they link to our magazine CSPs?

• General interest
• Special interest
• Professional

2) Look at the section on GQ on page 2. How do they suggest that GQ targets its audience?

They are targeting men through fashion and image, but also appealing to their intelligence and needs for information about culture.

3) What does the factsheet say about GQ cover stars?

GQ selects their cover stars very carefully.

4) Pick out five of the key conventions of magazine front covers and explain what they communicate to an audience.

• Masthead--  The publication name, is at the top, using a sans serif font type for maximum impact. Price, month and year are conventionally added, as is a barcode.
• Puffs-- are place in the left or right-hand corners to catch the eye of the reader, often inside a graphic element. These are similar to Pugs, also known as the ears of the magazine, that are usually information in the top corners of a page with a buzzword in it.
• Main cover line-- not related to the image but offers different content of interest, with varying size, colours and styles of typography.
• Pull quotes--  off!” invoke humour and perhaps shock, but also appear to give insider knowledge. This creates a close, albeit illusory, relationship between the reader and the star.
• Numbers-- are used to suggest it could also offer a quick-read for busy people.

5) What is a magazine’s ‘house style’? How would you describe GQ’s house style? 

The house style of a magazine refers to its conventional “look” in relation to its writing and formatting. The house style establishes brand identity and helps to distinguish one magazine from the other. This is necessary if the magazine is in a shop where the crowding of titles on the shelf means that the eyes of the consumer must be caught.

Language: CSP analysis

1) Write a summary of our annotations on the media language choices on the cover of GQ - e.g. colour scheme, typography, language, photographic codes etc. 

• Blue/black background seen as traditionally masculine
• 'Art + fashion' example of GQ new masculinity
• Cover lines keeping with traditional GQ
• Art, inky typography as if hand written
• Propps character theory of villain
• Image medium close up with high key lighting and makeup that makes him look beat up
• Facial expression shows aggression while costume shows muscles and strength

2) Identify three specific aspects/conventions/important points (e.g. cover lines, colour scheme, use of text, image etc.) from each page/feature of the CSP that you could refer to in a future exam. Explain why that particular aspect of the CSP is important - think about connotations, representations, audience pleasures, reception theory etc.

Front cover: Robert Pattinson image - Art & Fashion issue 

The background colour scheme, which fades from blue to black, may support conventional gender roles for men. In order to release their "new masculinity issue," GQ sought to speak to a contemporary audience. Despite their desire to change with the times, it is evident that they are still stuck on using a "male" colour scheme.

Inside pages: Jonathan Bailey feature and fashion shoot

These pages demonstrate how the majority of the pictures, including his attire and postures, uphold stereotypical ideas of masculinity. Certain elements, such as his patterned trousers, could allude to a development of masculinity and thus reinforce Gauntlett's theory about crisis and masculinity. This can be supported by some of the background elements, like the flowers.

3) Apply narrative theories to GQ - Todorov's equilibrium, Propp's character types, Barthes' action or enigma codes, Levi-Strauss's binary opposition. How can we use narrative to understand the way the cover and features have been constructed?

Given that Robert Pattinson is unquestionably not the hero in this cover, we can discuss Propp's character types and how he might be a villain. His scars, his messy hair, and his expression all point to him being the antagonist in the story. By stating that this image might represent a disequilibrium in comparison to his previous representations that he had after twilight, we can also apply Todorov's equilibrium.

4) Analyse the cover and inside pages of GQ. Does this offer an example of Steve Neale's genre theory concerning 'repetition and difference'?

Steve Neale suggests that repetition and difference is essential to the economy of the genre. In the GQ CSP this is shown by the front cover of the magazine which is unconventional to GQ, and in the inside pages this is shown by featuring Jonathan Bailey and talking about his private and actor life which has element of the 'New Masculinity' GQ is trying to implement.

Representations: applying theory

We have already covered many relevant theories in our work on Advertising and Marketing (for example, David Gauntlett's writing on Media, Gender and Identity). We now need to apply these theories and ideas to GQ and specifically the CSP pages allocated by AQA.

1) How can Gauntlett's ideas on masculinity, gender and identity be applied to the GQ CSP pages we have analysed?

On page 32, we can see Jonathan Bailey who seems to be showing normal elements of traditional masculinity in his mode of address however, the checkered trousers he is wearing could suggest some sort of 'evolution' of masculinity which we can link to Gauntlett.

2) How could van Zoonen's work on feminist and gender theory be applied to GQ? Does the magazine challenge or reinforce these ideas?

I think that the magazine challenges van Zoonen's work. This is because she says that the media reinforces sex role stereotypes, helping to construct gender roles. In both parts of the CSP I think that gender roles are not traditional and not normally reinforced by the media.

3) Does bell hooks's work on 'corrosive masculinity' apply to GQ? 

I think that with their 'New Masculinity' movement, bell hooks idea on corrosive masculinity doesn't apply to GQ because of how they are changing the representation of people in their magazines.

4) How does the Jonathan Bailey feature represent masculinity and sexuality? 

• Bailey is an openly gay actor which represents the 'New Masculinity' of GQ.
• The opening of the feature introduces Bailey as part of GQs 'New Masculinity' approach to identity.
• Natural background; not a conventional masculine look.
• Low angle shot; normally a conventional masculine approach but body language subverts this.
• "queer anthems" Representation of sexuality and identity goes against traditional hypermasculine stereotypes.
• "you never really got behind the men", "or know why they're avoidant and toxic"; Masculinity in popular culture.

Representations: wider reading - GQ and the new masculinity

Read this CNN feature on how GQ is redefining masculinity and answer the following questions:

1) Which GQ issue is discussed at the start of the article and what was notable about it? 

The Grammy-winner is wearing a lemon yellow Moncler coat that flows well past his feet. It looks like an upside down lily flower waiting to bloom. His hands are clasped at his chest, his facial expression is soft and the overlay text says “The New Masculinity Issue.” 

2) How did Will Welch view GQ when he took over as Editor-in-Chief and what did he want to offer readers? 

When Welch took over as editor-in-chief of GQ in January, he didn’t see the 88-year-old publication, where he’s worked at since 2007, as broken. He saw the need to redefine what a men’s magazine could be. He wanted GQ to help its readers — whether men, women, or gender non-binary — with their “personal evolution,” he told CNN Business. Men can wear dresses, put on makeup, and get pedicures. GQ shouldn’t tell anyone exactly how to be a man because there’s no one way to do it.

3) How has publisher Conde Nast responded to changes in the magazine industry and how did this impact GQ?

Magazine monolith and GQ parent company Condé Nast, now under the leadership of former Pandora chief Roger Lynch, has been trying to recoup losses by cutting costs and redefining its business for the digital era.

4) What did the GQ New Masculinity edition feature? 

The November issue makes Welch’s vision for a new GQ clear. In the cover story, Pharrell tells Welch, “I think the truest definition of masculinity is the essence of you that understands and respects that which isn’t masculine.” Journalist Nora Caplan-Bricker leads a package titled “Voices of the New Masculinity” in which actor Asia Kate Dillon, NBA player Kevin Love, rapper Killer Mike and others share their perspectives of what masculinity means today. There’s a beauty section, featuring men in glittery makeup and a profile of Billy Idol.

5) What did journalist Liz Plank say about toxic masculinity?

She writes, “No matter where I turned, masculinity wasn’t something that was intuitive or intrinsic; it was carefully learned, delicately transmitted and deliberately propagandized. Toxic masculinity wasn’t just a problem in America. I saw it everywhere.”

6) How did Welch respond to suggestions GQ was responsible for toxic masculinity?

When asked if GQ helped perpetuate toxic masculinity, Welch was quick to dismiss the notion. “It’s not like GQ was harmful until I took over. That’s definitely not the case,” he said.

Finally, read this short GQ feature on masculinity and answer the following questions:

1) What does the article suggest masculinity involved at the start of the 20th century?

At the start of the 20th century, the idea of masculinity was simple - 'it stood for all the solid, earthy expectations of boys and men: strength, independence, courage, confidence and assertiveness.'

2) What social change occurred from the 1930s?

From the Thirties onwards, the UK lost its industrialisation heavyweight status with manual worker jobs, and the masculinity status attached to them, in favour of an office-based deindustrialised economy. Naturally, Post-it notes, group huddle meetings and conference calls failed to marry to the historical notion of what masculinity should be (the “Wolf Of Wall Street” was the higher-profile attempt to hang on to these). It was, however, a wake-up call to society that things needed to change. And change is happening.

3) What is suggested about masculinity today?

Today, we share a society where not only men, but women too, demonstrate these and importantly have the freedom to do so. Of course, it isn’t all a bed of roses, and while we still have some way to redress an imbalance of what is deemed acceptable traits for men and women. Masculinity is an outdated word for this, a new world that is attempting to dispel gender equality.

4) Why does it suggest these changes are important?

Suicide remains the leading cause of death in men under the age of 45 years. That’s three times higher than rates in women, with 84 men losing their life a week. And in part it is justifiably dubbed the “silent killer” because we are yet to fully shift the perception that a man – a “masculine man”, a “real man”, a “man’s man” – does not speak out about his problems. We can all do our part and take a sledgehammer to masculinity and instead let both the hard traits and the soft traits have an open forum in our lives and in society. That can only support better health and happiness.