GQ - Language & Representation

 Q1: These types of covers for a wider array of audiences typically displaying many different subjects such as food, fashion or any other hobby. It is more typically for niche and quiet audience specialised only for them or a profession like football or tennis.

Q2: “Since 1957, GQ has inspired men to look sharper and live smarter with its unparalleled coverage of style, culture, and beyond.”

The statement of GQ about its brand values says a lot about what they know about their audience. They are targeting men through fashion and image, but also appealing to their intelligence and needs for information about culture. “Beyond” is vague, but the magazine also covers politics, technology and trends. It employs leading writers and experts on a wide variety of topics appealing to activators, achievers, and seekers.

Q3: GQ selects their cover stars very carefully. In the December 2022 edition, they chose Marcus Rashford, a Manchester United footballer. However, this is not the cover line they have anchored him with. It is instead “Campaigner of the Year.” His high-profile criticism of the government about stopping free school meals during the pandemic and his charity work in this area would appeal to achievers because they value the “fruits of hard work.” The image has also been shot and styled to accentuate a stylish persona. Furthermore, the choice of a black dinner suit adds gravitas and sophistication to the imagery while the light reflecting on his skin connotes health and youth, again appealing to these groups.

Q4: The Mast head: Usually at the top is the publication name.

Main cover line: written content of interest related to the contents of the magazine.

Puffs: are placed in the left or right-hand corners to catch the eye of the reader, often inside a graphic element

Pull quotes: writing that has humour or even shock towards the audience to form relationship.

Numbers: quick read for busy or people in a rush.

Q5: 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.

Q6: Colour scheme: Blue/black background seen as traditionally masculine for its male target audience

Photographic codes: 'Art + fashion' example of GQ new masculinity

Language: Cover lines keeping with traditional GQ

Typography: art, inky typography as if hand written

Narrative: Propps character theory of villain

Technical codes: image medium close up with high key lighting and makeup for beat up appearance

Actor: facial expression shows aggression while costume shows muscles and strength

Q7: Cover image:

- Medium close up

- High key lighting

- Connotations of aggression but not typical of GQ/men's life style magazines

- Direct mode of address challenging the reader

Selling line:

- Unusual typography - arty, inky look

- Gives connotations of a villain

Cover lines:

- Art + fashion - example of GQ's "new masculinity"

- Two cover lines more in keeping with traditional masculinity

Inside pages: Jonathan Bailey feature and fashion shoot

Price of clothes:

- Tells us more about their target audience (wealthy males)

Images:

- Create representations of old and new masculinity

- Mixes old masculinity and GQ's new masculinity together to try and ease audiences into the new masculinity

Interview:

-  Open and honest about his identity and upbringing

Q8: 

Todorov:

- Disequilibrium compared to his old representation

- Possibly Pattinson reinventing his celebrity persona after Twilight films

Propp:

- Villain, certainly not conventional hero

Barthes:

- Costume shows some of Pattinson's body - strength/muscle (Action code)

Q9: The GQ CSP pages are an example of Neale's genre theory of repetition and difference because they retain some aspects of GQ's traditional masculinity, such as the blue and black colour scheme on the cover, however they also embrace GQ's idea of new masculinity. 

Q10:Gauntlett states that masculinity is not in crisis but rather is changing and adapting to modern societal concepts and roles. This applies to the GQ CSP pages as they showcase both the struggle that traditional masculinity can bring to men through Jonathan Bailey's interview and the different forms of modern masculinity that are arising.

Q11: van Zoonen states that the media reinforces sex role stereotypes, which could be applied to the GQ CSP pages in different ways, as the Pattinson cover photo could be reinforcing an image of masculinity with power associated with it, however, the Jonathan Bailey feature does the opposite and subverts most male sex role stereotypes. 

Q12: The GQ CSP pages may not apply to hooks' work on corrosive masculinity, as both the Robert Pattinson cover photo and Jonathan Bailey feature have a goal of liberating the actors from any previous personas or representation of their identities, in particular Bailey's feature showcases a level of emotional vulnerability that goes against patriarchal expectations around men suppressing themselves.

Q13: The Jonathan Bailey feature represents a new and modern version of masculinity that strays away from hegemonic gender roles and favours expression and vulnerability, including femininity through some of the fashion shoots. His journey with accepting his sexuality is depicted as honest and brave, with his gay identity being shown to be a normal and accepted part of who he is that doesn't define his career.

Q14: The "New Masculinity" issue is discussed at the start of the article, which was notable due to its cover image of Pharrell Williams wearing a lemon yellow Moncler coat that flows past his feet.

Q15: 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.

Q16: 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. For example, Condé ended Glamour’s print publication last year. It’s continued to invest in digital content, like video, across its brands. In addition to GQ’s two print magazines in the US and several international editions, the brand launched GQ Sports, a YouTube channel.

Q17: Journalist Nora Caplan-Bricker had 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. Welch hoped the latest issue of GQ makes a statement on the matter that the voices featured in the magazine show, there’s no one definition of masculinity.

Q18: 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.

Q19: 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.

Q20: