Applying postcolonial theory to Attitude Online

 Attitude Online is a strange choice of text!

• This is an online gay lifestyle magazine that is updated fairly regularly. This means that your case studies can vary day to day

• Attitude Online is arguably a promotion for Attitude the magazine. It has fairly low production values and through its lexis is clearly targeting a more working class audience. This differs wildly to Attitude the magazine, which is more middle class. This is to target a larger, more more diverse audience who may not otherwise read the magazine

Media language and website anatomy

Applying postcolonial theory to Attitude

Paul Gilroy argues that representations of ethnicity are formed through a complex system of othering. Evaluate this theory of representation. Make reference to Attitude to support your answer [15]

• Paul Gilroy argues that postcolonial attitudes still exist in British society, and these are reflected in media products. Gilroy argues that British ideologies are still primarily ethnocentric, and that this is reflected through the lack of representation of people of colour. By choosing not to represent black people, or severely underrepresenting them, producers are engaging in a process of othering, a process of segregation a group away from mainstream, hegemonic society. However, through focussing on LGBTQ+ issues, I will argue that Attitude represents communities who have previously been marginalised. 

• One way in which attitude uses representations of ethnicity to form a complex system of othering is through the representation of [INSERT REPRESENTATIONAL GROUP HERE!!!] 

• White people - lack of representation of POC, a diverse and inclusive representation of white people! Yet this reinforces certain hierarchies through this overrepresentation, and serves to other POC

• Black people - a representation of black people as stylish, confident and aspirational. In the article “It’s all a blur in the Attitude March/April Issue Let's get lost in the haze.”, two hegemonically attractive black models are constructed in an aspirational confident mode of address, which initially seems to dispel Gilroy’s argument. However these representations are few and far between, and there is a massive emphasis on stories representing white celebrities. Black people are consistently underrepresented, which not only marginalises POC, but also others them. 

• Gilroy would argue that the producers of Attitude are not overtly racist, yet living in a postcolonial society, are demonstrating unconscious bias, and are reinforcing certain hegemonic ideological expectations. However, one marginalised group the attitude certainly does represent in a complex and fascinating manner is queer people. In the article “Brandon Flynn sheds the layers for Calvin Klein’s 2023 Pride campaign”. The MES of the model’s tight and heavily suggestive underwear is further anchored through the lexis ‘this is love’, printed directly on the underwear itself. Far from seeming ashamed of his sexuality, the model’s facial expression encodes a presentation of pride and confidence. The notion of pride suggests confidence in the face of years of social exclusion, and this is especially important considering that gay marriage in the UK was only officially recognised in 2014. 

• The extensive use of queer coding in this article constructs a highly complex representation of gay people that challenges the notion that they should be closeted and othered. 

Stories We Tell - final discussion

 What is a documentary?

• A film that purports to document reality, and to demonstrate a sense of verisimilitude 
• However, the notion of reality is highly contentious, and ultimately highly subjective 
• Every single decision, every single shot, edit, choice of subject, aesthetic decision etc is a reconstruction of reality 
• It is impossible to truly ‘document reality’. Yet Polley in SWT accepts this conceit from the very beginning.

Grierson - “I want to make drama out of the ordinary”

• This acknowledges that the ordinary is not interesting, and therefore documentaries provide the spectator with an escape from reality, back in to a new and constructed reality. This highly postmodern form therefore also acknowledges that the fake is more more real and more inviting than 'reality'

Stories We Tell

• SWT presents a highly subjective and deliberately confusing narrative that frequently breaks the rules of film, such as confusing diegesis, presenting a deliberately confusing and contradictory narrative, and breaking the fourth wall by showing cast and crew. 
• Even more controversial, Polley reconstructs family videos, shot on Super 8 with actors acting as younger versions of Polley’s family. This deliberately subjective, misleading and confusing technique is further anchored through the use of cross cutting between staged ‘archive’ footage, and ‘documentary’ footage, featuring talking heads of Polley’s extended family further elaborating on events .
• While one interpretation is that these techniques alienate the audience, in fact the preferred reading is that actually Polley is drawing attention to the humanity of her ‘characters’, and the nature of subjectivity 
• Ultimately, the film presents a Quixotic structure that encourages active readings, and positions the audience in a delightful mode of address 
• In the scene in which Michael discusses Dianne’s abortion, a range of highly expressive techniques are used to position the spectator in a highly emotional mode of address. 
• The MES of super-8 footage, through it’s flickering and characteristic ywllow glow, constructs a highly nostalgic mode of address that the audience have no right to feel. This concept of nostalgia is a hyperreal construct, and is based on a collective understanding of a combination of Hollywood narratives
• The use of super-8 footage, and the cross cutting between this and voyeuristic mid shots of Michael, sitting in his own kitchen, directly addressing the camera. His costume is relaxed and relatable, and his status as a vulnerable human is further anchored through the MES f the ashtray placed haphazardly on the desk, the stack of messy paperwork, and the bottles of alcohol completing the richness of the setting. 

Applying postmodern theory to Zoella/Zoe Sugg

Jean Baudrillard argues that we live in a world where nothing means anything and meaning has collapsed. To what extent do you agree with this theory of postmodernism

The thumbnail preview that invites audiences to engage with Sugg's most recent video is not only typical of vlogs as a genre; it also demonstrates the binary dichotomy that exists between the construct of her reality as a 'cosy' and approachable media influencer, and the naked capitalist principals that exist behind her industry. Audiences must negotiate this hyperreal simulacrum, and must ultimately hold two thoughts simultaneously in their heads; one where Sugg is a benevolent and relatable neo-housewife archetype, and one where she is a mercenary neoliberal businesswoman. This lack of a semblance of clear interpretation is key to understanding the concept of the collapse of meaning that lies at the heart of postmodern theory. But, quite frankly, does anyone even care?

What is a 'hyperreal simulacrum'?

Hyperreality is where the representation of something is better than the concept it is representing. So for Zoella, we could argue her fancy life filled with pastel colours and delightful moments is so much more interesting than the actual experience of being a young woman in the United Kingdom. A simulacrum is a copy of a copy (of a copy). For example, let's look at the 'housewife' stereotype. Where did this even come from? We are aware of this stereotype from classic texts like Woman magazine and the 50's Tide advert, and perhaps more modern takes on the archetype as seen on Desperate Housewives, Madmen and the alarming 'trad wife' trend on Instagram on Tiktok. But where does this actually come from? What are these people copying? A copy of a copy? Of a copy of a copy? It get's rather anxiety inducing!

None of this matters of course, because Zoella is PERFECT. She is perfect even though she is 'fake', she is especially perfect because she is 'real'. She is a stereotype of something that never even existed in the first place, and no one even cares.

A hyperreal simulacrum is, therefore some that is made perfect through being fake. Both Humans and Zoella are absolutely stuffed with hyperreal simulacra (the plural). So make sure you use this phrase in the exam!

A short example response

Postmodernism is impossible to define as a theory. It argues that all meaning has collapsed, and the only thing that is real is representation. This theory is highly controversial, as if we acknowledge that there is no objective meaning, then we cannot come to any conclusions. The concept of postmodernism is best typified by the idea of hyperreality, where the representation is more real than the thing being represented. In this essay, I shall argue that both Zoella and Attitude represent a complete collapse of meaning, and therefore are highly postmodern texts. I shall also argue that Zoella in particular is an excellent example of hyperreality, and she uses an extremely cultivated, hyperreal and misleading mode of address in order to manipulate her target audience, and therefore maximise profit. 

• Zoella/ Zoe Sugg highly successful social media influencer and beauty and lifestyle vlogger. However, Sugg has extensively shifted her brand identity over time, and has constructed a ‘more real’ persona by using her actual name. This constructs a highly misleading and hyperreal construct that ultimately means nothing. For example, her latest video at the time of writing, “Getting Outside & Cute Everyday Moments | ad” constructs a hyperreal simulacra with no deeper meaning other than to make profit.
• A highly atypical extreme close up is used as an establishing shot, and this handheld self-shot ECU of Sugg’s face intends to construct a highly inviting and inclusive mode of address to the videos 559k viewers. This is anchored through the lexis “hello everybody! Do join us on a family trip”. This address is highly conventional of a vlog, and yet it is clear her words mean nothing. This highly constructed and frankly creepy address is further explored through the shaky handheld POV that positions the audience as Sugg. However, viewers of vlogs are aware of the conceit, and that this situation is highly constructed and manipulative. However the audience do not care, as the entertaining and escapist message is highly distracting. The audience are agreeing to be manipulated, which clearly constructs a highly postmodern mode of address, and reflects a world where there is no deeper meaning.
• As the vlog progresses, we suddenly and without warning shift from the ‘cute’ everyday life, to a highly staged shot of Sugg sitting in her bedroom, directly addressing the audience about hair products. This binary opposition between ‘real’ life and advertising constructs a highly postmodern mode of address, and reinforces the idea of Zoella as a hyperreal simulacrum. Zoella is not a representation of a human being, but a walking advert. However, Sugg chooses to not wear makeup during this scene, which constructs a surprising and highly relatable mode of address to her female target audience. This rejection of hegemonic beauty standards constructs a bizarre binary opposition with her highly capitalist mode of address. Sugg simultaneously argues for not wearing makeup and therefore being relatable, and also blatantly draws attention to products we should buy. This highly contradictory mode of address is further anchored through the MES of Sugg’s Zoella branded necklace, which brands herself as her own product, Zoella. Self-reflexivity, or the process of referring to one’s own fictitious state is a highly postmodern construct, and this further constructs a highly confusing mode of address that we have no hope of understanding. 

Revising media language and Woman magazine

Woman Magazine: Analysing Media Language 

Media Language front cover checklist:

Have you explored how the front page uses the following media language devices?

·       Layout/composition of masthead, strapline, cover lines, images etc

·       Masthead

·       Cover lines

·       Font size, type, colour etc

·       Images/photographs (shot type, angle, focus)

·       Mise-en-scene

·       Language/anchorage

·       Narrative established

How does the combination of these different elements of media language:

i)                Communicate messages and values?

ii)              Reflect the social/cultural context the front cover was created in?

iii)             Establish the brand identity of the magazine?

iv)             Construct and appeal to its target audience?

 

 

Media Language feature article checklist:

Have you explored how the feature article uses the following media language devices?

·      Layout and design

·      Positioning of headline, standfirst, pull quotes/sidebars, columns, images

·      Font size, type, colour etc

·      Images/photographs (shot type, angle, focus)

·      Mise-en-scene- colour, lighting, location, costume/dress as appropriate

·      Anchorage of images and texts

·      Language (headline, standfirst, copy, captions)

·      Mode of address (direct/indirect, formal/informal)

·      Specific devices e.g. emotive language, rhetorical questions, hyperbole, use of fact/statistics

·      Narrative established

 

 

• How does the combination of elements of media language communicate meanings?
• How does the article reflect typical codes and conventions for this type of magazine?
• How does the article appeal to the target audience?
• What messages and values are communicated in this article?
• How are representations constructed in the article?

 

Media Language advert checklist:

Have you explored how the adverts use the following media language devices?

·      Layout and design

·      Positioning of headline, standfirst, pull quotes/sidebars, columns, images

·      Font size, type, colour etc

·      Images/photographs (shot type, angle, focus)

·      Mise-en-scene- colour, lighting, location, costume/dress as appropriate

·      Anchorage of images and texts

·      Language (headline, standfirst, copy, captions)

·      Mode of address (direct/indirect, formal/informal)

·      Specific devices e.g. emotive language, rhetorical questions, hyperbole, use of fact/statistics

·      Narrative established

Thanks to Rachel for this resource!

Attitude Online - how to apply theory

The 'sexuality' folio of Attitude Online is 'hidden' behind a couple of clicks from the main navigation bar, and presents eroticised representations of hegemonically attractive young men. This content might be considered 'not safe for work', and by burying this link somehat, the audience is offered the opportunity to either engage with this content or to ignore it completely, which provides a negotiated response. Additionally, the representation of  model Matthew Camp is complex and interesting, combining both hypermasculine elements but also stereotypically feminine elements. The use of lingerie on a male model, as well as the cowboy hat are examples of queer coding, and communicate to a gay audience the queer themes of this content. Finally, this high quality eroticised content also makes explicit reference to Attitude (the magazine), and reinforces the website's status as a mere advertisement for the magazine. With many audiences choosing to go online as opposed to buying print media, the function of this website can be seen as a 'pull factor', to pull audiences back in and to aggressively advertise the magazine to a working class queer audience who may not normally engage with high end magazines.

Attitude Online

• Exists to promote the magazine. At the top right of the website is a clear hyperlink to a page to subscribe to the Print and digital editions of Attitude
• The target audience for Attitude Online is gay working class men, with a lexis similar to that of a tabloid newspaper, and a selection of soft news stories. However, Attitude Magazine's target audience is middle class gay men. This allows the producers of Attitude (Stream media) the opportunity to diversify and to target new audiences.
• Previously the website had a dedicated 'boys' section that focused on softcore and erotic content. This content is still available, but is now hidden under the 'sexuality' tab'. This indicates that the content may be off-putting to some audiences, and this decision has been made to minimise risk and to maximise profit. 
• Advertisers will often pull their advertising revenue if they feel the content of the website is inappropriate or not safe for work 

Representation

Stuart Hall - representation 

Attitude uses a range of stereotypical representations of gay men, including fashion advice, and highly sexualised images of very toned and hegemonically attractive men. Stereotypes are often negative, yet in this instance, explicit stereotypes are used as a shortcut to allow audiences to clearly identify that this website is targeting gay audiences. This technique has often been used by gay publications to appeal to gay audiences. While gay men are unrepresented in mainstream media, gay media often uses explicit representations of gay sexuality to profit from this underrepresentation. The use of queer coding, and the symbolic use of MES such as cowboy hats and bunny ears clearly communicates to gay audiences that this product will appeal to their interests. Another stereotype of gay men is reinforced through the style section, that encodes the representation that gay men are defined through consumerism. 

Paul Gilroy - postcolonial theory 

The use of othering. Gay people are represented as being different, or 'other' this representation encodes a sense of pride and confidence. However, some stories, for example Three teens arrested after schoolboy, 14, ‘attacked for being gay’ in Ireland reinforce the dangers that openly gay people face in society, and bring attention to the frequent representation of gay people as being victims, and othered. 

Judith Butler - gender performativity 

Our performance of gender affects the world around us. Tragic stories about gay teenagers being bullied acknowledge that gay people are victimised for the way in which the act and perform their gender. Additionally, stories such as "Matthew Camp: 7 steamy pics of Attitude’s bold cover star" represent a toned and hegemonically attractive man in a variety of non gender conforming roles, such as a Playboy Bunny. This atypical representation presents a simultaneously masculine and feminine representation, and presents a challenging ideology to the target audience.  Even though some people may reject this dominant reading, they are unlikely to access attitude online. 

Audience

David Gauntlett - pick and mix 

A range of representations of LGBTQ+ people, including both positive and negative stories about gay experiences. Gay male audiences can not only identify with h these stories, and can use these representations as positive role models. Additionally the style section includes a range of fashion advice targeted to gay men, and again is instructive and aspirational.

Livingstone and Lunt - regulation 

There is nothing remotely illegal in Attitude Online, and even the erotic photoshoots are clearly not pornographic under UK law. However, Stream  media have self regulated the content of the online magazine. Firstly, the more sexually explicit material has been partially hidden under the 'sexuality' tab. Additionally the producers have chosen not to feature pornographic content, partially to maintain brand identity, and to please advertisers. Additionally, there are no opportunities to leave comments. By not featuring comments, the producers can filter out other ideologies and [resent a single straightforward. Additionally, by not having comments, the producers do not need to moderate harmful comments, and this ultimately saves money. 

Super.Human revision sheet

Check out this comprehensive and completely amazing revision worksheet for Super.Human by clicking here!

Thanks Sabina for this wonderful resource!

Revising the film industry

Black Panther

Context

• What is the historic contexts the poster borrows from (aesthetically)?
• What is the relevance of the Harlem Renaissance, Afrofuturism, and the Black Panther Party on the poster?
• How does Black Panther move the Marvel film franchise forward?
• What is the impact of Obama’s time as president of the USA on the success of the Black Panther film?
• What is the impact of Trump’s time as president of the USA on the success of the Black Panther film?
• What is the impact of Black Lives Matter on the Black Panther film?

Consider the significance of patterns of ownership and control, including conglomerate ownership, vertical integration and diversification

• What owns the rights to the Black Panther films? Find out as much detail as possible.

Consider how media organisations maintain, including through marketing, varieties of audiences nationally and globally

• Who was in charge of marketing and what approach did they take? Find out as much as possible.

Consider the regulatory framework of contemporary media in the UK and the role of regulation in global production, distribution and circulation

• What is the name of the regulatory body? 
• What ratings did they give the film?
• Did it differ in different countries? What impacts those differences?

Consider how film/film marketing is circulated and distributed:

• Where and how is film/film marketing most likely to be consumed by audiences?
• How has this consumption changed/been impacted by the internet, including YouTube and smartphones?
• Are audiences now more likely to seek out, for example, new trailers online as active consumers? (Think about ‘reaction’ videos of people watching trailers!)
• Consider the way people share trailers or movie gossip (casting decisions, plot elements etc.) especially those with a strong fan community. How is this is an example of ‘word-of- mouth’ marketing?
• How does this impact the relationship between audience and product?
• How did Black Panther harness other, more political social media campaigns to create a ‘cultural event’ rather than just another summer blockbuster?

Theoretical perspectives

• Cultural industries – David Hesmondhalgh
• Curran and Seaton ‐ Media and power

I, Daniel Blake

I, Daniel Blake theatrical trailer

Context

• What type of film is I, Daniel Blake?
• Who produced it? 
• What awards was it nominated for and won?
• What is the political and social context for the film?

Consider the significance of economic factors, including commercial and not-for-profit public funding, to media industries and their products

• How was it funded? In what ways is this typical of an independent film? 
• Why might producers of independent cinema care less about financial returns?

Consider processes of production, distribution and circulation and the impact of digitally convergent platforms: Use the website and social media hashtag #idanielblake to help you answer these questions

• How does an independent film like I, Daniel Blake save money on production costs?
• How was the film marketed?
• How was the film circulated?
• How was the film distributed?

Consider the effect of individual producers on media industries

What do we learn about Ken Loach’s catalogue as a director?

Consider how media organisations maintain, including through marketing, varieties of audiences nationally and globally: (using the trailer to support your answer)

• What role did film festivals play in marketing the film to a national and global audience? (How is this evidenced in the trailer.) 
• How does the trailer target people that might be interested in in the topic of the film?

Consider theoretical perspectives: Power and media industries – Curran and Seaton

Thank you Rachel for this wonderful post!

Newspaper revision tasks

You can find the case studies for 2024+ here

The Times front page

Important note: if newspapers come up for audience or industry, then you will NOT be expected to talk about the set case studies (the Johnson front pages).

 

Instead you will be expected to talk about the Times/The Mirror as an institution, which means you will potentially  refer to the following:

• Target audience
• Audience positioning techniques
• Dominant ideological perspective
• Price
• Selection of stories
• Political ideology/bias
• Producer
• Distribution
• Circulation 
• Ownership
• Integration
• Digital integration including the use of the website
• Etc etc etc

How are audiences grouped and categorised?

• The Times’ target audience, according to NRS and ABC data is predominantly ABC1, over 35 and has a liberal/right wing political stance. This well-educated and middle class audience take an interest in global affairs and can understand detailed political reporting.
• How does this information impact who will read this front page and how they will interpret it? Use details from the front page!

Theoretical approaches:

• Cultivation theory – George Gerbner
• Reception theory ‐ Stuart Hall

The Daily Mirror front page

How are audiences grouped and categorised?

• The Daily Mirror’s target audience, according to NRS and ABC data is predominantly C2DE, over 35 and are working class Labour supporters.
• How do audiences interpret the product? Use details from the front cover and double page spread!

Theoretical approaches:

• Cultivation theory – Gerbner
• Reception theory ‐ Stuart Hall
• End of Audience- Clay Shirky 

Thanks Rachel for this post!

Super.Human - revision tasks

For every answer remember you must include examples from the text. Although the question is about media representations, you must include media language in your answers! (Media language constructs media representations!) 

Consider the codes and conventions of the advertising form and how media language influences meaning:

1. How does a charity advert (like Super.Human technically is) utilise the codes and conventions typical of advertising in general? 
2. How does Super.Human subvert typical features of a charity advertisement?
3. Identify all the: 1) technical codes 2) editing techniques 3) characters 4) narrative this advert uses to communicate its message quickly.

Consider how and why particular social groups may be under-represented or misrepresented:

1. What is an example of a ‘dominant group in society’?
2. What is an example of a ‘marginalised group in society’? 
3. How does this advert subvert representations of ‘marginalised groups’?
4. What do we learn about Channel 4’s ideology from this advert?

Consider how representations are constructed through processes of selection and combination:

1. What choices do the producers make in how they represent people living with disabilities?
2. How are stereotypes both used and subverted in this advert?
3. How is representation of reality constructed?

Consider theoretical perspectives:

1. How does Stuart Hall’s theory of representation apply? 
2. How does David Gauntlet's theory of identity apply?

Note: this answer requires theories!

Preparing for Unseen Comparisons

1. Watch this video three times

Compare how audiences are positioned by the representations in this WaterAid advertisement and the Super.Human. advertisement you have studied. 

In your answer you should:

• consider how the representations construct versions of reality
• consider the similarities and differences in how audiences are positioned by the representations
• make judgements and draw conclusions about how far the representations relate to relevant media contexts. [30]

2. Watch the following video three times:

.Compare how audiences are positioned by the representations in this Save The

Children advertisement and the Super.Human. advertisement you have studied.

In your answer you should:

• consider how the representations construct versions of reality
• consider the similarities and differences in how audiences are positioned by the representations
• make judgements and draw conclusions about how far the representations relate to relevant media contexts. [30]

3. Watch the following video three times:

Compare how audiences are positioned by the representations in this Not Special  advertisement and the Super.Human. advertisement you have studied.

In your answer you should:

• consider how the representations construct versions of reality
• consider the similarities and differences in how audiences are positioned by the representations
• make judgements and draw conclusions about how far the representations relate to relevant media contexts. [30]

Thanks Rachel for this post!

Explore the ways in which magazines utilise media language in order to encode ideological perspectives. Make reference to the set editions of Woman and Adbusters to support your points.

Knee jerk reaction

Magazines utilise media language to encode the ideology of the producer. This is in order to shape the ideological perspective of the audience, and ensure that they continue to purchase the magazine 

Plan

Semiotics

Codes

Proairetic

Symbolic

Hermeneutic

Referential 

Intertextuality 

(gender performativity)

 Binary oppositions 

Composition 

Colour

Polysemic

Hyperreality - where the representation is more real than the thing being represented 

Aspirational 

Hegemony 

Lexis - choice of language 

Narrative 

Atypical 

Stereotypes 

Neale - genre - repetition and difference 

Positioning 

Introduction

DAC - definition, argument, context

Ideology refers to the beliefs and values of the producer. Producer’s will typically use media language in order to aggressively anchor and position audiences to agree with their preferred ideological perspective. In this essay, I shall argue that the producers of magazines use a range of media language to engage audiences with explicit ideological perspectives. I shall also argue that by cultivating hegemonic ideological perspectives, the producers of magazines ensure that audiences purchase the same magazine time after time, minimising risk and maximising profit. To explore this idea I shall look at the Aug 1964 edition of Woman, a mass market woman’s weekly magazine first published in 1937 that targets a white, working class female target audience, and Adbusters (Aug 2016 edition), a countercultural anticapitalist magazine that targets a varied set of niche audiences who are involved in activism.

Paragraphs

PEA - Point, evidence, argument 

Woman magazine’s front cover presents a stereotypical and hegemonic representation of women to engage its target audience. This clearly uses media language to reflect the ideology of the produce

The MES of the cover model’s pink and flowery dress is symbolic of stereotypical representations of women, and provides a feminine mode of address to the target audience

 Despite the magazine’s target audience being women, the main cover line and pull quote on the front cover is a quote from a powerful man, Alfred Hitchcock, which constructs a patriarchal mode of address

Lexis of your kitchen is a direct mode of address to the target audience, and allows the producer to encode patriarchal hegemonic ideological perspectives surrounding women

Lexis of extra special on men uses a sans serif font to place symbolic emphasis on the word men, which encodes an ideology that men are important and above women in a social hierarchy. Additionally, the lexis of “getting to know them” further dehumanises women and others women through the construction of an explicit binary opposition 

The smile of the model presents a positive mode of address, and reinforces the hegemonic ideology that women should constantly be happy 

The composition of the mes of the hegemonically attractive women including her hair and makeup serves to reinforce and cultivate an aspirational mode of address for the working class female target audience 

Analysis 

By cultivating a hegemonic ideological perspective and presenting a hyperreal representation of women, the producers of Woman magazine, IPC, are using media language to both shape and position  the ideology of their target audience. By cultivating such a compelling and aspirational ideology, IPC are able to ensure that the mass market target audience for women buy the magazine week after week, in order to minimise risk and to maximise profit. 

Changing fashions and styles are used to create an anxious mode of address, and to deliberately provoke the target audience 

Adbusters

The water double page spread

A binary opposition is constructed between the upper middle class luxury encoded through the detourned image of the luxury Zucchetti tap and mysterious mid shot of a young woman in a bath, that connotes a working class identity.