Magazines: 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, special and professional

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

They target their audiences through values, lifestyles and gender in order to target their audience

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

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 coverline 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.

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

• The 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

(“4 Easy, Sexy Spring Dos”, inside a blue ball). The

focus on sex, fashion and image are conventional to a

mainstream lifestyle interest magazine. 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.

• The main coverline is not related to the image but

offers different content of interest, with varying size,

colours and styles of typography.

• Pull quotes such as “I was dancing so hard my dress

fell 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.

• The use of sensationalism and language of true crime

and or gossip magazines are intertextualised to create

and emotional response.

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

Extension tasks: Look at the final pages of the magazine factsheet that focus on creating magazine pages for coursework. What can you take from this to help future coursework projects? 

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.

Extension tasks- make sure what sort of size I want to do, If you decide to do a double-paged spread article you

should consider the line length, Font size, Subheadings, The footer and folio / page number and the byline

Language: CSP analysis

Use your annotated CSP pages to help answer the following questions. You can find an annotated copy of the GQ pages here (you'll need your Greenford Google login).

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.  

Written codes - The use of the CQ behind Pattinson establishes the brand's identity towards readers, suggesting that we do not need to see the full logo in order to know what mag it is. "The art + fashion issue" is in the same font as the question, "who is robert pattinson" which is unusual typography giving that artisy, inky look which fits with the cover image. This also supports Propp's chatacter types which him maybe the Villain due to his edgy outfit and the grillz. Moreover, the two cover lines help with keeping traditional masculinity of CQ

Technical codes - The cover image contains a medium close up with high keep lighting reinforcing the direct address as the camera is close to his face.

Symbolic codes - The use of mise en scene elements such as makeup of the tattoo, bruises, cuts symbolises violence, alining with the traditional masculinity stereotypes. Additionally, the use of the costume such as the teeth and the chain carries heavy connotations of the aggression which is not a typical convention of GQ. 

Narrative codes -  The cover constructs a fragmented narrative ofPattinson as an enigmatic  figure. Rather than presenting a clear, linear story, the combination of styling, imagery, and cover lines suggests themes of transformation, identity, and duality

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 central image of Robert Pattinson in a medium close-up dominates the cover, using direct address and creating an intense and engaging focal point for the audience. His styling, including grillz, tattoos and bruised makeup, produces a more aggressive and unconventional representation of masculinity. That’s important, because it flies in the face of GQ’s traditional ideals of polished, aspirational male celebrities. The handwritten style typography of “Who is Robert Pattinson?” and “Art + Fashion Issue” gives an artistic, experimental feel to the magazine, reinforcing enigma codes (Barthes) by making the reader question his identity. The muted colour palette and subtle ‘GQ’ logo in the background supports brand identity while maintaining a luxury aesthetic. The pleasures of the audience are curiosity and voyeurism, as readers are invited to decode the constructed persona of Pattinson. 

Inside pages: Jonathan Bailey feature and fashion shoot

The Jonathan Bailey fashion shoot employs highly stylised photography to portray him as fashionable and carefully constructed. Design is clean and minimal, with a strong emphasis on images, typical for high-end magazines. This is significant in that it places visual pleasure over long text and makes the magazine more engaging and aspirational. Bailey’s styling shows a more refined, elegant masculinity that conflicts with the aggressive masculinity on the front cover. This shows how masculinity can be presented in different ways depending on the media context. Escapism is one of the audience’s pleasures, as readers are taken into an idealised world of fashion. It also promotes admiration of celebrity style and lifestyle through carefully curated imagery. 

 

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?

 The magazine constructs meaning like a story through its cover and features. The Robert Pattinson cover, using Todorov, disrupts the sense of equilibrium by presenting an unusual, edgy celebrity image with bruises and grillz, creating a sense of disruption to the typical polished magazine identity. This is relevant to Barthes’ enigma codes because the question “Who is Robert Pattinson?” withholds information from the audience and invites them to decode who he is. Propp’s character theory can also be applied here. Pattinson is an anti-hero or 'villain-like' character because of his aggressive styling, whereas Jonathan Bailey is closer to a more traditional 'hero' through his polished fashion shoot. Also present are the binary opposites of Levi-Strauss: elegance vs aggression and art

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

it both adheres to and subverts familiar magazine conventions. The CSP incorporates familiar GQ genre tropes such as a celebrity cover star, high fashion photography, bold typography and aspirational styling, which allows audiences to immediately identify the CSP as a men’s luxury fashion magazine. However, it also incorporates difference through the representation of Robert Pattinson, with his bruised makeup, grillz and aggressive styling, who departs from the polished, clean-cut image of male celebrity. It creates an edgier, more artistic tone that subverts the traditional expectations of masculinity and magazine aesthetics. The inside pages also replicate fashion magazine conventions such as minimal text and high-quality editorial photography, but differ through more fluid and stylised representations of masculinity such as Jonathan Bailey’s refined but fashion-forward look.

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?

Gauntlett’s idea that identity is constructed through media applies to GQ because it presents multiple forms of masculinity rather than one fixed type. Pattinson shows an experimental, edgy masculinity, while Jonathan Bailey shows a more polished, fashion-focused identity. This suggests audiences can choose and shape different masculine identities through media representations.

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

Van Zoonen argues gender is constructed but often reinforces stereotypes. GQ partly challenges this by showing diverse masculinities, but it still centres men as objects of style and power. This means it constructs gender while still working within mainstream expectations.

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

bell hooks  can be seen in Pattinson’s aggressive styling, such as bruises and grillz, which suggest violence and toughness. However, GQ turns this into fashion, so it is aestheticised rather than purely harmful

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

Bailey is represented as a modern, refined masculinity that is stylish and controlled rather than aggressive. His fashion-focused styling allows for a more fluid reading of masculinity and possibly sexuality.

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? 

 It discusses the New Masculinity Issue with Pharrell Williams on the cover wearing a gender-fluid yellow coat. It was notable because it challenged traditional ideas of what a men’s magazine and masculinity look like.

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

Welch saw GQ as needing to be redefined, not fixed. He wanted to give readers freedom to explore style and identity rather than one set idea of masculinity.

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

 Nast cut costs and shifted focus to digital content. This pushed GQ to evolve and focus more on online media and modern audiences.

4) What did the GQ New Masculinity edition feature? 

It featured different views on masculinity from celebrities and athletes, plus fashion and beauty shoots showing men in makeup and more fluid styles.

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

Plank said toxic masculinity is socially learned and spread through culture and media, not natural.

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

Welch said GQ is not responsible for toxic masculinity and argued it is part of an ongoing conversation about masculinity, not something that promotes harm.

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, masculinity was linked to strength, independence, courage and emotional toughness. Men were expected to be breadwinners and avoid showing emotion, which shaped what a “real man” was seen as.

2) What social change occurred from the 1930s?

 From the 1930s, society became more industrial and office-based, meaning traditional manual labour roles declined. This weakened the old link between masculinity and physical, working-class jobs.

3) What is suggested about masculinity today?

Today, masculinity is seen as more flexible and inclusive, allowing men to show emotion, care for their health, and express both “soft” and “hard” traits. It is no longer seen as one fixed identity.

4) Why does it suggest these changes are important? 

These changes are important because outdated masculinity is linked to poor mental and physical health, including low help-seeking and high suicide rates in men. The article suggests redefining masculinity can improve wellbeing and reduce these health risks.