Men's Magazines Research Articles

CONSUMPTION, CLASS FORMATION AND SEXUALITY: READING MEN'S LIFESTYLE MAGAZINES IN CHINA

The construction of consumerist middle-class masculinities in post socialist China is examined by focusing on a new form of popular culture and consumerism, men's lifestyle magazines. It is mentioned that masculinities in contemporary Chinese society must be examined in the context of social stratification and class formation.

남성 잡지 표지 모델의 섹슈얼 이미지

감성사회, 무한경쟁사회로 진입하면서 남성의 스타일이나 이미지는 힘과 권위로 상징되던 과거 스타일에서 많은 변화를 보이고 있다. 오늘날 남성 스타일과 이미지에 관한 정보는 소비대중의 요구와 매체들의 보도에 의해 필요와 학습의 과정을 거치면서, 정보의 제공자나 수용자 모두에게 적절한 이익을 주고 있다. 일반적으로 잡지의 표지는 잡지의 컨셉과 이미지를 대표하며, 표지 모델은 잡지의 상징적인 이미지, 시대성, 대중의 호감도와 밀접한 연관성을 지닌다. 따라서 라이프스타일 잡지의 표지 모델에 관한 연구는 현재 스타일의 흐름을 단적으로 파악할 수 있다는 점에서 의미가 있다. 본 연구는 남성 잡지 표지 모델의 섹슈얼 이미지에 관한 연구로 현대 남성의 이미지를 호모 섹슈얼, 크로스 섹슈얼, 메트로 섹슈얼, 위버 섹슈얼의 이미지로 구분하여 연구하였다. 연구의 결과 국내 남성 잡지에서 나타나고 있는 섹슈얼 이미지는 위버 섹슈얼이 압도적이었으며, 메트로 섹슈얼이 그 다음을 차지하였다. 결과적으로 현대 남성들의 이 같은 섹슈얼 이미지는 남성 성역할의 변화와 함께 남성 이미지의 범위 확대를 뜻하는 것으로 파악할 수 있다. As we enter an era of emotional and endlessly competitive society, there has been a lot of changes happening to the styles and images of men, traditionally associated with strength and power. Today, the media is giving information on today's trendy men's styles and images to meet the growing demand by consumers, and giving appropriate gains in the process to all - both information providers and consumers. Generally speaking, the cover of a magazine represents the concept and image of the magazine. The cover model is closely tied with the symbolic image of the magazine, the current times, and what the general public wants. Therefore, research on the cover models of a lifestyle magazine has significance in that the current style trends will be able to be understood directly. The present research investigated the sexual images of men's magazine cover models. In carrying out the research, the sexual images were classified into the following: homosexual, cross sexual, metro sexual, and uber sexual. The research findings showed that uber sexual is the dominant sexual image in men's magazines in Korea, followed by metro sexual. In conclusion, the findings suggest an expansion of the traditional image of men, happening with the changes in traditional sex roles.

Singapore FHM: State Values and the Construction of Singaporean Masculinity in a Syndicated Men's Magazine

Transnational magazines have enjoyed enormous success with readers in Singapore in recent years. But what hurdles are faced by these syndicated magazines as they attempt to enter global markets? This article explores the difficulties of meeting audience demands while obeying strictly monitored rules set down by the state. Drawing from initial research into women's lifestyle magazines, this article turns to men's syndicated lifestyle magazines, in particular the controversial Singapore FHM, the first, and most popular, “lad's mag” to enter Singapore. By way of a visual and discourse analysis, this article examines the way the magazine constructs a particular view of masculinity in order to reflect the ideals of the Singaporean male. Despite a change of ownership from the UK-based Emap group to the locally-owned MediaCorp Publishing, few visible changes occurred in the magazine. Fears that the magazine's sexually-related content would be toned down with local ownership proved to be unfounded. This article suggests that Singapore FHM has subtly shifted Western notions of masculinity to encompass the new global masculinity of urban, professional, Singaporean males.

국내 라이선스 남성 잡지의 지면 구성

오늘날 우리는 넘쳐나는 정보시대에 살고 있으며, 이는 잡지부분에 있어서도 예외가 아니다. 본 연구는 국내 3대 라이선스 남성 잡지에 관한 연구로서 남성 잡지사별로 고유한 잡지의 성격을 파악하는데 연구의 목적을 둔다. 따라서 구체적인 연구 방법은 잡지 지면 구성 비율의 통계를 토대로 실질적인 연구를 실행하였다. 왜냐하면, 모든 잡지는 자사가 추구하는 지향점을 기사나 화보에 의한 지면 구성을 통해 실천하기 때문이다. 연구의 결과 국내 3대 라이선스 남성 잡지의 지면 구성 비율 중 가장 높은 비중을 차지한 것은 광고 비율로 평균 37.5%로 나타났으며, 패션에 관한 기사나 화보가 평균 26.8%의 비율로 그 다음을 차지하였다. 따라서 지면구성의 비율로 파악된 국내 라이선스 남성 잡지는 패션잡지로서의 성격을 지니고 있으며, 각 잡지사가 추구하는 잡지 컨셉을 기초로 조금씩 다른 지면 구성으로 발행됨을 파악할 수 있었다. Today, we are living in an information era during which we are flooded with information, and it is not an exception also in the magazine field. This study aimed to identify the unique characteristics of magazines by men's magazine companies as research into the big three men's magazines licensed in Korea. Accordingly, concerning a detailed research method, a practical study was carried out on the basis of statistics about the proportion of the contents composition in those magazines. This is because all magazines realize a target point to which their companies aspire, through the contents composition using articles or a pictorial magazine. As a result of thestudy, in the big three licensed men's magazines (Esquire, Arena, and GQ) in Korea, the highest proportion of the contents composition was the proportion of advertising, posting 37.5% on average, which was followed by the proportion of articles or a pictorial concerning fashion, marking 26.8% on average. Therefore, the domestic licensed men's magazines, which were identified by the proportion of the contents composition, were discovered to have thecharacteristics of a fashion magazine. Furthermore, they were found to be published with as lightly different contents composition based on a magazine concept pursued by each magazine company.

All man!: Hemingway, 1950s men's magazines, and the masculine persona

During the 1950s, Hemingway was in two plane crashes, won a Nobel Prize, published a best-selling novel, and had five movies released based on his work. He had always been a public figure, but during these years his fame rose to that of celebrity. Splashed on the pages of men's magazines were articles titled Hemingway, Rogue Hemingway: America's No 1 He-Man, Hemingway: War, Women, Wine, and Words, and Hemingway: King of the Vulgar Words and Seduction. These articles appeared not in the mainstream men's magazines like Esquire, Field & Stream, and Playboy, but in the pulp men's adventure magazines of Vagabond, Rogue, Modern Man, Male, Bachelor, Sir Knight!, and Gent. Kitschy, extreme, and often misogynistic, these magazines capture the hyper-masculinity of the postwar decade. And Hemingway was portrayed as a role model in all of them. Using these overlooked and sensational magazines, David M. Earle explores the popular image of Ernest Hemingway in order to consider the dynamics of both literary celebrity and midcentury masculinity. Profusely illustrated with magazine covers, article blurbs, and advertisements in full color, All Man! considers the role that visuality played in the construction of Hemingway's reputation, as well as conveys a lurid and largely overlooked genre of popular publishing. More than just a contribution to Hemingway studies, All Man! is an important addition to scholarship in the modernist era in American literature, gender studies, popular culture, and the history of publishing.

Clint Eastwood and Male Weepies

I think it was Playboy's posting of the 10 worst chick flicks that clinched it for me—the decision to do a project on male weepies. According to the Playboy editors, the research necessary for them to complete their task was the most excruciating torture mankind has had to endure, making, they say with great cultural sensitivity, Abu Ghraib look like Club Med. Never mind that many of Abu Ghraib's victims could very well have been forced to look at images from videos and magazines like Playboy as part of their torture or that the photos taken by the soldiers forced inmates to assume stock porn images ripped from the pages of today's men's magazines. Watching those obscene women's films brought human suffering to a whole new level for our heroic Playboy editors. I could just weep for them. And that is the point. It is my contention that in many male weepies (or male melodramas), real men do not cry, or at best they shed only a few hard-wrung tears; others do the crying for them—usually women and people of color. I am therefore not so much interested in those films like Field of Dreams (1989) which are frankly melodramatic and, for instance, in the case of Field of Dreams, position the spectator as a little boy; rather I want to examine those movies featuring a strong, stoic type whose sorrow lurks under the surface but who is wept over by other characters and by the audience. Who better to turn to in considering the melodramatic potential of such a character type than the iconic figure of Clint Eastwood? In what follows, I will be analyzing certain aspects of Eastwood's relatively recent films. One of my main interests lies in the reaction of melancholy spectators/critics/reviewers who project their “cinematic grief” onto the heroes of the films, and most of all, onto the figure of Eastwood himself. (Indeed, we shall see that reviewers and critics of Eastwood films continually slide between talking about Eastwood characters and Eastwood the man.) Above all, I am hoping to revive an interest in the writing of those feminist scholars—and one in particular—whose path-breaking work on melancholia, one of the most popular subjects in contemporary theory, was lost before it was given its due.

101 ways to improve health reporting: A comparison of the types and quality of health information in men's and women's magazines

This study's purpose was to investigate the types and quality of health information reported in Glamour and Men's Health magazines. While neither magazine was completely accurate when reporting results of medical journal articles, there were statistically significant differences with respect to accuracy between the two magazines. These findings suggest that health experts, PIOs, and journalists need to work more closely together in order to provide the public with accurate and clear health information.

Visual representation, editorial power, and the dual ‘othering’ of black men in the South African gay press: The case of Gay Pages

This article considers some of the ways in which black gay men are marginalised within the queer community and have limited ‘visibility’ in mainstream queer visual culture. The formation of a minority within a minority (or the ‘other’ Other) is ultimately what the article sets out to expose. Thus, we argue that images of black gay men are far less ubiquitous than, for example, those of white, male and middle-class gay men. In order to illustrate this, a purposive sample from the South African gay men's lifestyle magazine Gay Pages is considered and critiqued. We argue that the visual mode of Gay Pages gives the impression of promoting a hegemonic gay male identity. This identity appears to be ‘natural’, but is in fact one-sided and stereotypical, as are most cultural constructions and representations. The narrow and limited representation of gay men endorses an exclusive, homogenous and inaccurate portrait of the queer constituency (in the minds of heterosexual and gay South Africans alike) and suggests the question that leads this investigation: If ‘belonging’ is articulated through the consumption of queer culture, what then of those queers who do not fit the ‘mould’ standardised by mainstream gay print media? This exploration of queer visual media deals not only with that which is frequently represented (white homomasculinity), but also, more significantly, with that which is not (black homomasculinity).

“BYE BYE ROCK”

An incident at the US men's magazine Maxim involving a rock critic who did not listen to a record before reviewing it serves as a catalyst in this paper for considering the ethics that guide the practice of rock criticism. By examining the historical genesis of the field and its relationship to nontraditional, literary journalism, this article attempts to theorize how rock criticism has mediated the relationship between criticism and journalism in ways that offer it conflicting standards on which to build its ethics. This article argues that journalism studies needs to consider the challenge rock criticism presents in order to do better by nonstandard forms of journalism as well as the contemporary economic realities which constrain music critics.

'It's in His Eyes': The Negotiation and Interpretation of Masculinity using the Dolce Et Gabbana's 2005 Print Advertising Campaign

The concept of 'masculinity' has over more years received increased attention within consumer research discourse suggesting the potential of a 'crisis of masculinity', symptomatic of a growing feminisation, or 'queering' of visual imagery and consumption (e.g. Patterson & Elliott, 2002). Although this corpus of research has served to enrich the broader gender identity debate, it is, arguably, still relatively underdeveloped and therefore warrants further insight and elaboration. The aim of this paper is, therefore, to explore masculinity is represented and interpreted by men using the Dolce et Gabbana men's 2005 print advertising campaign. The rationale for using this particular campaign is that it is one of the most homoerotic, provocative, and well publicised campaigns to cross over from the 'gay' media to more mainstream UK men's magazines. Masculinity, and what it means to be 'masculine', manifests itself within particular ideological, moral, cultural and hegemonic discourses. Masculinity is not a homogenous term which can be simply reduced, and ascribed, to those born as 'male' rather than 'female'. One may exhibit different degrees of masculinity or femininity, depending on social-cultural situation regardless of biological sex (Eagly 1987; Putreve, 2001). Fischer and Arnold (1994) suggest, for example, that masculine and feminine identities are 'orthogonal' rather than 'bi-polar' concepts, entangled and enmeshed together in a dialectical relationship. Therefore, it is more appropriate to consider multiple masculinities, which are plural, transient and ephemeral. As Askegaard (1991) maintains socio-cultural identity concerns' questions such as are we and who are the others? and how are we related to each other?. Advertising images, and imagery, attempt to answer some of these questions, through the continual negotiation of both individually and culturally accepted masculinities. Masculinity is not merely a 'visual' concept but advertisers have begun to represent 'visions of masculinity' to entice male consumers (e.g. Schroeder & Borgerson, 1998; Schroeder & Zwick, 2004). The portrayal of masculinity through the representation of male body has emerged from that of the muscle bound, rugged, 'cowboy', the stereotypical 'heterosexual masculinity' of the 1960s, to the 'New Man' of the 1980s: a more sensitive man who is in touch with his 'feminine' emotional side (Patterson & Elliott, 2002). The 'New Man' has been recently reinvented, taking the form of the 'metrosexual male' - the 'straight' man who dresses 'gay' - which is increasingly been used as a marketing ploy to target products, particularly clothes and cosmetics, at younger men (Simpson, 2002). This, in turn, has led to increased men's participation in the wider cultural arenas of consumption as well as encouraging visual consumption where 'men gaze at men' (e.g. Patterson & Elliott, 2002). A convenience sample of sixteen in-depth interviews was conducted with self-identified 'straight' men, between the ages of 18 and 24. Within the interview context, each respondent was asked to construct of collage of their masculine self ideals using images from men's magazines. Following the logic of 'photo-elicitation' and 'auto-driving' (Heisley & Levy, 1991), respondents were then given a copy of the Dolce et Gabanna print ads, which they were asked to describe in detail. Our findings would suggest that, for these men the visual images contained within the ads were largely rejected as representative of a singular, hegemonic, notion of 'masculinity'. The men voiced varying degree of distaste of the use and representation of the male models displaying interest and intrigue in each other in various state of undress with little, or no, reference to women within the ads. These models were not axiomatically considered as not being 'masculine' but were defended as definitely not being 'gay'. A further concurrent theme was the continuous need for the men to demonstrate and reinforce their own masculinity by discursively 'proving' themselves as heterosexual men. Our tentative conclusions argue that masculinity manifests itself in not only what is included in the ads, and what is not, but also, more importantly, in the intangible spirit or character of the visual imagery. This masculine spirit is expressed visually via physical body image, but more insightful interpretation of masculinity is embodied within body language and gaze, as illustrated in Figure 1.

Men and Masculinity in Men’s Stylish Lifestyle Magazine

This paper discusses qualitative findings from a series of focus group discussions with six adult Malaysian men, aged 24-34, on the representation of men and masculinity in Men's Folio, a stylish lifestyle men's magazine. It highlights the extent to which the language used in the magazine's editorial content and advertisements that feature musculature images, fashion and style, and feminized grooming products and practices that have diversed impacts on the respondents' notions of a modern male identity.

An Investigation of Content and Media Images in Gay Men's Magazines

ABSTRACT This study provides an analysis of gay men's magazines, examining both the content and advertisements. Four magazine titles were selected, including The Advocate, Genre, Instinct, and Out, each targeting gay men as its target audience. These magazines were coded for both article content and advertisement content. In the advertisement analysis, both the type of advertisement and characteristics of the men depicted within the advertisement when present. The results mirror previous research findings relating to the portrayal of women, including the objectification of specific body parts and the high community standards set by the images depicted. These findings were reinforced by both the advertisements and content analyzed to include a high degree of importance being placed on having the right body type. Implications for further research are discussed.

‘There's got to be a man in there’: reading intersections between gender, race and sexuality in South African magazines

The aim of this article is to interrogate the ways that compulsory heteropatriarchy establishes women's representation as hyper(hetero)sexual in a select group of South African mainstream magazines. In men's magazines targeting both black and white male readers, women are depicted as objects for an unnamed and unmarked, but clearly, masculine audience. In contrast, women's magazines with a dominant white female readership, sexualize black femininities for the consumption of white female readers in ways reminiscent of white male colonial obsession with black bodies. Using a feminist methodology foregrounding the intersectionalities between gender, race and sexuality, I argue that hyper(hetero)feminine performances are racialized with few exceptions – white femininities are depicted as normative, and black femininities as different and exotic. If heteronormativity and white normalcy determines women's representation in the popular media – a space which relies on repetition in order to establish normativity in the popular imagination – then the struggle for women's bodily integrity, freedom and equality, needs to be more aggressively pursued in the current post‐colonial South African climate.

T03-P-06 Evulvalution: portrayals of female genitalia across time and the current prepubescent ideal presented in mainstream men's magazines in the USA

Introduction Media depictions of the female body often inform women's conceptions of the societal ideal, serving as the gold standard for self-evaluation. Given the taboo surrounding display or discussion of female genitalia, these published images may be one of few sources of information regarding genital appearance that women encounter; consequently, any perceived physical deviation may be particularly disconcerting and compromise sexual satisfaction. The current study examined the portrayal of female genitalia within a mainstream men's magazine to characterize the prototype and its evolution across time. Design and Method Two independent raters conducted a content analysis of the centerfold pictorials (N=647) of a popular men's magazine featuring images of nude women for all monthly issues published between December 1953 and October 2007. The appearance of each centerfold model's external genitalia, including the color and visibility of her labia minora, as well as other physical and demographic characteristics were coded and analyzed. Results Despite medical evidence of wide variation in genital appearance within the general population, specific ideals were identifiable per era because of the homogeneity among images presented during each. An emerging trend towards nonexistent pubic hair and minimal visibility of the labia minora was found in recent photos that exposed the external genitalia. Conclusions Findings suggest that the genital ideal may be shifting farther away from the natural female form in favor of a prepubescent appearance. Accordingly, women's physical deviation from the prototype may become increasingly salient to them, which may have detrimental implications for their self-image and sexual satisfaction.

A Study of Femininity and Masculinity Represented in Men's and Women's Fashion Magazine in Korea since 2000

The purpose of this study is to typify femininity and masculinity represented in mainstream women's and men's fashion magazines in Korea since 2000 and infer sexual ideology appearing in contemporary Korean society by content analysis with the view of plural sexuality. For the content analysis total 259 editorial fashion photography was analyzed. As the result, 5 femininities and 5 masculinities were typified, and then sexual discourse was inferred out of the frequency of each type and texts with the images. On the basis of previous studies and historical considerations of this topic, the types of sexuality represented in mainstream fashion magazines in Korea since 2000 were classified as follow.: in women's fashion magazines Traditional Femininity and Androgynous Femininity were almost similarily dominant sexuality, and Glamor Femininity, Babydoll Femininity, and Genderless sexuality were alternative. Meanwhile, in men's fashion magazines Traditional Masculinity formed clear dominant sexuality, and Macho Masculinity, Androgynous Masculinity, Adolescent Masculinity, and Genderless sexuality were alternatives. In addition, Androgynous Masculinity in women's fashion magazines occupied the highest frequency, while Glamor Femininity in men's fashion magazines did so. From this sexual discourses represented in mainstream fashion magazines in Korea since 2000 are as follow.: First, mainstream fashion in Korea sticks to the modern values preserving traditional sexual ideology even in this postmodern period of the former 21C. Second, Androgynous Femininity as another dominant femininity with Traditional Femininity connotes the change of conception of femininity in Korean society. Third, Androgynous Masculinity to females is preferred, while femininity to males is still regarded as fetish or adorned object. Fourth, the appearance of various alternative sexualities leads to pluralization of sexuality, and then fashion gradually codifies youthfulness and feminine values, such as body and sexual desire more than before.

The Cut of His Coat: Men, Dress, and Consumer Culture in Britain 1860-1914, by Brent Shannon

Reviewed by: The Cut of His Coat: Men, Dress, and Consumer Culture in Britain 1860–1914 Elsie B. Michie (bio) The Cut of His Coat: Men, Dress, and Consumer Culture in Britain 1860–1914, by Brent Shannon; pp. xi + 252. Athens: Ohio University Press, 2006, £31.95, £15.95 paper, $49.95, $24.95 paper. Brent Shannon's The Cut of His Coat: Men, Dress, and Consumer Culture in Britain 1860–1914 offers a profusion of verbal and visual information about men's fashion in the late nineteenth and early twentieth centuries: we see images of vests that look like crocodile skin and of suits worn over trousers to keep them from gathering dust while driving; we view the floor plans of Harrods and pictures of wardrobes with myriad compartments to keep men's garments from getting wrinkled; we learn that the proper costume for punting consists of "white flannel trousers without a belt or a cummerbund but pulled in with a small strap at the back. The trousers are turned up to show white cashmere or silk socks" (169). By providing these fascinating details, the results of lengthy archival work, Brent Shannon intends to alter our preconceptions about men and fashion in the Victorian era, to replace what is "merely an ideology" with "the actual sartorial practice of 'real-life' middle-class Englishmen" (26, 39). The first ideology that Shannon challenges is the theory, articulated by John Carl Flugel in 1930, that a "Great Masculine Renunciation" took place in the nineteenth century when, in reaction to the rise of industrialism and the emergence of the Protestant ethic, men gave up their interest in fashion and took to wearing the unimaginative and practical dark suit. Shannon attacks this preconception on two fronts. First he shows, in a move that might remind readers of Michel Foucault's arguments about sexuality and the [End Page 314] repressive hypothesis, that renouncing fashion necessarily involved extensive writing about renunciation. The act of renouncing did not mean a lack of concern about dress. It meant, in Shannon's words, that "'Renunciation' was, after all, just another fashion" (34). Second, he attacks the idea of male renunciation directly by showing, through conduct books, advertisements, department store plans, tailors' brochures, and excerpts from novels, that there was an extensive (and heretofore unexplored) nineteenth-century interest in men's dress. Providing this information is the heart of Shannon's critical intervention into our understanding of the history of fashion. Though The Cut of His Coat covers the period from 1860 to 1914, it is most detailed in discussing the 1890s and early 1900s. In chapter 3, the liveliest of the book, Shannon presents readers with his research into the periodical Fashion, which ran from 1898 to 1905 (including seventy-nine issues) and dealt with men's garments, fashionable behavior, and sartorial accoutrements. This periodical is a surprising late-nineteenth-century version of the men's fashion magazines that we assume, as Shannon points out in his epilogue, to be a modern phenomenon. While fashion historians have argued that such magazines emerged in the 1960s through vehicles like Playboy, Shannon demonstrates not just that the concern with men's fashion was already a nineteenth-century phenomenon but also that the Victorian approach to men's fashion was surprisingly open-minded. Reading Fashion in light of concerns with sexual inversion and effeminacy associated with Oscar Wilde, Shannon shows that, while the periodical takes pains to emphasize the "masculinity" of fashion by associating it with soldiers and athletes, it was also perfectly comfortable with paralleling men's obsession with fashion to women's. In its second half, The Cut of His Coat adds to its analysis of fashion and gender a consideration of the relation between men's fashion and class. Here again Shannon's aim is to challenge a canonized reading of nineteenth-century fashion and economics, the idea of "emulative spending," articulated by Thorstein Veblen in 1899 and picked up by Georg Simmel in his work on fashion in the early twentieth century. Beginning with a discussion of the masher and the dandy and then tracing the emergence of the three-piece suit that has become the uniform of...

Promoting Sexy Images: Case Study Scrutinizes Maxim's Cover Formula for Building Quick Circulation and Challenging Competitors

SUMMARY Maxim features a scantily dressed woman on its cover each month, persuading readers to buy its erotically branded magazine with a repetitive cover formula. Based on descriptive and ethnographic analyses, this exploratory case study addresses Maxim's cover formula and the competitive response from other men's lifestyle magazines. The formula has influenced several new men's magazines, and Maxim's success tempted at least one existing men's magazine to switch its own identity to the lad-mag style, but without Maxim's success. The predictable formula presented complex challenges for men's titles, in terms of creating brand identity, building circulation, and maintaining advertising revenue.

Consumer Responses to Sexual Magazine Covers on a Men's Magazine

SUMMARY Competing men's magazines often use sexually attractive cover models to enhance circulation. This investigation tested the efficacy of sexual cover models on consumer outcome variables including magazine interest and purchase intention, as well as on psychological variables such as sexual arousal and social comparison. Overall, magazine interest-value and purchase intention were significantly higher in the sexual condition, as were sexual arousal and tendency for upward social comparison. Discussions on sexual information processing and implications for management and future research are offered.

Turning “Smoking Man” Images Around: Portrayals of Smoking in Men's Magazines as a Blueprint for Smoking Cessation Campaigns

Published scholarship documents the prevalence and health risks of smoking among men. There is also a rich tradition of studying the normative influences of the media in constructing and propagating images of healthy/unhealthy behaviors such as smoking. To understand the construction of these media-propagated smoking images toward male audiences, this article studies all advertising and editorial content of 3 major men's magazines for 2001 using rhetorical and content analyses. The emergent themes construct the smoking man as sensual, in another place, independent, and mysterious. The authors recommend turning around these themes of the masculine “smoking man” for the purpose of strategic media planning and developing message-targeting guidelines for smoking cessation and prevention messages directed at men.

Revistas masculinas. Análisis crítico de 8 cabeceras: tendencias sociales, publicidad, valores

Análisis de diferentes revistas masculinas, DT, FHM, GQ, MAN, Men´s Health, NOX, Primera Línea y Vanity Gay, para valorar sus elementos formales y estéticos, pero principalmente para sacar conclusiones acerca de las tendencias sociales, la publicidad y los valores que en ellas se muestran. Son productos muy atractivos visualmente, dirigidos cada uno a segmentos específicos de edad, con una presencia altísima de la imagen de la mujer con una gran carga sexual. Éstas son algunas de las conclusiones obtenidas tras el estudio que se incluyen en el texto.